Silver screen soliloquy

The 3rd Annual Kimbo Awards

2009-02-23T22:52:00.022-04:00

With over 75 2008 released films under my belt, I present you with this year's version of the Kimbo Awards:

Nominees are ranked in order of preference.

BEST PICTURE

Winner
Dear Zachary: A Letter to a Son About His Father

Nominees
WALL•E
Forgetting Sarah Marshall
Chop Shop
Doubt

BEST DIRECTOR

Winner
Kurt Kuenne – Dear Zachary: A Letter to a Son About His Father

Nominees
Andrew Stanton – WALL•E
Danny Boyle – Slumdog Millionaire
Ramin Bahrani – Chop Shop
John Patrick Shanley – Doubt

BEST ACTOR IN A LEADING ROLE

Winner
Alejandro Polanco – Chop Shop

Nominees
Mickey Rourke – The Wrestler
Sam Rockwell – Snow Angels
Frank Langella – Frost/Nixon
Sean Penn – Milk

BEST ACTRESS IN A LEADING ROLE

Winner
Sally Hawkins – Happy-Go-Lucky

Nominees
Meryl Streep – Doubt
Jess Weixler – Teeth
Anne Hathaway – Rachel Getting Married
Michelle Williams – Wendy and Lucy

BEST ACTOR IN A SUPPORTING ROLE

Winner
Heath Ledger – The Dark Knight

Nominees
Eddie Marsan – Happy-Go-Lucky
Javier Bardem – Vicky Cristina Barcelona
Philip Seymour Hoffman – Doubt
John Malkovich – Burn After Reading

BEST ACTRESS IN A SUPPORTING ROLE

Winner
Amy Adams – Doubt

Nominees
Viola Davis – Doubt
Vera Farmiga – Nothing But the Truth
Rosemarie DeWitt – Rachel Getting Married
Kristen Bell – Forgetting Sarah Marshall

BEST ORIGINAL SCORE
Sample of winning score linked to film title

Winner
Dear Zachary: A Letter to a Son About His Father

Nominees
Milk
Changeling
WALL•E
Slumdog Millionaire

BEST ORIGINAL SONG

Winner
“Inside of You” (Forgetting Sarah Marshall)

Nominees
“Gran Torino” (Gran Torino)
“The Wrestler” (The Wrestler)
“Another Way to Die” (Quantum of Solace)
“We’ve Got to Do Something” (Forgetting Sarah Marshall)

BEST DOCUMENTARY

Winner
Dear Zachary: A Letter to a Son About His Father

Nominees
Trouble the Water
Encounters at the End of the World
Bigger Stronger Faster*
Young at Heart

BEST ENSEMBLE

Winner
Chop Shop

Nominees
Doubt
Burn After Reading
Rachel Getting Married
Milk

Winners in the remaining categories

BEST FILM EDITING
Quantum of Solace

BEST ORIGINAL SCREENPLAY
WALL•E

BEST ADAPTED SCREENPLAY
Doubt

BEST ANIMATED FEATURE
WALL•E

BEST ART DIRECTION
Changeling

BEST CINEMATOGRAPHY
Quantum of Solace

BEST FOREIGN LANGUAGE FILM
Let the Right One In

BEST SOUND EDITING
WALL•E

BEST SOUND MIXING
WALL•E

BEST VISUAL EFFECTS
The Curious Case of Benjamin Button

My 10 Favourite Films of 2008

2009-02-21T03:21:00.017-04:00

What a roller coaster ride this year turned out to be. While many of the critically lauded films fell short of impressing me, I found solace *wink* in areas I least expected. While '08 can never boast in being an all-time best in regards to overall film quality, I found a few films at the top that I would rank amongst the best this decade has to offer. Here are the 10 I appreciated most:

The Cream

10. Milk

Chronicling the latter years of political activist Harvey Milk, Gus Van Sant presents a stark reminder of the atrocities people can be led to when driven by hate and intolerance. It is a socially relevant, compelling near-masterpiece as far as biopics go. It's primary flaw - a criminally underdeveloped antagonist, which lessens the film's overall impact, but not nearly enough to not warrant a spot on this list.

9. Blindness

An appealing twist on a genre flick, Blindness captures the claustrophobia, uncertainty and survival instincts of the best "quarantine"-centered films. What sets it apart is that there are no monsters, just people reduced to uncivilized creatures by fear and the unknown. It is technically sound, and well-acted, and probably the most unfairly criticized film of the year. Many found it self-important and improbable. I found it mesmerizing.

8. Slumdog Millionaire

Critics' darling and awards season sweeper, Slumdog Millionaire does not disappoint. It is a classic love story portrayed in a most original way. Few films this year have been more memorably directed, edited and shot. This will probably walk away with the biggest prize at tomorrow night's Oscars and, of the nominees, I have no objections.

7. The Wrestler

Score another one for Darren Aronofsky, who manages to silence critics by proving he can "play it straight." The Wrestler can be compared to a requiem, and is a slow, tragically beautiful depiction of a broken man's attempt to recapture faded glory. Mickey Rourke delivers a performance that will be remembered for years to come.

6. Quantum of Solace

Even with it's lackluster reviews, I found QoS to be almost surreal in it's serenity, beauty and melancholy. Daniel Craig once again proves that he is the quintessential Bond, and Olga Kurylenko is one of the most beautiful Bond girls ever. In my opinion, the pinnacle of the year's achievements in both editing and cinematography.

5. Doubt

As far as stage play adaptations go, this is one of the best I've seen in a long time. It's presentation is virtually flawless, and led by the ever reliable Meryl Streep, it is complete with four standout performances. Despite many people claiming that it's convictions are far too easy to determine, I'm one of the few that believes it is all open to interpretation.

4. Chop Shop

One of the most "real" and authentically portrayed films of the year. When you watch Chop Shop, you aren't watching actors, but a true-to-life depiction of the ins and outs of a chop shop through the eyes of a boy on the cusp of adolescence. All year there hasn't been a performance that is able to match the raw naturalness of Alejandro Polanco. He never seems to be aware that a camera is even present, and this masterclass of "exhibitionist acting" as I call it is what makes the film work.

3. Forgetting Sarah Marshall

Hands down, this year's funniest film, that features not one, but two of the best original songs I've seen in film all year. This film's "rewatchability" factor is sky high, as I've seen and enjoyed it at least 8 times already. Complemented by a standout, reappearing cameo by Paul Rudd, this memorable ensemble nails every delivery, and will likely leave even the most reserved in stitches.

2. WALL·E

Quite possibly the cutest film I've ever seen. I enjoyed it so much, I battled long and hard mentally when deciding my #1 film of the year. With the use of minimal dialogue and some impressive as ever sound mixing, WALL·E's hard work and dedication, which showcases so much endearing personality that you forget he's a robot, will melt even the coldest of hearts.

1. Dear Zachary: A Letter to a Son About His Father

As harrowing, engaging and affecting as any documentary (or film) I've ever seen. What starts out as a project to acquaint a baby boy to his fatally murdered father, ends up a story that reaches to the depths of the soul. Directed, narrated and scored by Kurt Kuenne, I can't remember ever being this moved by a piece of non-fiction since Hoop Dreams. The crowning jewel of the year's achievements.

The stock
Vicky Cristina Barcelona, Definitely, Maybe, Keith, Let the Right One In, Rachel Getting Married

Distant Voices, Still Lives - 1989, Terence Davies

2009-02-04T18:33:00.004-04:00

Terence Davies is a master at capturing moments in time. Distant Voices, Still Lives proves this as well as any of his films could. In a mere 80 minutes, he manages to fashion an engaging, entertaining, somber, almost voyeuristic look into the lives of a mid-20th century English family. Not only is the story evocative, it is downright affecting.

The use of song in this film is really unlike anything I've seen before. The music is seamlessly intertwined with the story and is never jarring, which can not be said about many musically generated motion pictures.

The film is divided into two segments; the first, Distant Voices, is a look into the lives of the five member family as the three children grow up in a household with a verbally and physically abusive father and a caring and hard-working mother. The story is seen through the memories of individual members of the household, as they reminisce about their lives in the wake of their father's passing. The different perspectives give us a thorough and unbiased picture of some of the events that shaped their lives.

Still Lives focuses on the lives the children lead after getting married. What makes this story effective is not that it is important; but that we are watching the lives of ordinary, "normal" people unfold set in an era far gone. It is a striking portrayal of just how fleeting and insignificant our lives really are. We are important to our significant others, yet so irrelevant in history.

The non-linear approach taken by a number of directors in portraying their story can sometimes be confusing, but here it is seamless. It is beyond me how so much story and character development could be woven into two 40 minute stories. Watching this film is like peering through a time capsule into the lives of forgotten people.

The performances here are all naturally crafted; there is no weak link to be found. My favourite of the bunch is Debi Jones, whose turn as family friend Micky was all sorts cheeky and delightful. The camerawork and editing are a work of art. The real standout, unsurprisingly, is Terence Davies, whose signature direction is at its bleeding best. Here he crafts a film that is melancholy without being overbearing, engaging without being important.

Few directors are able to move an audience without resorting to heavy manipulation the way he does, and few directors command my respect more deservedly.

♥♦♠♣ 10/10

© 2009 Kim Bartlett

Sidney Poitier

2008-02-23T18:09:00.004-04:00

Words can not express the greatness of this moment...

watch it here.

2008-02-19T21:02:00.005-04:00

The most beautiful actress. Ever

The Screenwriter's Journey, 2.0

2008-02-13T06:25:00.019-04:00

Progress, progress, progress! Seriously, God bless David Trottier. If any of you ever seriously think about writing, go out and buy The Screenwriter's Bible post-haste. I'm trying to follow everything to a T, and shake off my shortcut tendencies to ensure I give this my best effort.

I've become really attached to the story, it's characters and situations. I even have in mind who I would like for the two leads. The scary part is the actual writing of the thing. I have pages upon pages of prep work, and a 30-page first draft, now I'm gearing down to stepping out the scenes and onto writing a complete first draft. I still need to do a bit more research of the location and era, but as early as Monday, I will begin to write. I can hardly wait.

So, to give you a bit more info on what the story is actually about... it's a drama, mainly set in early 90s Pittsburgh, and is bookended in Philadelphia 1964 and Pittsburgh 200_. I will refrain from posting any plot description until I register my script with the WGA. You know, for safety reasons.

The idea has truly grown and been re-shaped since I first thought of it last year. Some of you who heard about the story when I first talked about it, may not even recognise some of it if I was to show you what it's become. The gist of it is still the same, but some of the details have developed into something more.

I've narrowed down my list of screenplay competition prospects from five to three. So my focus is now on: Nicholl, PAGE and Scriptapalooza. The deadline for two of them is April 15th and for the other is May 1st. With the material and prep work I have, I plan to do some revision on my completed first draft, right up to submission. Of course, the work won't stop there, as I plan to revise until perfect, and then start working on a marketing plan.

The story I have is nothing short of affecting. I just have to gather all my scruples together and write a fantastic script!

Online Gaming

2008-02-09T13:52:00.000-04:00

If online casino gaming is your forte, you may find this website of interest. Best Online Casinos ranks and rates the best of the best in online gaming web sites. Each website is given a thorough treatment, as it is analyzed in nearly every relevant category.

The sites are given a score based on the editor's opinion, as well as users' opinion. The overall game experience is broken down and rated according to game selections, graphics and sound quality and game speed. A "trust score" is given based on site security, fair play, customer support, deposit options and payout speed. There is also an editor's review that makes mention of the necessary components of the site experience.

A FAQ sheet is made available to answer basic questions regarding general online gaming. Popular websites such as Rushmore are reviewed, as well as other lesser known web sites.

For a guideline into the best the net can offer in online casino gaming, give this site a look.

Domain Registration

2008-01-31T23:35:00.000-04:00

For all the web junkies out there, I have something that may be of interest to you. If you are working on a web project of some sort, or interested in setting up your own personal website for business or recreation, then this web site is perfect for you to register domain names.

Whatever your needs may be, you can register your domain name using any host server you find suitable. Payless Domains is fully equipped to handle all required needs and answer any questions you may have. They provide 24/7 customer support, free email hosting, free URL forwarding, free member account, web hosting packages and much more... all for an amazingly low price. They also provide an incredibly thorough FAQ help sheet, that covers any questions you may have.

This website provides all the tools needed to register your domain name and get your site started, all at an affordable price and in a professional manner. Visit now and see for yourself.

My 10 Favourite Films of 2007

2008-01-31T04:00:00.003-04:00

2007 was interesting in that while it may not have provided the most amazing crop of films of the decade (or even the past two years), it certainly produced a crop of unique and memorable motion pictures. These are the 10 that impressed me most <>

The Cream

(updated)
10. 3:10 to Yuma
9. Into the Wild

8. Show Business

Detailing the road taken by 4 new broadway musicals on the way to the Tony Awards, this documentary feature was one of the most fun, refreshing and exhilarating motion pictures I've had the pleasure of viewing last year. I actually found this one by mistake, which could've added to my overall appreciation of it. For lovers of theatre, this is an enthusiastic recommendation.

7. Grindhouse

Seeing this was the most fun I had in a movie theatre last year. This film is pure adrenaline, and features two fresh, original and funny throwbacks to grindhouse features. Fake trailers and purposefully sloppy editing added another element that created the perfect atmosphere for this type of feature. While I preferred Planet Terror slightly to Death Proof, each brought it's own edge to the project and showcased each director's capabilities. But someone should really tell QT to stop "acting."

6. There Will Be Blood

Paul Thomas Anderson lends credibility to his versatility with this very impressive adaptation. The cinematography, score, art direction and sound are all top notch, and the film is accentuated by two incredible performances by Lewis and Dano. The Daniel Plainview uttered quoted, "I drink your milkshake" is one for the ages, and will be remembered for years to come.

5. Lust, Caution

Ang Lee brings insight, personality and unprecedented sensuality to this production. Lust, Caution excels in nearly every area and the atmosphere broods with tension and unpredictable brutality. This is one of the best combinations of cinematography and editing for the year, and the score could very well be the year's best (although my sentiments lie with Howard's work in I Am Legend). Tang Wei crafts a memorable lead (in more ways than one), and brings her all to this most impressive debut role.

4. Once

Hands down, the sweetest movie of the year, whose ending is possibly my favourite since 2004's Before Sunset. The songs are all magical, the story perfect in it's simplicity, and the film unforgettable in it's sincerity. This is my favourite movie musical since Moulin Rouge! Once hits you when you least expect it, and with it's emotionally satisfying cadre of songs, will not soon be forgotten.

3. I Am Legend

So good in so many ways, I am still baffled by the hate towards this near-perfect genre flick. Will Smith's performance is spot-on, and he single-handedly carries this film, with a little help from his dog Sam. The atmosphere is perfect, the score is perfect, and even though it's resolution may have been a bit contrived, I was completely satisfied both times I watched it.

2. In the Shadow of the Moon

The most impressive documentary I've seen in a long time, and this year marks the only year I've ever included two docs in my end of year Top 10. What sets this apart is the combination style of re-telling the events. We are treated to the story of man's journey to the moon, from the POV of the astronauts involved, both at the time, and in retrospect. David Sington's use of footage is put together admirably, and the emotion and sheer pride felt from the men involved is highly contagious. For a brief moment last year, I considered this for my #1 spot.

But last year's crowning jewel was without a doubt...

1. No Country for Old Men

Bardem's Anton Chigurh is one of screen's most compelling antagonists, and he dominates the screen in this profoundly multi-layered film. The film's tagline "You can't stop what's coming" perfectly sums up this onion in a nutshell, and this is one of the most impressive films I've seen in the past few years. The sole perfect rating I handed out last year, and most deservedly so. I can recommend no 2007 release more strongly.

The Leftovers
Black Snake Moan, Cashback, Gone Baby Gone, Into the Wild, Juno, 3:10 to Yuma

Cash Advance made easier

2008-01-30T14:51:00.000-04:00

What makes this web site unique, is that not only does it refer you to the best outlets for cash advance and payday loans, but it also reviews various websites to ensure you get the best service for you. Cash Advance and Payday Loans is a web page created by TrustSource.org and it is a neatly packaged resource that can be quite beneficial if utilized.

Within the web site is a referential cash advance guide that gives a basic rundown of the rules, regulations and stipulations associated with this type of service. No matter what type of loan it is you need, you can find it here. The web page is as simple as it gets, and is straight to the point without any excessive or unnecessary information.

Loan types featured include: Additional Earnings, Women's Payday, Silent Cash and Urgent Cash Relief, to name a few. So whether you are short on cash or just need some extra money in between paychecks, Cash Advance and Payday Loans can direct you to the most suitable site which will get money to you as quickly and efficiently as possible.

Visit the attached link above to see what this website can offer.

The 2nd Annual Kimbo Awards

2008-01-30T01:56:00.000-04:00

Here, I present you with my official 2007 Film Nominations and Wins. With exactly 100 films seen, I've viewed more films released in the past year than any previous year. After a thorough assessment of what the year had to offer, I've come up with a list of the best of the best in every Academy recognisable category (minus the shorts). And they are as follows:

Nominees are presented in order of preference

Best Picture

Winner
No Country for Old Men

Other Nominees
In the Shadow of the Moon
I Am Legend
Once
Lust, Caution

Best Director

Winner
Ang Lee – Lust, Caution

Other Nominees
Joel & Ethan Coen – No Country for Old Men
Paul Thomas Anderson – There Will Be Blood
David Sington – In the Shadow of the Moon
Francis Lawrence – I Am Legend

Best Actor in a Leading Role

Winner
Daniel Day-Lewis, as Daniel Plainview in There Will Be Blood

Other Nominees
Will Smith, as Robert Neville in I Am Legend
Casey Affleck, as Robert Ford in The Assassination of Jesse James by the Coward Robert Ford
Brad Pitt, as Jesse James in The Assassination of Jesse James by the Coward Robert Ford
Benicio Del Toro, as Jerry Sunborne in Things We Lost in the Fire

Best Actress in a Leading Role

Winner
Amy Adams, as Giselle in Enchanted

Other Nominees
Christina Ricci, as Rae in Black Snake Moan
Jodie Foster, as Erica Bain The Brave One
Tang Wei, as Wong Chia Chi in Lust, Caution
Ellen Page, as Juno MacGuff in Juno

Best Actor in a Supporting Role

Winner
Javier Bardem, as Anton Chigurh in No Country for Old Men

Other Nominees
Paul Dano, as Paul/Eli Sunday in There Will Be Blood
Hal Holbrook, as Ron Franz in Into the Wild
Justin Timberlake, as Frankie Ballenbacher in Alpha Dog
Sam Rockwell, as Charley Ford in The Assassination of Jesse James by the Coward Robert Ford

Best Actress in a Supporting Role

Winner
Saoirse Ronan, as Briony Tallis in Atonement

Other Nominees
Marisa Tomei, as Gina Hanson in Before the Devil Knows You’re Dead
Jennifer Garner, as Vanessa Loring in Juno
Marcia Gay Harden, as Mrs. Carmody in The Mist
Olympia Dukakis, as Phyllis in In the Land of Women

Best Original Score
Sample of winning score linked to film title

Winner
James Newton Howard - I Am Legend

Other Nominees
Alexandre Desplat - Lust, Caution
Nick Cave - The Assassination of Jesse James by the Coward Robert Ford
Dario Marianelli - Atonement
Jonny Greenwood - There Will Be Blood

Best Original Song
Sample of nominated songs linked to song title

Winner
“Falling Slowly” – Once

Other Nominees
“So Close” – Enchanted
“Lies” – Once
“Le Festin” – Ratatouille
“Forever” – The Man from Earth

Best Film Editing

Winner
Cashback

Other Nominees
Lust, Caution
300
No Country for Old Men
There Will Be Blood

Winners in the remaining categories

Best Original Screenplay
Craig Brewer - Black Snake Moan

Best Adapted Screenplay
Joel & Ethan Coen – No Country for Old Men

Animated Feature
Ratatouille

Best Art Direction
There Will Be Blood

Best Cinematography
The Assassination of Jesse James by the Coward Robert Ford

Best Costume Design
Elizabeth: The Golden Age

Best Documentary Feature
In the Shadow of the Moon

Best Foreign Language Film
Lust, Caution

Best Makeup
Elizabeth: The Golden Age

Best Sound Editing
Atonement

Best Sound Mixing
There Will Be Blood

Best Visual Effects
Sunshine

Looking for something? You can find it here...

2008-01-21T21:08:00.000-04:00

Okay, I just came across a site that has excited me more than any site has recently. Savebuckets provides price comparisons on over a million products worldwide, ensuring that you get the best deal possible in your search for merchandise of any kind. On the webpage, there is a search bar that offers all-inclusive search listings, as well as an option to search only shops you know. There is also a price range option that only lists products within your specified range. If the product you are looking for isn't available in your range, Savebuckets will email you the instant it becomes available.

The search listings are amazingly thorough, featuring the most affordable prices on top name brands (Sony, Panasonic, etc.) in electronics such as mp3 players, digital cameras and digital camcorders, computer hardware and software, clothing, sports equipment, music, books, DVDs... you name it, it's there. Guaranteed. And with such a wide range of price listings, you will be sure to get the best deal possible.

There is also a search guide that assists you in your search queries, and offers insight into what you need to look for no matter what it is. A FAQ sheet and contact info are also made available to keep you knowledgable and to ensure your experience is as smooth as possible. Visit Savebuckets right now and check it out for yourself... you won't be disappointed!

In the Shadow of the Moon

2008-01-18T03:38:00.000-04:00

Simply amazing. One of the most moving and thorough documentaries I have seen in quite some time. It succeeds in every way, as not only do we revisit the voyage of man to the moon in the late 60s and 70s, but we see how it has impacted the men involved to this day. The direction is top notch, and the execution is just brilliant. One of 2007's few gems. A near flawless motion picture.

My father was born shortly after the Wright Brothers. He could barely believe that I went to the Moon. But my son, Tom, was five. And he didn't think it was any big deal.

9/10

© 2008 Kim Bartlett

Online Casino Games Insight

2008-01-18T03:17:00.000-04:00

So I joined Rushmore the other day, and I must say I was impressed. It was everything I thought it would be, and I found the website very easy to navigate. There are many websites devoted to providing online gamblers a safe haven of website listings to educate users on the best casino sites the web has to offer. Online Gambling & Casino for US Players is such a website.

For a thorough unbiased online casino listing, complete with reviews and personal blogging, this site is the place to go. It provides insight from a personal point of view on just what each of the most popular online gambling destinations provide. What gives this website a unique touch is that it even provides rules and tips for some of the more frequently played games such as craps and roulette. If online casino games tickle your fancy, check this site out for a guide into the best of the best.

Before the Devil Knows You're Dead

2008-01-16T00:21:00.000-04:00

A well-edited, well-written tale of a robbery gone bad. Sidney Lumet does a commendable job of directing this compelling tale, that falters only slightly on it's way to a conclusion. The score is perfect, and represents one of the more memorable efforts of the year. An exciting, watchable caper flick that should stand up even on repeated viewings. And Marisa Tomei's Gina may just be the best cute/sexy combination of the decade.

As far as performances go, Philip Seymour Hoffman and Marisa Tomei are memorable and Ethan Hawke is effective. Albert Finney, Amy Ryan and Rosemary Harris were adequate.

Can I help you to seconds?

8/10

© 2008 Kim Bartlett

Got Bad Credit?

2008-01-16T00:00:00.000-04:00

What a hole to be in. It seems like everything is run by credit these days, and a person with bad credit can find themselves at a serious disadvantage. Have you ever wondered if there was some way to maximize your position while you try to get back on your feet? Bad Credit Offers is a free resource that specializes in finding consumers the best bad credit loans available. A site like this is a remarkable necessity to someone with bad credit.

What makes this website stand out, is that it provides consumers the opportunity to compare dozens of bad credit offers in a variety of areas to suit each personal need. From credit cards, to home and auto loans, Bad Credit Offers covers a lot of bases to give you options instead of having to take what you get.

If you are looking for an opportunity to rebuild your credit, I can't think of a more practical and feasible option. Visit the website today and be on your way to a brighter financial future.

The 10 Worst Films of 2007

2008-01-10T23:53:00.000-04:00

These are the 10 worst films released in 2007 that I've had the displeasure of viewing. Avoid at all costs.

10. Good Luck Chuck

You would think that image alone would make the film worth watching, huh? Try again. Alba's the endearing equivalent of a baboon and the romance doesn't work because it's between two unlikeable characters. Delivers a few laughs, but Alba's train wreck of a character single-handedly ruined it for me.

9. American Pie Presents: Beta House

By far the worst of the "sequels." The storyline feels so rehashed and idiotic that I was even bored by the nudity. And there was plenty of it.

8. Cougar Club

In a nutshell? Two idiots get the opportunity to make money by starting a cougar club (a club devoted to older women wanting to pay for young boy toy sex). Throw in a cliché annoying girlfriend and overdone genre plot tactics, and there ya have it.

7. The Haunting Hour: Don’t Think About It

Don't ask me why I watched this. I was a rabid Goosebumps fan as an adolescent and I tried to recreate some of that magic by watching this. Not an entirely bad movie... if you're a six year old. Tobin Bell makes a memorable cameo, though.

6. Across the Universe

About as much structure as diarrhea. The cinematic waste of time of the year, that is so pointless and self-aware I don't remembering cringing more in a single film... ever. I do give it props for maybe one or two (of about 20) well done covers of The Beatles songs, and for some pretty interesting visuals.

5. License to Wed

Not interesting. Not funny.

4. Shrek the Halls

This film gets such a high placement because, for it's short running length (a little over 20 minutes), it managed to bore me to tears. The Shrek series has been on a steady decline since it's first 2001 release, and there is no reason that a 20 minute version should be the least watchable. More Donkey dumbness, more Shrek getting angry, more stupid pointless accidents, yawn. For shame.

3. Norbit

Norbit the character is so expressionless, bland and uninteresting that I have to wonder why Murphy did this. His performance as Norbit's wife Rasputia was mildly entertaining and surprisingly realistic, but the overall quality of the story, characters and humour was unforgivably poor.

2. Hostel: Part II

Takes the term "exploitative" to a new low. I'm a fan of the first one, but this disgraceful, sick piece of trash is not watchable on any level. And even outside the gratuitous gore and dismemberment, the "plot" is about as intuitive as spit.

However, no film released in 2007 was less watchable than...

1. Dead Mary

Okay, I will be honest. This film is probably better overall than a few other titles on this list. However, it takes the crown as my least favourite film of 2007 for having the single most incompetent ending of a film this decade. The ending makes so little sense (and not in a deep way) that I was amazed at how such a bad movie could get so much worse in it's final 2-3 minutes. My choice for the worst film '07 had to offer.

© 2008 Kim Bartlett

Attention Card Sharks!

2008-01-10T23:32:00.001-04:00

So, I'm sure by now you are all aware that I'm a poker hound. I relish the opportunity to get together with a couple of friends for a game of poker. I also love the fact that there are countless poker sites available online for me to catch a quick game anytime I want. Unfortunately, not all poker and card playing sites are created equal. For lovers of card and casino games, it can sometimes be a hassle finding the right sites to play on. However, there exists just a handful of websites that provide a detailed run-through of online casino sites, listing and ranking the best the internet has to offer. Pro360 is one of them.

Pro360 provides a detailed listing of the best online casinos, ranked according to overall experience, trust score and bonuses amongst other categories. This is extremely helpful in finding the best website for the type of game experience you are looking for. The web design is simple and effective, and each casino comes with a full review aside from the rankings. So whether you are looking for a game of poker, craps, slots or roulette, you can stop here first to find that site that is most suitable for you.

The Screenwriter's Journey, 1.0

2008-01-09T03:06:00.001-04:00

I'm writing a screenplay, like a lot of aspiring writers who feel that the WGA strike could a blessing to their dreams. I figure, "strike while the iron is hot." Studio execs are hungry for new talent and I've found, after a 2+ hour phone conference with producer/teacher Hal Croasmun, that high concept alone could sell scripts these days.

Well I think I have it: high concept, original idea, marketable to a wide audience and a marriage of two themes I don't think has ever been written on a major successful level. Of course, most of this is still in my head. I've completed the first 30 or so pages of my first draft and will begin my second draft asap.

I recently acquired David Trottier's The Screenwriter's Bible, which has been in one word: essential. The character development, plotline and structure are all moving along nicely, and at a better pace than I could have ever anticipated. I plan to enter my script in five screenwriting competitions (final deadlines around April or so) as well as continue to exchange dialogue with some people I've been fortunate enough to have met.

I know I haven't said much about the script itself, but as it is still in it's baby stages, I will refrain from divulging much info until it can stand on it's own two feet (like the imagery?). I will say however, that it's an idea I threw out on IMDb's Oscar Buzz message board sometime last year, which was well received by some of the toughest amateur critics. I thought, if these guys rolled with the idea, why not give it a shot?

So here I am, in the middle of it all and loving every minute of it (seriously). And like with all great ventures, most of the joy comes with the journey. I will post updates, periodically as my work progresses.

Become an online merchant, it's easy

2008-01-02T08:15:00.000-04:00

Since eBay has taken over the way we buy and sell online, thousands of copycat web sites have been created to try to capitalize on this craze. Most of these web sites are poor attempts, which are complicated to say the least, and makes the experience less enjoyable. However, amidst all the junk, I may have found possibly the best alternative.

Ashop provides some of the best service of all shopping cart software web sites. The tech support is amazing, and provides full assistance in making sure you optimize your chances of success. They also provide search engine optimized structure, which ensures that you are at or near the top in virtually every search engine. The setup is easy and affordable, and top quality. Your page is not built with templates, but with a design creator that makes the look of your page unique. Needless to say, this ecommerce software is exactly what you need to become a successful online merchant.

Ashop Commerce is simply one of the best in online shopping cart business.

2007-12-17T10:18:00.001-04:00

For some reason this pic makes me happy

Stars and Auteurs

2007-12-15T12:23:00.012-04:00

Top 10 actors, actresses and directors of all-time, presented alphabetically.

ACTORS
Humphrey Bogart
Kenneth Branagh
Daniel Day-Lewis
Robert De Niro
Ed Harris
John Malkovich
Jack Nicholson
Sidney Poitier
Denzel Washington
Bruce Willis

ACTRESSES
Jennifer Connelly
Bette Davis
Jodie Foster
Sally Hawkins
Katharine Hepburn
Glenda Jackson
Charlotte Rampling
Meryl Streep
Emily Watson
Dianne Wiest

DIRECTORS
Woody Allen
Ethan & Joel Coen
Terence Davies
Alfred Hitchcock
Krzysztof Kieslowski
Stanley Kubrick
Richard Linklater
Martin Scorsese
Steven Spielberg
Quentin Tarantino

If ever you need some emergency cash...

2007-12-15T12:01:00.000-04:00

I'm sure most of you reading this blog can remember a time when you needed to get a hold of some cash - fast. Whether it's bills piling up, an unforeseen accident or sickness, a “can't miss” sale that expires a week or two before payday, or whatever the situation, most of us can understand the need for fast cash. Well, I found the perfect website for this.

Cash Advance Payday Loans offers up to $1500 in cash loans, delivered to your checking account safely and securely. The process is simple and secure, and the details are laid out for you on the payday loans website. There are also featured articles and links to other recommended sites, that make sure you find the most suitable lender for your specific needs. Browsing the site is a breeze, and I found the information provided helpful and relevant. So whenever you're stuck in a jam again and payday seems like a distant future, don't hesitate to check this site out!

A random assortment of 10 films I NEED to see

2007-12-13T08:16:00.000-04:00

presented in alphabetical order

Leo McCarey's The Awful Truth
Krzysztof Kieslowski's The Decalogue
Henri-Georges Clouzot's Diabolique
Akira Kurosawa's Ikiru
Mohsen Makhmalbaf's Kandahar
Dario Argento's Opera
Jean Renoir's The Rules of the Game
Rob Reiner's Stand by Me* - 9/10.
Paul Almond and Michael Apted's The Up Series
Henri-Georges Clouzot's The Wages of Fear

Any comments/ratings would be greatly appreciated!

Any gamblers out there?

2007-12-13T07:43:00.000-04:00

While I am not a gambler or professional card player, I am definitely a guy who loves to engage in a fun game of cards. If you are someone who shares this affinity, and would like to make money from it, I came across the perfect site for you.

Top USA Online Casinos is a website that offers rankings of the best gambling sites on the net - as rated by professional poker and blackjack players. The rankings and ratings are sorted according to numerous features, including: overall quality, graphics and payout percentage. The layout and design of the site is quite navigable, and browsing is an ease. There is also information available for you to contact them if any further questions arise. When it comes to online gambling, no other website is as efficient and helpful as this one.

If my description of this site tickles your fancy, don't just take my word for it: see for yourself at topusaonlinecasinos.com. You won't be disappointed!

Alpha Dog

2007-12-10T08:46:00.000-04:00

With the exception of a few awkwardly directed "interviews," Alpha Dog is a highly entertaining take on the story of FBI Most Wanted, Johnny Truelove. Through one of the best ensembles of the year, Nick Cassavetes tells this tale of how Johnny manages to let a simple case spiral hopelessly out of control. The results of which are culminated in one of the most heartbreaking scenes of the year. Despite it's many flaws, Alpha Dog is definitely watchable.

As far as performances go, Ben Foster and Justin Timberlake are exceptional, Anton Yelchin is memorable and Emile Hirsch, Bruce Willis and Chris Marquette are effective. I found Sharon Stone to be overbearing. Everyone else was fine, but not worth mentioning.

I would never rat you guys out

7/10

© 2007 Kim Bartlett

My 100 Favourite Films of All-Time

2007-12-09T06:50:00.005-04:00

I wanted to blog this list to welcome comments. This is the first Top films list I am thoroughly satisfied with, as I believe it accurately represents the 100 films I've enjoyed, respected and admired most over the course of my young film history. Ranked in order of personal adulation, the 100 greatest:

1. Casablanca (1942, Michael Curtiz)
2. Before Sunrise/Sunset (1995/2004, Richard Linklater)
3. Titanic (1997, James Cameron)
4. 2001: A Space Odyssey (1968, Stanley Kubrick)
5. Citizen Kane (1941, Orson Welles)
6. It's a Wonderful Life (1946, Frank Capra)
7. Amadeus (1984, Milos Forman)
8. Grave of the Fireflies (1988, Isao Takahata)
9. The Umbrellas of Cherbourg (1964, Jacques Demy)
10. Contact (1997, Robert Zemeckis)
11. Pulp Fiction (1994, Quentin Tarantino)
12. Cinema Paradiso (1988, Giuseppe Tornatore)
13. Raging Bull (1980, Martin Scorsese)
14. Red (1994, Krzysztof Kieslowski)
15. Lost in Translation (2003, Sofia Coppola)
16. The Godfather/II (1972/1974, Francis Ford Coppola)
17. Love Me If You Dare (2003, Yann Samuell)
18. Schindler's List (1993, Steven Spielberg)
19. City Lights (1931, Charles Chaplin)
20. The Fountain (2006, Darren Aronofsky)
21. A.I. (2001, Steven Spielberg)
22. Memento (2000, Christopher Nolan)
23. The Usual Suspects (1995, Bryan Singer)
24. Annie Hall (1977, Woody Allen)
25. Minority Report (2002, Steven Spielberg)
26. The Apartment (1960, Billy Wilder)
27. All About Eve (1950, Joseph L. Mankiewicz)
28. Seven Brides for Seven Brothers (1954, Stanley Donen)
29. Waking Life (2001, Richard Linklater)
30. Fight Club (1999, David Fincher)
31. No Country for Old Men (2007, Joel & Ethan Coen)
32. Some Like It Hot (1959, Billy Wilder)
33. Wings of Desire (1987, Wim Wenders)
34. Vertigo (1958, Alfred Hitchcock)
35. Chinatown (1974, Roman Polanski)
36. Happy Feet (2006, George Miller)
37. The Lord of the Rings (2001/02/03, Peter Jackson)
38. Requiem for a Dream (2000, Darren Aronofsky)
39. Patton (1970, Franklin J. Schaffner)
40. Mulholland Dr. (2001, David Lynch)
41. Whisper of the Heart (1995, Yoshifumi Kondo)
42. Goodfellas (1990, Martin Scorsese)
43. Stand by Me (1986, Rob Reiner)
44. Leaving Las Vegas (1995, Mike Figgis)
45. United 93 (2006, Paul Greengrass)
46. High Noon (1952, Fred Zinnemann)
47. To Kill a Mockingbird (1962, Robert Mulligan)
48. Gone with the Wind (1939, Victor Fleming)
49. The Philadelphia Story (1940, George Cukor)
50. The Grapes of Wrath (1940, John Ford)
51. Platoon (1986, Oliver Stone)
52. L’Avventura (1960, Michelangelo Antonioni)
53. Summer Interlude (1951, Ingmar Bergman)
54. Bye Bye Birdie (1963, George Sidney)
55. Do the Right Thing (1989, Spike Lee)
56. Blade Runner (1982, Ridley Scott)
57. Pinocchio (1940, Hamilton Luske)
58. The New World (2005, Terrence Malick)
59. The Princess Bride (1987, Rob Reiner)
60. Glengarry Glen Ross (1992, James Foley)
61. Amelie (2001, Jean-Pierre Jeunet)
62. Raise the Red Lantern (1991, Yimou Zhang)
63. Seven (1995, David Fincher)
64. Fantasia (1940, James Algar)
65. Match Point (2005, Woody Allen)
66. In the Mood for Love (2000, Kar Wai Wong)
67. Sin City (2005, Frank Miller & Robert Rodriguez)
68. Swimming Pool (2003, François Ozon)
69. Casino Royale (2006, Martin Campbell)
70. Gladiator (2000, Ridley Scott)
71. The Spanish Prisoner (1998, David Mamet)
72. The Departed (2006, Martin Scorsese)
73. Rebecca (1940, Alfred Hitchcock)
74. Psycho (1960, Alfred Hitchcock)
75. A Clockwork Orange (1971, Stanley Kubrick)
76. A Fish Called Wanda (1988, Charles Crichton)
77. Eternal Sunshine of the Spotless Mind (2004, Michel Gondry)
78. Identity (2003, James Mangold)
79. Fargo (1996, Joel & Ethan Coen)
80. Hilary and Jackie (1998, Anand Tucker)
81. An Affair to Remember (1957, Leo McCarey)
82. Munich (2005, Steven Spielberg)
83. The Sixth Sense (1999. M. Night Shyamalan)
84. Almost Famous (2000, Cameron Crowe)
85. Reservoir Dogs (1992, Quentin Tarantino)
86. As Good As It Gets (1997, James L. Brooks)
87. American Beauty (1999, Sam Mendes)
88. Dead Man Walking (1995, Tim Robbins)
89. Moulin Rouge! (2001, Baz Luhrmann)
90. Unbreakable (2000, M. Night Shyamalan)
91. He Loves Me… He Loves Me Not (2002, Laetitia Colombani)
92. Olivier, Olivier (1992, Agnieszka Holland)
93. House of Games (1987, David Mamet)
94. Cast Away (2000, Robert Zemeckis)
95. A Few Good Men (1992, Rob Reiner)
96. The Wizard of Oz (1939, Victor Fleming)
97. Spider-Man 2 (2004, Sam Raimi)
98. Rear Window (1954, Alfred Hitchcock)
99. Sweet Smell of Success (1957, Alexander Mackendrick)
100. Double Indemnity (1944, Billy Wilder)

Eastern Promises

2007-12-08T15:23:00.000-04:00

My experience with David Cronenberg has been rather disappointing, and this film is no exception. After an interesting opening sequence, and what appears to be the build up of something brilliant to come, the film ends up boring, average and at times, laughable. What saves it are some fine performances, and a few commendable scenes, but the "twist" is so weak and uninspired that it sucked most of the film's credibility dry.

As far as performances go, Viggo Mortensen is memorable and Vincent Cassell, Naomi Watts and Armin Mueller-Stahl are effective.

I can't become king if someone else already sits on the throne

6/10

© 2007 Kim Bartlett

Ratatouille

2007-12-08T15:05:00.000-04:00

While continuing in the vein that brought nearly all of "this type" film to the screen, there's something affectuously sweet about Ratatouille. While it appears to be original, the way the story moves along still follows a particular path, that at times can get rather predictable. But this film ends on such a sweet note, possibly the sweetest in Pixar history, that one can not help but like it. Factor in some inspired voicework and the best Pixar song since "You've Got a Friend in Me," and I'd say we have a film well worth watching.

Tell your Chef Linguini to cook ANYTHING he dares to serve me

7/10

© 2007 Kim Bartlett

Advertise on your blog

2007-12-07T23:03:00.000-04:00

Ever wondered if it was possible to get paid for your blogging efforts? Honestly, for someone like me, the thought has always been intriguing. After all, it's not like I'm pursuing blogging as a career, therefore a little revenue for doing something I enjoy as a hobby is certainly an attractive possibility.

After browsing online a bit I came across Smorty, a website that pays you to advertise on blogs. What's awesome is that you can choose what you want to advertise and how much you want to advertise. Therefore, you control how much money you make.

Does the concept of blog advertising seem a bit too uncertain? Take it from me, this stuff is just what it seems, there's no hidden catch. You get paid to blog your opinions on different websites. It's that simple. Interested? Check out the hyperlinked text above, and let me know what you think!

This is England

2007-12-05T18:25:00.000-04:00

Gutsy, provocative tale of a festering, unpredictable evil. Meadows crafts a brutally honest depiction of the corruption of young, impressionable minds - and the consequences that follow. He also analyzes the willingness of an individual to conform to a group that offers acceptance, even at the expense of personal beliefs. This film succeeds by being completely honest, without force feeding us it's message.

As far as performances go, Thomas Turgoose and Stephen Graham are exceptional.

You know what you are? You're a bully, man

8/10

© 2007 Kim Bartlett

The Brave One

2007-12-05T11:08:00.000-04:00

Combined with Neil Jordan's impressive return to form, Jodie Foster puts on a one-woman show that is, in one word, breathtaking. The Brave One forces you to find the line between right and wrong, with it's unorthodox portrayals of good and evil. When this woman's world is unjustly taken from her, this journey of vengeance seeking is one we can all root for.

As far as performances go, Jodie Foster is exceptional and Terrence Howard is effective.

I always believed that fear belonged to other people

8/10

© 2007 Kim Bartlett

Black Snake Moan

2007-12-03T22:48:00.000-04:00

Like a forlorn, grunge ballad of the dirty south, Black Snake Moan is beautifully ugly. It manages to be both superbly odd and unconventionally affectuous, with a relationship so tender and selfless at it's core it is impossible not to admire. What strikes as outrageous at the onset, undoubtedly proves to be a bittersweet tale of redemptive, sacrificial love.

As far as performances go, Christina Ricci and Samuel L. Jackson are exceptional and Justin Timberlake is effective.

You gonna give me another bath?

8/10

© 2007 Kim Bartlett

The Assassination of Jesse James by the Coward Robert Ford

2007-12-03T15:47:00.000-04:00

This film is like a long visual poem that tells a tale of admiration, obsession, jealousy and ultimately, indignation. Though it's narrative tends to be long-winded and at times self-indulgent, much is forgiven because of it's third act that almost redefines cinematic tension. The film ends on such a high note, that all prior peeves would have long since been forgotten.

As far as performances go, Casey Affleck and Brad Pitt are exceptional, Sam Rockwell and Paul Schneider are memorable and Sam Shepard is effective. Everyone else is fine, but not worth mentioning.

He's just a human being

8/10

© 2007 Kim Bartlett

No Country for Old Men

2007-12-03T06:38:00.000-04:00

One of the most thought-provoking and open-ended films of the year, and probably of the past few years. Joel and Ethan Coen craft a masterpiece of pacing, storytelling and parabolic enigma. The effective juggling of so many themes accentuate this crime drama, and elevates this caper into the base of what turns out to be a tale of morality and sensibility.

As far as performances go, Javier Bardem is exceptional, Josh Brolin is memorable and Tommy Lee Jones and Kelly Macdonald are effective. I found Woody Harrelson to be annoying and rather useless.

I got a bad feelin' Llewelyn

10/10

© 2007 Kim Bartlett

"In a nutshell" reviews, 2007 version

2007-12-03T06:29:00.000-04:00

This kicks off a little diversion I plan to keep up ... one paragraph or less reviews for all the 2007 released films I've seen. I will include pros, cons, pictures, ratings and other miscellaneous information as I see fit. Feel free to comment, and/or recommend films based on what you judge my preferences to be.

Wings of Desire - 1987, directed by Wim Wenders

2007-12-02T18:31:00.000-04:00

Wings of Desire is about as talky as talky films get, but one that contains so much depth, insight and meaning, it can touch virtually anyone who sees it. What sets this film apart from other similarly-themed pictures, is it's true to life filming of everyday life and the continuous overlapping of thoughts as we go from one person or setting to another. Wenders fully captures human transience and gives us a look at ourselves from an omniscient point of view.

© 2007 Kim Bartlett

My 10 Favourite Film Scores of All-Time

2007-11-19T03:15:00.001-04:00

An ode to the aspect of film that lingers far longer than all it's other positives. Presented in reverse order, here are the 10 that stuck with me the longest:

I have also hyperlinked the titles to give you a sample of each score.

10. Amarcord - 1973, by Nino Rota

09. Pan's Labyrinth - 2006, by Javier Navarrete

08. Chinatown - 1974, by Jerry Goldsmith

07. The Fountain - 2006, by Clint Mansell

06. High Noon - 1952, by Dimitri Tiomkin

05. Cinema Paradiso - 1988, by Ennio Morricone

04. Laura - 1944, by David Raksin

03. Titanic - 1997, by James Horner

02. Pearl Harbor - 2001, by Hans Zimmer

01. Schindler's List - 1993, by John Williams

Memento - 2000, directed by Christopher Nolan

2007-07-10T14:54:00.000-04:00

This is possibly the most interestingly told story I've seen on film. This reverse-style storytelling has been imitated by many, but none reaching the level of perfection that Memento is able to. Even though the resolution is revealed within the first few minutes, the anticipation and tension is still kept up to an amazing high because of the way certain truths about the story are revealed along the way. What we perceive as the reason for certain actions early on, is found to be wrong as we are exposed to facts about the situation at key points as the story begins to unravel.

Leonard (Guy Pearce), is a man affected by a brain condition he developed as a result of a blow to the head he received from a burglar. Apparently in this same break-in, his wife was murdered. His brain condition leaves him with only a short term memory of events that occured after the injury. So, in order to cope and remember important things, he writes short notes, takes polaroids and tattoos information on his body that he, at the time, deems important.

His ultimate drive is to avenge his wife's murder, and with notes and polaroids of information and clues he picked up along the way, he sets out to do just that. Within the first few minutes of the movie, Leonard kills a man named Teddy (Joe Pantoliano) whom he is thoroughly convinced is the man that killed his wife. However, as the story is told in flashback and we are introduced to Natalie (Carrie-Anne Moss), a woman whose interest in Leonard appears to be insincere, we begin to realise that Leonard's convictions may be incorrect.

Christopher Nolan, in my opinion, is the most promising film director of the decade thus far. With films like this one, along with the likes of Batman Begins and The Prestige, he has established himself as one of the best cinematic visionaries of the 21st century. The editing here is easily one of the most impressive jobs I've seen, and probably represents the apex of film editing this decade.

Guy Pearce is great as Leonard, and gives us a believable head case, while keeping him likeable. Joe Pantoliano is perfectly casted as Teddy, and does a commendable job. Carrie-Anne Moss is fine in a limited role as Natalie.

Memento impresses me mostly by the way it manages to provide genuinely surprising twists despite it's method of storytelling. Most people (including myself) would need multiple viewings to be able to understand everything that is revealed over the course of the movie. Christopher Nolan's work here is simply awe-inspiring, as he manages to write and direct an original and unique story, with the skill and precision found in few other auteurs.

© 2007 Kim Bartlett

Cinema Paradiso - 1988, directed by Giuseppe Tornatore

2007-07-04T15:28:00.000-04:00

Cinema Paradiso not only defines movie magic, it is about movie magic. This is one of the sweetest movies I've ever seen, and the atmosphere is perfectly accentuated by it's magnificent score, composed by recently 'honorary Oscar' honoured, Ennio Morricone. This movie illustrates the power and lasting effect of movies on the romance, career and destiny of an individual.

A successful film director receives news that a childhood friend of his has passed away. As he prepares to leave, he reminisces about his childhood and how he came to know Alfredo. Alfredo worked as the projectionist in the Cinema Paradiso, and befriended our protagonist at an early age. Already about two generations older than him, Alfredo was able to take the boy under his wing and teach him a lot about life, love and most specifically projection work in the theatre. This was what sparked the love of movies in the boy that ultimately led to his career choice.

This is a film that perfectly captures the feeling of nostalgia. It also illustrates the impact one individual can have on the course of another individual's life. Through the man's reminiscence, we see a beautiful story unfold that is made charming because of it's innocence and relatability. When the man returns to his childhood home, things are both different and the same, a realisation that most can identify with.

The acting by the entire cast is natural and effective. There really isn't one standout, as everyone is pretty much equally good. The score and cinematography are the two standouts, and are two examples of the decade's best. The direction is wonderful, and Tornatore provides us with the perfect nostalgic atmosphere.

This is one of, if not the most deserving winner of the Foreign Film Oscar. It is also one of my Top 5 favourite film scores ever composed. The film's ending, which just immaculately capitalizes on the feeling of nostalgia, is (for lack of a better word) beautiful. Few will get through it with dry eyes. This is a movie that many can identify with, and most will be affected by it one way or another.

© 2007 Kim Bartlett

City Lights - 1931, directed by Charles Chaplin

2007-07-03T18:30:00.001-04:00

I am certainly not well-versed when it comes to silent films. In fact, I can count on two hands the number of silent films I have seen in completion. However, that by no means lessens the effect this movie had on me when I first saw it. City Lights has the greatest balance of comedy and romance I have ever seen, and what makes this all the more remarkable is the fact that words are never spoken. What Chaplin accomplishes here through direction and acting is unparalleled, and evokes a mixture of emotions from the viewer that can be found in few other films.

The story is simple. Chaplin plays a tramp who, while meandering the streets one day, happens upon a blind flower girl with whom he becomes entranced. He learns that she lives with her aunt, and that they are in a critical state financially. After saving a drunk, depressed rich man from drowning himself one night, he forms a friendship with him that is dependent upon his sobriety. When the man is sober he doesn't remember him, but when he is drunk, they are the best of friends. Using this relationship to his advantage, and finding employment by any means possible, he poses as a rich man to help the girl along and support her in any way necessary.

The film's ending is one that is both tragic and romantic. It is critically recognised as one of the best endings of a film ever. What makes it work for me, is the fact that it can be interpreted in more than one way. This ambiguity leaves it up to the viewer to decide whether it is actually tragic or not.

Few films have made me laugh more heartily. Chaplin's use of body movements and facial expression makes his character addictively funny, and progresses the film along with ease. The absence of words is virtually unnoticeable, even to the least familiar with the silent picture. This is one of the most enjoyable movies ever made, and combined with it's sweet ending, also one of the most memorable.

© 2007 Kim Bartlett

A.I. - 2001, directed by Steven Spielberg

2007-07-02T16:20:00.000-04:00

I believe this film to be one of the most underrated films of all-time. This is probably the most touching story ever told, and is, at the core, a modernised re-telling of my favourite Disney animated feature, Pinocchio. The film was originally being made by Stanley Kubrick, but after his death during production, the project was passed on to Spielberg. For me, this is a match made in heaven, as these are possibly my two favourite directors of all-time.

In the not-so-far future the polar ice caps have melted and the resulting raise of the ocean waters has drowned all the coastal cities of the world. Withdrawn to the interior of the continents, the human race keeps advancing, reaching to the point of creating realistic robots (called mechas) to serve him. One of the mecha-producing companies builds David, an artificial kid which is the first to have real feelings, especially a never-ending love for his "mother", Monica. Monica is the woman who adopted him as a substitute for her real son, who remains in cryo-stasis, stricken by an incurable disease. David is living happily with Monica and her husband, but when their real son returns home after a cure is discovered, his life changes dramatically. Written by Chris Makrozahopoulos of imdb.com.

After nearly accidentally drowning their son, David is ruled "dangerous" by his adopted parents and abandoned in the middle of a forest. He is befriended by Gigolo Joe, a robot running from the law after being framed for murder, and together they escape destruction at the hands of humans. David is introduced to the story of Pinocchio, and is convinced that once he finds the "Blue Fairy", he will be made complete.

I have never cried more in a movie than I did in this one. The film's ending is by far the most heartbreaking ending I have ever seen, and remains a favourite of mine. Haley Joel Osment's performance as David, is bested only by Mary Badham's Scout in To Kill a Mockingbird as my favourite performance by a child actor. Jude Law gives my favourite performance of his, as Gigolo Joe, and uses quirky body movements and facial expressions to create a believable Joe. David's eternally loyal pal 'Teddy' is one of my favourite film characters ever made, and along with David, provides the heart and soul of the film.

As long as I live, I doubt there will ever be a film that will leave me as devastated with it's ending. Spielberg's trademark use of syrup has never been more heavy, and this is a film that only he could have made. Kubrick's fingerprints are also found throughout (primarily in the first half), but this is without a doubt Spielberg's film. This is one of a handful of films that I can only watch a limited amount of times because of the impact it has on me. I can only digest so much syrup in one serving.

© 2007 Kim Bartlett

Chinatown - 1974, directed by Roman Polanski

2007-06-30T20:34:00.000-04:00

This was one of my very first "favourite" movies. I remember the first time I saw it, I was enraptured, and found the ending tearfully heartbreaking. John Huston's performance as the manipulative Noah Cross remains my absolute favourite supporting performance of all-time (and also my favourite performance by someone who's primary work is as a director). Every line he utters is done perfectly. This was the movie that made Jack Nicholson a star, and to this day remains one of his best performances.

Jake Gittes (Jack Nicholson), a Los Angeles detective who has made a name for himself by uncovering scandals, is hired by a woman claiming to be the wife of Hollis Mulwray. She suspects him of cheating on her, and wants Gittes to follow him and take pictures of him in the act. Shortly thereafter, another woman (Faye Dunaway) who is proven to be the real Mrs. Mulwray, comes to Jake and tells him to come off the case. A few days later, Hollis Mulwray turns up dead - his body found drowned in only a few inches of water.

Jake continues the case, and discovers that "ya can't always tell what's goin' on". Twist after twist uncovers truths that proves this case to be much more deep and impossible to close than he could have predicted. He and the real Mrs. Mulwray become romantically involved, a relationship that her father Noah Cross (John Huston) is strictly against. Cross' involvement in the case becomes more and more direct, and culminates in one of the more shocking revelations in film.

Jack Nicholson is great at "playing it straight". His Jake is cool, generally calm, intelligent and likeable. Faye Dunaway gives the performance of her career as Evelyn Mulwray, and imbues panache and flair in a role that could have easily been undesireably over the top. The film belongs to John Huston though, as every moment we spend with Noah Cross, we like him a little less, yet become interested a little more. He delivers, not only one but two of my favourite movie lines of all-time:

Noah Cross (to Gittes): You may think you know what you're dealing with, but, believe me, you don't.

and...

Noah Cross: See, Mr. Gitts, most people never have to face the fact that, at the right time and the right place, they're capable of... anything!

This film is a one of a kind, one of the very best mystery stories ever committed to film. This is the film that established Jack Nicholson as my all-time favourite actor. Full of surprises, excellently paced, and never a dull moment, Chinatown offers a complete film with one of the best-acted villains, and a hero who's as cool and likeable as any. The screenplay is generally considered one of the best ever written, and is studied as the basis of how to write a successful script. With all this going for it, Chinatown is engrossing, entertaining, heartbreaking, and unmistakably perfect.

© 2007 Kim Bartlett

All About Eve - 1950, directed by Joseph L. Mankiewicz

2007-06-29T13:46:00.000-04:00

Featuring one of the greatest on-screen duos in the history of cinema, All About Eve is intense without being suspenseful. The performances by leads Anne Baxter and Bette Davis, are second only to the pair of leads from Amadeus as my favourite leading pair of all-time. There are so many interesting themes in this film, it remains interesting even after repeated viewings.

The movie opens at an awards ceremony, where actress Eve Harrington (Anne Baxter) is about to receive an award for a performance. As she is about to receive it, Karen Richards (Celeste Holm), wife of playwright Lloyd Richards (Hugh Marlowe), takes us back less than a year prior, to tell us the story of how she came to know Eve.

As an aspiring actress, Eve Harrington first introduced herself to Karen as a fan of world famous actress Margo Channing (Bette Davis). Sweet in nature, and full of youthful innocence, she befriends Karen, and is eventually given the opportunity to meet Margo backstage after a play. She meets Margo, along with Margo's friends who happen to be some of the most influential people in show business. Margo takes to Eve, and hires her as an aide. However, as Eve's trust is gained by Margo and her friends, she uses this opportunity as a springboard to bring her 'other plans' to fruition.

Along with Meryl Streep in Sophie's Choice, and Emily Watson in Hilary and Jackie, Anne Baxter's performance as Eve Harrington is one of my absolute favourite female lead performances of all-time. She manages to be infectiously sweet and endearing, all the while equally conniving, scheming and opportunistic. I don't think I've ever experienced a more vast range of emotions toward a film character.

Matching her wit for wit is Bette Davis' Margo Channing. In fact, this is the performance that the overwhelming majority of people will say is the best performance of the film. Distinguishing the better performance for me is near impossible, but I give the edge to Baxter because of the way she made me feel.

The relationship between Margo and boyfriend Bill is one of the great on-screen romances, and is sweet because of it's honesty. The supporting cast is almost as interesting as the leads. Led by George Sanders, who won the Oscar for his role as critic Addison DeWitt, and complemented admirably by Celeste Holm, Gary Merrill and Hugh Marlowe, there isn't a weak link to be found. Marilyn Monroe also provides an entertaining cameo that gives a preview of the natural beauty and sweetness that she would have become known for.

This is my favourite film from what I consider to be the greatest decade for film in history. All About Eve is thoroughly entertaining, and contains some of the most popular lines ever written. This is the most recognisable role of screen legend Bette Davis' career, and is arguably her best. Complemented by Anne Baxter's phenomenal performance, this duo dominates the screen like few others could even hope to.

© 2007 Kim Bartlett

Goodfellas - 1990, directed by Martin Scorsese

2007-06-25T16:02:00.000-04:00

Goodfellas is one of the greatest crime/gangster movies ever made. What makes the story all the more interesting, is the fact that it is based on a true story. It tells the story of ex-gangster Henry Hill, and shows three decades of his involvement in the mob. Scorsese's direction is perfect here, and the two and a half hour running length leaves you wanting more.

As Henry says, "As far back as I can remember, I always wanted to be a gangster." We first see Henry as a kid, and the way he idolizes the gangster life from early on. As he begins to move up in the ranks, he becomes more cold and as he gets older, the mob influence takes over every aspect of his life. His marriage, family and personal life all take a toll, and he gets himself in deeper than he could have ever imagined.

This is one of the most interesting true stories I've ever seen put to film, and the majority of the credit should be given to Scorsese. The editing and cinematography are marvellous, and the images represented are bold and colourful.

Joe Pesci won an Oscar for his brutal portrayal of gangster Tommy DeVito, and his win is one of the most deserving supporting wins of the past 25 years. Every scene with him commands every bit of the viewers' attention, as his behaviour is both entertaining and unpredictable. Ray Liotta is perfect as lead Henry Hill, and Robert DeNiro and Lorraine Bracco provide worthy supporting turns. But as great as the acting is, it's almost secondary to the interesting story and beautiful direction.

Goodfellas will show up on nearly every "Best of the 90s" list, and justly so. It represents one of the greatest achievements in film of the decade and, for the most part, all-time. This is one of the three great films made by Scorsese over the course of three decades (along with Taxi Driver of the 70s and Raging Bull of the 80s). And it can be said that this is indeed his crowning achievement.

© 2007 Kim Bartlett

Minority Report - 2002, directed by Steven Spielberg

2007-06-19T22:18:00.001-04:00

One of the handful of 'landmark' films in my life - the films that changed my viewing of cinema forever. This was my first "official" favourite movie of all-time when I started reviewing movies 5 years ago, and it has stood up exceptionally well, compared to the other films that were on the list. Five years and about 15 viewings later, I still enjoy it almost as much as I did the first time I saw it in theatres during it's opening weekend in 2002. Minority Report not only represents one of my favourites from my all-time favourite director, but is one of my favourites from my favourite genre as well, in sci-fi.

In futuristic Washington, D.C., a system is established that can accurately predict when criminals are going to commit murder or violent crimes. This system, known as "Pre-Crime", was set up by the respectable Lamar Burgess (Max von Sydow) and uses the abilities of a set of 3 special individuals known as "Pre-Cogs". These individuals, through visions or dreams, can see into the future and give a prediction of when a violent crime will occur, usually accurate to the second.

However, John Anderton (Tom Cruise), the head of "Pre-Crime", is envisioned to have committed the future murder of a man he has never met before, and before he can be apprehended, he sets out headstrong to solve the mystery of this murder before it inevitably happens. As precious time ticks away, and consistencies with the "pre-cog" visions become more and more prevalent, Anderton realises that the only way he will be able to solve the mystery, is to get the "minority report" from the female pre-cog Agatha (Samantha Morton).

The "minority report" is a vision that only one of the pre-cogs can see. In the system, all 3 pre-cogs see the same vision the vast majority of the time, however, on occasion, the female Agatha, who has been found to be the most talented of the 3, sees something different than the other 2, but this is usually disregarded in order to preserve the credibility of the system.

This is one of the most fascinating science fiction movies I've ever seen. The story plays out like a wonder and, with the aid of some very impressive special effects and set design, provides a thoroughly realistic view of D.C. in 2054 AD. The opening sequence is absolutely one of my favourite openings, and the twist that occurs about 3/4 into the film, is eerily revealed.

This is one of my favourite performances from Tom Cruise. He gets all the emotions that John experiences, from the hurt of losing a child, to the anxiety of trying to solve the mystery. We believe in him, and root for him. Colin Farrell is also good as an FBI agent appointed to investigate the pre-crime system. Max von Sydow is superb in a supporting role, and has a few key scenes that really highlight his ability. Samantha Morton gives the performance of the film however, as Agatha, and uses quirky body movements and lost, blank stares to create a believable image of a pre-cog.

I consider this to be one of, if not the best directorial effort by the legendary Spielberg. And while this is only the first of three Spielberg films on this list, it remains one of the greatest movies I've ever seen. The cinematography and editing are excellent, and the sound and visual effects are top notch. This film is the crowning gem of 2002, and one of the best examples of this millenium's finest achievements in film.

© 2007 Kim Bartlett

The Usual Suspects - 1995, directed by Bryan Singer

2007-06-19T07:32:00.000-04:00

This film is generally regarded in many circles as having the best movie ending of all-time. In even smaller circles, the appreciation for it has died down because of the relatively recent waves of praise it receives from a core teenage fanbase. Some bluffs...erm sorry, buffs, prefer to condemn a film when people of lower life forms to them start to enjoy it. And while they stay there scoffing with their heads stuck somewhere, the rest of us can retain our movie innocence, and praise films we actually like (and not those we pretend to like to impress people).

The Usual Suspects follows the story of five men who have been arrested in suspicion to the same crime. When they are released for lack of further evidence, one of the members, Verbal Kint (Kevin Spacey), proposes to the crew that they work on a job together. So this seemingly randomly selected crew pulls off a successful crime, which leads to another. Before they even realise it, they are caught up in something that is far deeper than it appears to be on the surface. And it has all apparently been orchestrated by someone behind the scenes, this someone being the legendary Keyser Soze.

This film is masterful. The actors, direction, cinematography, editing and score, are all worthy of commendation. The performance of the film belongs to Kevin Spacey. His work here is subtle and genius, and represents his greatest on screen effort. Gabriel Byrne is also superb as Dean Keaton, and Stephen Baldwin as McManus. Chazz Palminteri and Benicio Del Toro are also memorable among a deep and highly talented cast.

Bryan Singer outdoes himself here, and this too represents him at his career best. The editing is remarkable, and represents one of the best efforts of the 90s. The score is highly effective without being overbearing. The ending is one of my favourite endings ever put to film, and is probably the best sense of realisation ever filmed.

The Usual Suspects is a one of a kind and unforgettable movie. Watching it is like putting together pieces of a puzzle, only to find that the true image is contained in one piece, while the whole puzzle is a just a big distortion. This is arguably the best pure crime thriller of the 90s. And after the many twists and turns, including the final mammoth one, you will find yourself scratching your head and preparing for a second viewing.

© 2007 Kim Bartlett

Waking Life - 2001, directed by Richard Linklater

2007-06-18T01:20:00.000-04:00

"Plotless", "meaningless", "boring". These are just a few adjectives you may hear used to described Waking Life. This is a prime example of a 'hit or miss' film. And while most people will probably side with the three previously mentioned adjectives when describing this film, I call it "fascinating".

The film simply follows the thoughts/dreams of a wandering Wiley Wiggins, who can't seem to wake up out of his dreams - the basis of which, consist mainly of random philosophically-themed discourses. There are times when he 'wakes up', only to realise that he has only woken up from one dream into another.

The discourses, which are presented in many different formats, are all intriguing. Ranging in topics from love, perception and connection, to the theory of evolution, discussions about possibilities during dreams, and death. Picking a favourite is almost impossible to do because I enjoy them all equally, but for the sake of choosing, I'd say I most enjoyed the very last spiel where the guy tells Wiggins about his own dreams about his dog and the land of the dead.

This rotoscope style animation is used to perfection here, giving the film an actual dream-like feel to it. The atmosphere is perfectly established, and Linklater manages to make this seemingly random experiment most impressive. This is easily one of my favourite animated movies of all-time.

This movie made me think, and offered opinions on many different aspects of life and human existence. And while I may personally disagree with some of the commentary, I can still appreciate the intellect from which it was derived. Linklater uses the animation to complement the story, whether he is contorting the face of a speaker into images of what he/she is speaking about, or simply adding animated images to the scene that illustrate the speaker's words.

Waking Life is a journey, and by the time you get through it, you will most definitely be presented with a fresh outlook on a few topics of interest. As one of my personal favourite directors, Linklater does what I like best about him here. He offers a film that is able to challenge you through conversation, while keeping you entertained. Complete with a score that is so important to the film that it almost feels like one of the characters, this is quite simply, a masterpiece.

© 2007 Kim Bartlett

Requiem for a Dream - 2000, directed by Darren Aronofsky

2007-06-16T06:30:00.000-04:00

One of the most gut-wrenching films I've ever experienced, and even after 10 or so viewings, the impact has only lessened minimally. Directed by one of Hollywood's hottest, Darren Aronofsky, and featuring arguably the best score by film composer Clint Mansell (although my sentiments lie with his mournful work in The Fountain), Requiem for a Dream is an expertly crafted motion picture.

The story centers around four individuals, all connected through Harry Goldfarb (Jared Leto). His mother, Sara (Ellen Burstyn), receives a phone call one day, telling her that she has won the opportunity to appear on a television show. Faced with the recent death of her husband, and the waywardness of her son, she feels lonely and insignificant, and sees this as an opportunity to be admired and loved. So she tries various diets to improve her physical appearance, and when they don't seem to be working fast enough, she turns to diet pills recommended by a friend.

Harry and his best friend Tyrone (Marlon Wayans), in an attempt to make fast money to fulfill their 'dreams' of the future, start to sell drugs with the intention of stopping when they've reached their goal. But greed takes over, and they soon find themselves caught up in a dangerous and unpredictable lifestyle, with no apparent way of escape.

Harry's girlfriend, Marion (Jennifer Connelly), is at odds with her parents, and wants to start a life of her own. She and Harry's dreams are centered around a happy and fulfilled future together, and this is the driving force behind Harry's involvement in drug pushing. Tyrone's ambition is to 'make it', in any way possible, driven by the desire to make his mother proud of him. The four set off with a goal in mind, but because of the routes they choose to get there, they receive a nightmare in place of their 'dream'.

This film is NOT for everyone. This is a brutal film, that contains explicit images of the gradual degradation of it's characters. Aronofsky's interpretation of this Hubert Selby Jr. novel is immaculate, and this is one of the finest examples of film direction I have ever seen. The editing is also a work of art, and one of the top-notch examples in cinema history. Mansell's score is magnificent, and incredibly addictive - you will hear this in your sleep for weeks after seeing the film!

Every performance in this film is worthy of mention, but none moreso than Ellen Burstyn's heartbreaking turn as Sara. This performance is flawless from start to finish, and represents one of the greatest performances by an actress in a leading role ever filmed. Jared Leto, Jennifer Connelly and Marlon Wayans are all perfect - with Leto given the edge of the three. And Keith David, who seems to show up in every movie I watch, is memorable in a couple scenes with Connelly.

Requiem for a Dream is a wonder to look at. The cinematography and detailed editing makes this film a visual masterpiece. This is quite possibly the best 'anti-drug' movie ever made. It is a tour de force trip through the effects of habitual substance abuse - the end result of which is indeed, a nightmare.

© 2007 Kim Bartlett

The Wizard of Oz - 1939, directed by Victor Fleming

2007-06-15T13:08:00.000-04:00

This is one of the most watched and recognisable films of all-time. And 16-year old Judy Garland's performance as Dorothy is one of the most recognisable film characters of all-time. And as over-the-top as her character sometimes is, Garland is perfect. There isn't a hint of artifice to be found in her performance. Among the film's lasting qualities, is possibly the most remarkable Oscar winning song in "Over the Rainbow", a delightful musical score, and a heart that is undeniable over 60 years since its release.

Garland is Dorothy, a kindhearted girl living with her aunt and uncle. She decides to run away from home one day, because neighbourhood snob Miss Gulch has threatened to have her dog Toto 'destroyed'. An encounter with a travelling 'fortune-teller' switches her mind, and as she is about to return home, a twister brews up. She goes home to find the house empty, as her family had already retired to the storm shelter. She is hit on the head by a piece of window glass, blown free by the wind gusts, and awakes to find herself in a place that she realises is 'not Kansas anymore'.

Out comes Glinda, the 'good witch' who tells Dorothy that she must visit the Wizard of Oz if she wants to find her way back home. So off Dorothy goes, following 'the yellow brick road' on her way to Oz, making the acquaintance of a few other friends who accompany her on journey. Scarecrow, Tin Man and the Cowardly Lion all eventually join her on her quest, all the while trying to avoid the Wicked Witch of the West who seems to have an obsession with Dorothy's red shoes. They know that all they have to do is make it to Oz, and everything will be alright. But when they arrive, things aren't exactly as they had imagined...

I don't think there's a song in this movie that nearly everyone couldn't recognise, from the beautiful "Over the Rainbow", to "Follow the Yellow Brick Road", and the 3 "If I Only Had a... [Brain, Heart, Nerve]" verses. This film's music is arguably the most memorable ever composed for a film.

As I've already raved, Garland's performance as Dorothy is underrated. I feel she gives a spot-on performance, and is sometimes underappreciated because of all the other things this film has going for it. All the other performances are fine, most notably by Ray Bolger, Jack Haley and Bert Lahr as Scarecrow, Tin Man and Cowardly Lion, and Margaret Hamilton and Frank Morgan as the Wicked Witch of the West and the Wizard of Oz, respectively. But to me it's Garland who truly shines.

I don't think there is a more recognisable film on the planet than The Wizard of Oz. Part of it has to do with the fact that for generations, parents introduced this film to their kids at an early age. I know for me, a lot of the appreciation is tied to the fact that it always seems to take me back to my childhood. Whatever the case is, my list would not be complete without this entry. Featuring state-of-the-art special effects for its time, and some pretty funky set design, this visit to Oz is in one word: magical.

© 2007 Kim Bartlett

"This Year's Love"

2007-06-15T12:44:00.000-04:00

The Philadelphia Story - 1940, directed by George Cukor

2007-06-14T19:00:00.000-04:00

My favourite of the classic romantic comedies, and another of those films I can watch repeatedly without ever tiring. The characters are all most intriguing, and there is an air of sweetness in the atmosphere. I think one of my favourite aspects of the film is watching three of Hollywood's greatest screen legends work their magic. Led by Cary Grant, Katharine Hepburn and James Stewart, and featuring an outstanding supporting performance by child actress Virginia Weidler, The Philadelphia Story hooks you through it's wonderfully portrayed characters.

Cary Grant is C.K. Dexter Haven, the divorced husband of Philadelphia socialite Tracy Lord (Hepburn). When he learns that she is about to be remarried to George Kittredge, a man with suspectably ulterior motives, he arrives unexpectedly at her home, accompanied by reporters Macaulay Connor (Stewart) and Elizabeth Imbrie (Ruth Hussey), determined to stir up trouble.

The standout performance is delivered by Stewart as tabloid writer Macaulay Connor. And even though the Academy is given flack for awarding him the Best Actor Oscar over Henry Fonda in The Grapes of Wrath, it isn't too far a stretch to say that he deserved it. Stewart embodies charm and an indifferent attitude that radiates through his character. Katharine Hepburn as Tracy Lord is equally as radiating, and provides an equal force for both Stewart and Grant to play off. Cary Grant is the weakest of the three, but is by no means dull. He plays the cool and not-so-coy instigator quite effectively. Virginia Weidler as Hepburn's kid sister Dinah, gives one of my favourite performances by a child actor ever. She steals scenes from some of Hollywood's best like no other actor her age could, and her rendition of "Lydia the Tattooed Lady" at the piano is as memorable as any scene in the movie.

The fleeting spark between Stewart and Hepburn is so electric, that the scenes featuring the two of them are the best in the movie. Their famous nighttime poolside encounter is easily one of my favourite movie scenes of all-time.

This film is hilarious, satirical and charming. And the story is only made even moreso delectable by the calibre of the performances. Nearly every character in the film is brought to life by it's actor, and much credit must be given to the casting director. This interpretation of a Philip Barry play is perfect, and The Philadelphia Story is one that is most intriguing.

© 2007 Kim Bartlett

"Wet Inside"

2007-06-14T02:30:00.000-04:00

"Begin the Beguine"

2007-06-14T02:29:00.000-04:00

Psycho - 1960, directed by Alfred Hitchcock

2007-06-13T21:33:00.000-04:00

One of my favourite Hitchcock films, and the first film I'd seen from the director. This film drips with atmosphere, and contains a story so intriguing that a lot of the film's other qualities can go almost unnoticed in a first viewing. Along with atmosphere and script, Psycho's advantages are showcased in it's acting, editing, art direction & cinematography, as well as one of the most memorable scores of all-time, composed by the great Bernard Hermann.

Marion Crane (Janet Leigh) is on the lam after stealing $40k from her employer. Fed up with the conditions her life is in, she sees this as an opportunity to start fresh, and so after stealing the money, she sets off for California where she plans to meet with up her boyfriend Sam. Along the journey, she gets caught in a storm and decides to pull over at the nearby Bates Motel to call it a night.

Norman Bates (Anthony Perkins), the motel's proprietor, gets Marion settled in and offers her a light supper. They share a few words and Marion soon retires to her room to get rested for the journey ahead. Before she goes to bed, she decides to have a shower...

Psycho tells two stories, but disclosing any more info could be considered spoiling. Hitchcock has never been better, and does an incredible job at directing this multi-faceted tale. Janet Leigh is the perfect choice for the conniving, yet likeable Marion. Anthony Perkins as Norman, gives one of the greatest male lead performances ever filmed. What he does through nuanced facial expressions and body language is unparalleled.

Upon it's initial release, Hitchcock advised theatres to not let anyone in after the film had started. The reasoning is obvious, as one of the film's major twists occurs only minutes into it's running length. The film's final scene is quite memorable, and only highlights the degree of skill that Perkins brought to the role of Norman. As a whole, this is one of my favourite entries into the "horror" genre. Masterful in every aspect, Psycho is simply unforgettable.

© 2007 Kim Bartlett

A Streetcar Named Desire - 1951, directed by Elia Kazan

2007-06-12T15:42:00.000-04:00

It took me years to fully appreciate everything this Tennessee Williams adaptation had to offer. The atmosphere is just dripping with "desire" and passion, the two forces that drive the characters' actions in the story. This is arguably the best acted movie of all-time, capturing the Oscars for 3 out of the 4 acting categories (Brando was bested by Humphrey Bogart's turn in The African Queen). From the start, director Elia Kazan brings it full force and doesn't let up until the final impassioned cry is uttered.

Vivien Leigh is Blanche DuBois, a troubled woman who comes to New Orleans unexpectedly to stay with her sister Stella (Kim Hunter) and brother-in-law Stanley (Marlon Brando). She tells them that she is looking to spend a few days with them and relax, but is really looking for a home after being ostracized from her hometown. Stella is excited about the arrival of her sister, but Stanley doesn't appreciate the imposition, and soon tries to find out Blanche's real motives.

As Stanley digs deeper and discovers more of the truth, Blanche meanwhile finds the perfect subject to get her out of her problems. She befriends Stanley's friend, the single, lonely and awkward Mitch, and passes herself onto him as a refined, elegant lady. Mitch immediately falls for her, and their relationship develops almost as quickly as Stanley pieces together the mystery of Blanche's disturbing past.

Stanley's inner desire for Blanche becomes more and more unbearable. And as he discovers what really led to her banishment, his desire develops into hatred and drives his actions accordingly. Blanche's exile, which was primarily due to her nymphomaniac behaviour... and ultimately her being caught with a 17-year old student of hers, was a result of her actions under a neurotic and disillusioned view of life after the death of her husband. The once loving sister that Stella had grown to love, was now a mental case on the verge of a nervous breakdown.

It's hard to single out the best performance, as all of them are equally good. Vivien Leigh is probably the most impressive, delivering what I consider one of the Top 5 female lead performances ever. And what may be the case of fiction mirroring reality, she captures every bit of Blanche's mental case and adds an over-the-top flair that only she could.

Marlon Brando is just as impressive as Stanley, delivering arguably his best performance (although I side with his interepretation of Terry Malloy in On the Waterfront). His unpredictable brutality and unbridled passion are hard to ignore. Kim Hunter is also memorable as the trusting and loving Stella, caught in the onslaught of Stanley and Blanche's ongoing tirade. Karl Malden, playing against type, gives what I consider one of the greatest of all supporting performances as Mitch. His awkwardness, loneliness, passion, and later bitter rage are all masterfully revealed.

The art direction and cinematography are all on display here as well. Elia Kazan, one of the most underrated directors in cinema history, is at his best. Of course, it probably helps to have some of the greatest actors to hit the screen in your corner. A Streetcar Named Desire is a film that I have seen countless times and never grown tired. There may not ever be a motion picture quite as passionate.

© 2007 Kim Bartlett

To Kill a Mockingbird - 1962, directed by Robert Mulligan

2007-06-11T21:50:00.000-04:00

About as good as it gets in novel adaptations. A flawless interpretation of one of the most popular novels ever written. Mulligan breathes life into Harper Lee's words, and every scene perfectly captures the magic found in reading it. Featuring what I consider to be the apex of all child actor performances in Mary Badham's Scout, and an award worthy turn by screen legend Gregory Peck, To Kill a Mockingbird gets everything right.

Widowed lawyer Atticus Finch (Peck) and his two children Scout and Jem, live in the racially divided town of Maycomb, Alabama. The story is told through the eyes of young Scout, who is making her own discoveries of friendship, mystery and youthful intrigue. Atticus has taken on the case of representing Tom Robinson, a black man accused of raping a white woman, and is receiving no support from his fellow townspeople. Meanwhile, the children, along with neighbourhood pal Dill, develop a sense of fear and fascination with the mysterious Boo Radley (Robert Duvall).

The story's innocent point of view is contrasted with the ignorance and racial intolerance of the townspeople. At times we are taken from the children's dallying to scenes depicting the lengths the townspeople will go to, to stack the odds against Tom. There are other scenes that relay this same contrast, and shows us how much better the world would be if we viewed things through the eyes of a child.

The movie's title describes the film's two central plots: the town residents' baseless fear and hatred towards Tom, and the children's unjustified fear of Boo. The connection is best described in the film from a quote made by Atticus:

Atticus Finch: I remember when my daddy gave me that gun. He told me that I should never point it at anything in the house; and that he'd rather I'd shoot at tin cans in the backyard. But he said that sooner or later he supposed the temptation to go after birds would be too much, and that I could shoot all the blue jays I wanted - if I could hit 'em; but to remember it was a sin to kill a mockingbird. Well, I reckon because mockingbirds don't do anything but make music for us to enjoy. They don't eat people's gardens, don't nest in the corncrib, they don't do one thing but just sing their hearts out for us.

Then 10-year old Mary Badham delivers possibly the most natural screen performance I've ever seen - not to mention the best child performance. Her work here deservedly holds a place in my 10 Favourite Screen Performances of All-Time list. Gregory Peck is superb as her father Atticus, and underplays the role beautifully. It's hard to argue against his Oscar win. Robert Duvall's limited role as Boo is also deserving of mention.

To Kill a Mockingbird is a fascinating movie. It manages to be sweet without sugar coating, and enlightening without being preachy. The score thoroughly creates and maintains the right atmosphere, and the cinematography is impeccable. Few films manage to create this level of perfection, and To Kill a Mockingbird is one of 'em.

© 2007 Kim Bartlett

Lost in Translation - 2003, directed by Sofia Coppola

2007-06-10T04:01:00.000-04:00

When I first saw this movie (I had bought a DVD copy on the initial day of its release), I was impressed. The dialogue was crisp, the mood was perfectly established, and it had some of the most memorable visuals of any film I had seen. After repeated viewings, I have established it as one of the most affecting films I have come across, and well deserving of its position in my Top 50.

Bob Harris (Bill Murray) is a washed up actor, who is in Tokyo to shoot some commercial ads. Charlotte (Scarlett Johansson) is newly married, and has come to Tokyo with her photographer husband, who is there on business. His business keeps him away from her most of the day, and she soon begins to feel neglected.

After a few chance encounters, Bob and Charlotte soon form a bond. As Americans in a foreign country, they begin to appreciate each others' company more than they probably would under normal circumstances. They begin to hang out more often, enjoying the Tokyo nightlife, as well as engaging in some stimulating and insightful conversation.

The most impressive aspect of this film for me, is the way it so effectively and naturally assesses different aspects of relationships and finding one's place in life. Bob is in the midst of a mid-life crisis, coping with a mediocre and routine stateside marriage. He and his wife talk, but don't communicate. Charlotte is a recent college graduate and newlywed, and is beginning to wonder what her position in life is. Bob's aged wisdom and Charlotte's youthfulness complement each other well, and they form a friendship that is most deeply-rooted.

The performances by Bill Murray and Scarlett Johansson are exquisite. They are perfect, and develop a chemistry that is unrivaled. They both give the best performances of their careers. The shots of Tokyo nightlife are also memorable, and when the film draws to a close, we begin to miss it almost as much as we miss our leads.

The film's ending is immaculate. So perfect in it's execution, that few others in history come close to it's effect. As Bob leans over and whispers something in Charlotte's ear, we can't hear what he says, but whatever it is, it stops her from crying. The ambiguity of this final sequence leads to many plausible interepretations, none of which can really be ruled out.

Lost in Translation is an experience. It is an intricate look into the lives of two individuals in an atypical situation, whose bond would probably not have been formed under different circumstances. Sofia Coppola's direction is one of the most impressive in years, and the cinematography is beautiful. Lost in Translation is mesmerising, and an experience you can immerse yourself in. It will most definitely leave an impression.

© 2007 Kim Bartlett

Whisper of the Heart - 1995, directed by Yoshifumi Kondo

2007-06-09T09:21:00.000-04:00

This animated story, written by legendary animator Hayao Miyazaki, is one of those simple stories that touch the heart most deeply. By placing attention on mundane details, and crafting real, believable characters, Miyazaki and director Yoshifumi Kondo (his sole directorial effort before his untimely death at 37), create a near-masterpiece.

Whisper of the Heart is the story of young Shizuku's journey along the path of self-discovery. But what sets this story aside is the execution. Shizuku is a brainy young girl, who spends most of her time checking out books in the library, until one day she recognises that someone by the name of Seiji Amasawa has checked out all the books before she has. Determined to find out the identity of this mystery reader, Shizuku asks around, gaining little helpful information in the process. One day while riding a train, Shizuku becomes fascinated by a cat riding alone on the same train. When the train stops, she decides to follow it, and begins a part of her journey that is tied to the mysterious Seiji in a way she could not have expected.

Whisper of the Heart is a story of love, discovery and inspiration. It is an ode to the people that have inspired us individually at one point or another in our lives. It is a work of art that reminisces young love and adolescent insecurity. Shizuku's search for a fairy tale ending to life is countered by a growing understanding of reality, but the fact that reality may not be so bad after all.

This film features some amazing voicework, and a regal, enjoyable cameo by Cary Elwes. The depiction of the towns, and views from high altitudes, make for some pretty impressive visuals. The real standout however is the magnificent score. I don't think I've ever seen an animated movie with a more beautiful score. It is simply alluring, and more than just a nice sound, as it complements the movie admirably.

Miyazaki's story is on all points pleasing. This is a simple, beautiful film, with lots to ponder upon. And while the protagonist and most of the main characters are adolescent, the themes presented here contain meaning for viewers of any age. From the year that I consider to be the crowning point in the 90s, this film only further solidifies that notion. If you're looking for a film that will inspire you, touch your heart, leave you with that warm, fuzzy feeling, and all the while not compromising your intelligence, you can do no better. Whisper of the Heart will cause you to love, reminisce and most of all listen.

© 2007 Kim Bartlett

Vertigo - 1958, directed by Alfred Hitchcock

2007-06-08T12:39:00.000-04:00

Vertigo is my favourite Hitchcock film, and a beautiful representation of how to effectively juggle different themes. Led by James Stewart in one of the best performances of his career, Vertigo tells a story of obsession, deceit, murder and betrayal, and features one of my favourite plot twists of all-time.

Detective John 'Scottie' Ferguson is called one day by old friend Gavin Elster to follow his wife Madeleine, whom he feels is acting rather strangely. Her behaviour of late has led him to believe that she has been possessed by the spirit of a dead woman, and he wants Scottie to follow her to confirm or dispel his suspicion. As Scottie follows the woman, they end up meeting, and in turn fall in love. However, even love can't seem to break the spell over her, and a few days later she jumps off a bell tower when Scottie fails to save her because of his fear of heights.

After her death, Scottie begins to see a woman bearing an uncanny resemblance to Madeleine. Curiosity turns to obsession, and after meeting up with the woman, Judy, he becomes fixated on turning her into Madeleine. Scottie's compulsion proves to be detrimental and pushes both him and Judy closer and closer to the edge.

Jimmy Stewart gives arguably his best performance here (although my personal favourite remains his turn in It's a Wonderful Life). He sells Scottie's obsession remarkably, and gives us a spot-on depiction of his gradual declination. Kim Novak is also superb. As usual, Hitchcock is perfect here, and it is impossible for me to imagine any other director at the helm.

Vertigo is a one of a kind film. Expertly directed and filmed, it captures a feel of obsession and uses that as the driving force behind what transpires. It also features a twist that creeps up on you, and although it isn't impossible to figure out before it's revelation, I still consider it one of the greatest of all movie twists. Let Vertigo lure you in, it will almost certainly entrance you.

© 2007 Kim Bartlett

Raise the Red Lantern - 1991, directed by Zhang Yimou

2007-06-07T13:13:00.000-04:00

Raise the Red Lantern is a beautiful film to behold. Complementing it's flawless execution, is some of the most beautiful imagery I've seen. Through dialogue and interaction, we slowly begin to see the characters develop... so thoroughly that when certain twists are revealed, we are genuinely shocked. Yimou's expert direction is on display here, and he crafts a story that commands every minute of the viewer's attention.

Gong Li is Songlian, a young, educated woman, forced by her mother to marry rich landowner Chen Zuoqian. What complicates things is the fact that, as customary, he is already married to three other women. These four women reside in separate houses within the massive compound, and Chen has to choose which wife he wants to spend the night with each night. This privilege brings prestige and power to the lucky wife, and so the women spend a great deal of time vying for their husband's attention.

As the wives' characters are developed, we begin to connect with each one and form opinions on their personalities. But as is the case with anyone, their behaviour becomes capricious as they connive and plot against one another. Even Songlian's personal maid Yan'er (Kong Lin) tries to assert herself above what her position requires. This complicated web only becomes more unpredictable, tangled, deceitful and ultimately tragic as time goes on.

Gong Li captures our attention from the start, and holds it right up to the film's final, tragic scene. In supporting roles, Shuyuan Jin, Cao Cuifen and He Caifei are marvelous as Chen's first three wives. But, along with Li, the most memorable performance in the film is delivered by Kong Lin as Yan'er. She employs very simple nuances to emote her character's inner feelings, which are mostly forbidden to be expressed.

The film's title describes the process under which the husband identifies which wife he has chosen to spend the night with. As the selection is made, red lanterns are lit and raised outside the house of the fortunate wife. As long as Chen is happy with the wife, he stays at her house for days and sometimes weeks, but just as quickly leaves when conflicts arise.

Raise the Red Lantern evokes a lot of emotions throughout it's 2-hr running length. We feel disgust at some of the characters' actions, only to feel empathy moments later as we begin to understand their situation. The conclusion is tragic, and makes what has transpired all the more effective. It leaves an impression that won't be easily defied.

© 2007 Kim Bartlett

"Contact Intro Zoom Out"

2007-06-06T22:56:00.000-04:00

High Noon - 1952, directed by Fred Zinnemann

2007-06-06T14:05:00.000-04:00

My favourite Western ever. Everything about this film nears perfection, and what I think I like most about it is it's simple, but powerful story. The song "Do Not Forsake Me, Oh My Darlin'" is a perfect fit and one of the most memorable movie themes I've ever heard. There have been many great entries into what is possibly the most popular genre of all-time, but of those I've seen, High Noon trumps them all.

Gary Cooper is Will Kane, a respectable marshall who on his wedding day is about to turn in his badge and retire. When news gets in that long time adversary Frank Miller is coming to town at noon looking for revenge, Kane is faced with a situation. Does he leave with his bride and start a new life away from all the trouble, or does he settle the score with Miller once and for all? Because Miller's vengeance is directed at him, and the town's replacement sheriff isn't due in for another day, Kane's dedication to his job and the town compells him to stick around and confront the situation.

Surprisingly, Kane's decision is met with hostility and opposition by his fellow townspeople. Even his wife is understandably unsupportive. It isn't long before Kane realises that no one in town is going to support him, and that if he is going to confront Miller and his gang, he will have to do it alone.

The film takes place in real time, so the 85 minute running length is a real 85 minutes. This is easily one of the best paced films of all-time. The slow advancement toward the inevitable showdown at noon, becomes more and more intense with each passing minute. Kane goes against the archetypical gunslinger prototype of Westerns, and is portrayed here as a man dealing with his own fears and insecurity. This is just one of the many elements that separate this film from the bunch.

Gary Cooper won a justly deserved Oscar for his performance here. He gets Kane right. Grace Kelly is good in only her second role, and Katy Jurado and Ian MacDonald give worthy supporting turns. As I said before, the theme song is one of my favourites and complements this movie perfectly.

High Noon is one of a kind. It tells a story using familiar character types, but with a different take on their personalities. And that is what makes this movie very easy to connect with. Whether you are a fan of Westerns or not, give High Noon a shot, as it is so much more than what meets the eye.

© 2007 Kim Bartlett

Seven Brides for Seven Brothers - 1954, directed by Stanley Donen

2007-06-05T14:32:00.000-04:00

Seven Brides for Seven Brothers is possibly my most watched film of all-time. Donen's best known film, Singin' In the Rain, is regarded in most circles as the greatest musical of all-time, and I wouldn't concur, but it is this Donen musical that I enjoy most. Featuring my favourite musical score of all-time, Seven Brides for Seven Brothers is one of the most rewatchable and entertaining films I have ever seen.

Adam Pontipee (Howard Keel), a backwoodsman living with his 6 other brothers, comes into town one day to look for a wife. A short while later, he finds the perfect woman, Milly (Jane Powell), chopping wood outside the restaurant where she worked. A short while after that, they were married. After he takes her back to his place, she is shocked to find out that they have to share their space with 6 other dirty, ill-mannered men.

At first, life is a challenge, but Milly quickly establishes a system in the house and forces the men to adapt. As the uncouth brothers become civilised and respectful, they too begin to feel the yearning for a life partner. Under the influence of eldest brother Adam, they come up with a plan to kidnap the women they want - Sabine style!

Donen's superb direction is obvious here. Arguably the greatest movie musical director of all-time, he is at the top of his game here. The magic that is established from early on, is not let up until the final credits roll.

I literally love all of the songs in this movie. It's hard to pick a favourite with a score this wonderful. If I were to pick a few favourites, I'd have to say "Sobbin' Women", "When You're in Love", "June Bride" & "Spring, Spring, Spring" are definitely up there. The "Lonesome Polecat" sequence is also a scene that showcases Donen's trademark choreography.

The acting here is impressive all around, but the film belongs to Keel. He gives, arguably, the greatest performance in a musical ever. He is a delight to watch, and his screen presence can not be denied. Jane Powell and Russ Tamblyn also provide memorable characters.

Seven Brides for Seven Brothers combines a fantastic story with my favourite musical score of all time, to give a musical that's fun and engaging. Lovely direction, credible performances and some interesting choreography, complement this score and makes this a joy to watch. This underrated masterpiece has stood the test of time and remains as enjoyable today as I imagine it was over 50 years ago.

© 2007 Kim Bartlett

Do the Right Thing - 1989, directed by Spike Lee

2007-06-04T11:28:00.000-04:00

Spike Lee's greatest film, that effectively handles a touchy subject without ever feeling manipulative. That, of course, can not be said of most of his films, but it does apply here. Do the Right Thing takes a look at the issue of racism and analyses it from all sides, not just one. Add to the mix some consistent pacing, a wonderfully portrayed story and an intrinsically executed 'real-time' effect, and you end up with one of the best 'important' films of the 80s.

The events of Do the Right Thing transpire over the course of a 24-hr day. It is the hottest day of the year, and in a Brooklyn neighbourhood, tensions are slowly escalating. With the majority of the residents in the neighbourhood black, and the only local businesses Korean and Italian, the slowly growing tension is poised for an eruption. Mookie (Spike Lee) works for Sal's, and because of his ties with most of the people in the neighbourhood, he ends up at the center of the meltdown.

The movie concentrates on the varying racial opinions within different groups about the other. The prevailing theme is the tendency for minorities to complain about racism, while engaging in racial behaviour themselves. This film shines the light on this and similar issues, and provokes thought without pointing a finger. Credit Lee for his ingenious direction.

While there are no 'standout' performances, everyone works together to create a highly believable and natural setting. The best performances are given by Danny Aiello, Spike Lee and John Turturro.

Spike Lee has fashioned himself a career primarily based on racially-themed films. While I find a lot of what he does to be forceful and preachy, his work here not only represents the pinnacle of his career, but also one of the crowning jewels of the 80s. Tackling an issue this controversial with such proficiency, while keeping the entertainment level incredibly high, is indeed a work of art. Definitely a must-see for everyone.

© 2007 Kim Bartlett

The Lord of the Rings - 2001-2003, directed by Peter Jackson

2007-06-03T13:45:00.000-04:00

I can not view this film in the same light as other standard 'trilogies'. The simple reason being that most trilogies take a concept and tell three different stories, while The Lord of the Rings splits one 9-hour story into three movies. That said, this is one of the grandest films ever made, and if this list was based on quality alone, would probably make the Top 10. Peter Jackson's direction is one for the ages here, and the production values are amongst the best ever. I will proceed to offer my opinion, while borrowing heavily from imdb in writing the plot summaries for parts 2 & 3.

The Fellowship of the Ring

The trilogy kicks off with some background story exposition that fills us in on the basic reason behind the quest. In the ancient times of Middle Earth, a dark lord Sauron fashioned a ring that would hold powers over all other rings. This ring would prove to be the mode of his existence long after he is destroyed. Receiving the ring as a parting gift from his uncle Bilbo, young Frodo Baggins is unexpectedly thrown into the midst of what will become the greatest battle of good vs. evil in the history of Middle Earth. Forming the 'Fellowship of the Ring', Frodo is joined by Sam (Astin), Peregrin (Boyd), Merry (Monaghan), Gimili (Rhys-Davies), Aragorn (Mortensen), Boromir (Bean), Legolas (Bloom) and Gandalf the Grey (McKellen). Together they set off to assist Frodo in his quest to destroy the ring, all the while overcoming the forces of evil led by Saruman the White (Lee).

The Two Towers
(paraphrased from an imdb plot summary written by simon_hrdng)

The story continues as the 'Fellowship' has now split up. Boromir has been killed, while Gimli, Legolas and Aragorn continue their journey joining up with the people of Rohan and King Theoden (Hill) in their battle with Isengard. Pippin and Merry are missing after being captured by Uruk-hai, and Frodo and Sam (Astin) continue their mission to Mount Doom, with their guide, the mysterious Gollum (Serkis).

The Return of the King
(paraphrased from an imdb plot summary written by simon_hrdng)

The evil wizard Saruman is no more, and the battle of Middle Earth is about to begin. Frodo and Sam reach closer to Mount Doom in their quest to destroy the ring, as Gollum's true intentions become even more clear. During this time, King Theoden and his men, including Gandalf, Gimli, Legolas, Aragorn and hobbits Pippin and Merry, prepare to do battle in the ultimate battle between good and evil.

There isn't a weak link to be found in the cast. Every performance is credible. Besides the aforementioned direction, the cinematography, score, editing and sound mixing/editing are some of the best offerings ever. Very few films can boast about production value the way these can.

Watching The Lord of the Rings was a pleasure. I can remember lying on my bed after watching the final entry, as the credits rolled and thinking how great of a film I had just experienced. I admit, the 9-hour commitment seemed daunting at first, but when it was all complete, I was indeed grateful. Truly one of the greatest films to grace the silver screen.

© 2007 Kim Bartlett

The Apartment - 1960, directed by Billy Wilder

2007-06-02T20:11:00.000-04:00

This was the very first Billy Wilder movie I saw, catching it by mistake one night while channel surfing in between shifts at work. That was 3 years ago, and to this day it remains my favourite of his. This film covers issues like adultery, obsession, corporate favouritism and suicide, yet it never feels depressing. The way these issues are handled is remarkable, and Wilder manages to keep the tone lighthearted enough, while not compromising the issues at hand.

Jack Lemmon is C.C. "Bud" Baxter, a lowly clerk in an insurance agency, who tries to advance in the company by renting out his apartment to company executives involved in extramarital affairs. When his boss Jeff D. Sheldrake (Fred MacMurray) hears about this, he offers Bud a promotion in exchange for exclusive use of the apartment for his own affair. Bud accepts the offer, only before finding out that his boss's lover is Fran Kubelik (Shirley MacLaine), one of the company elevator operaters with whom Bud has fallen in love. Complications ensue.

Fran falls in love with Mr. Sheldrake to the point of obsession. Not wanting to risk losing his family and position, he gives Bud the job of dealing with the situation. Fran's situation turns dour one night when she attempts suicide. Bud then has to get her medical help while keeping the situation under wraps from inquisitive neighbours and Sheldrake's family. His own attachment to Fran makes the situation more personal, and he tries vehemently to help her rise out of her state.

While Jack Lemmon and Fred MacMurray are excellent, this is Shirley MacLaine's show. She provides a pitch-perfect performance as Fran, portraying her innocent search for love and hopeless desperation. Wilder should also be given credit for maintaining the right harmony between comedy and drama.

While I can sing the praises of Wilder for years to come, my admiration for his work is no more directed at any of his films than it is for this one. His work in writing and directing this film is incredible. Complete with a fine cast and efficacious handling of controversial situations, The Apartment takes a good look into the heart of the presented issues. Lemmon's sincerity, MacLaine's hopelessness and MacMurray's devilish self-centeredness make for one memorable motion picture experience!

© 2007 Kim Bartlett

Amelie - 2001, directed by Jean-Pierre Jeunet

2007-06-01T13:07:00.000-04:00

This is one of the most uplifting films I've seen. It also happens to be one of the funniest. Put these two components together and you have an instant favourite. Amelie is one of the most popular French films in recent years, and it is no surprise why. This warm, hilarious and quirky romantic comedy is virtually impossible not to like. This is more than just your average rom com, it is a tale that radiates love in tremendous proportions.

Amelie Poulain (Audrey Tautou) is a naive and innocent girl living in Paris. Free-spirited and full of love, she takes joy in anonymously doing nice things for other people. After returning a lost childhood memory box to a previous occupant of her apartment, and witnessing the positive effect it has on his life, she sets out to do as many nice things for others as possible, all the while remaining anonymous.

As she goes about this new found hobby, she begins to notice a guy who collects discarded photo booth pictures. As her fascination with this mystery man increases, her journey begins to take a different turn, and the love that she had been spreading all across town may have finally caught up with her.

The joy in watching this movie comes from it's brilliant presentation and lead performance. The direction is fresh and original, and the editing is a work of art. The score is superb - one of the best of the new millenium thus far. The humour is delectable - nearly everything is presented with some form of innuendo, and it works completely.

Tautou is perfect as Amelie. The way she presents her character, so likeable, innocent and full of love, makes it absurd to think of anyone else in the role. As long as she shall live, she will be remembered as the actress who played Amelie.

Amelie is one of the quirkiest romantic comedies I've ever seen, and to call it a romantic comedy is doing it a disservice. This is so much more than that. This is an uplifting story that emphasizes the difference one can make when love is on the agenda, and as Amelie proves, when you go out of your way to show love to another, love will most certainly find you.

© 2007 Kim Bartlett

Summer Interlude - 1951, directed by Ingmar Bergman

2007-05-31T21:23:00.001-04:00

As perhaps one of the most critically acclaimed European filmmakers, Ingmar Bergman has directed many films that are held with highest regard. However, it is this relatively unknown gem that I find to be his most fascinating. Summer Interlude tells a timeless story of the effects of a broken heart and lost innocence in the wake of tragedy.

Marie is a ballerina facing the waning years of her career. On the night of a particular dress rehearsal, she receives a package that contains a diary, which upsets her considerably. As she begins to read through the contents of the diary, we are taken on a series of flashbacks that tell us her story.

The flashbacks are set over the course of a summer 13 years before, when an innocent, full of life and carefree Marie had just started out as a dancer. She meets a young college boy, Henrik, who had been a secret fan of hers; and over the course of the summer, developes a loving relationship with him. As the summer goes on, these two young lovers spend days and nights on end with each other and grow inseparable.

As the summer draws to a close, Marie begins to inexplicably feel a sense of worry and fear. And three days before the end of summer, Henrik takes a shallow dive off a cliff and suffers fatal injuries. Now years later, Marie has fortified barriers in her life that affects her current relationship.

This film takes a revealing look into how tragedy can change a person's life forever. Marie, who was so full of love and life, is now hardened and resistant to any form of love. The atmosphere is an even balance of eerily bleak to sublimely beautiful. The cinematography here is top notch, providing us with picturesque shots of a young and innocent summer; to dark, shadowy images of imminent tragedy.

As Marie, Swede actress Maj-Britt Nilsson gives one of my favourite female performances of all-time. She is absolutely perfect. Fine supporting performances are provided by Birger Malmsten as Henrik, and Alf Kjellin as Marie's current boyfriend David, but these pale in comparison to the delightful turn that Nilsson provides.

Although I consider Ingmar Bergman to be a 'hit or miss' director with me, I respect his work immensely. This film, while not as acclaimed or well-known as his generally regarded classics, is my absolute favourite of his. I've heard films called 'poetic' and 'lyrical', and both these traits are on display here. Summer Interlude is in one word: alluring. And it's conclusion, which provides a beautifully realised sense of hope, makes this film one of the most beautiful I've ever seen.

© 2007 Kim Bartlett

Rebecca - 1940, directed by Alfred Hitchcock

2007-05-30T19:27:00.000-04:00

The first of three Hitchcock movies in my Top 50, Rebecca is quite unlike anything he has done before or since. Hitchcock has built a reputation over the course of his career as being the 'master of suspense', and Rebecca is a perfect example of why. The suspense and tension experienced while watching this movie is second only to Rear Window as examples of Hitch at his most suspenseful.

Rebecca follows the story of a young woman (Joan Fontaine), who after accidentally meeting rich widower Maxim de Winter, falls in love and the two end up getting married. When he takes her to his estate 'Manderlay', and introduces her to the servants, she begins to realise that the memory of his former wife Rebecca (who had died the previous year in a boating accident), maintains a grip on the affairs of the house and the people who live there. Aside from Maxim, the memory of Rebecca seems to have an overwhelmingly strong grip on housekeeper Mrs. Danvers (Judith Anderson), who doesn't warm up to the 'new' Mrs. de Winter all too well.

The unfolding of the mystery behind Rebecca creates so much tension, that combined with the eerily shot mansion and its surroundings, this is one of the greatest examples of suspense done right. Hitchcock takes his time in telling this story, and his direction is perfect. He allows everything to be revealed in exactly the right time, and this is one of the best examples of pacing I can think of.

The performances are all superb. Laurence Olivier uses the right balance to portray the tormented and cold, yet kind-hearted Maxim. Joan Fontaine is likewise wonderful in her use of balance to portray her character's transformation from naive and innocent to mature and grounded. Judith Anderson provides a perfectly mysterious and spooky Mrs. Danvers, and Florence Bates steals scenes in a flawless performance in a limited role as Mrs. Van Hopper.

Hitchcock does everything right here, and the fact that this makes my Top 50 as only my third favourite film by the director only adds credit to his calibre. His use of pacing, lighting and shadows are all impeccably done. One of the few great suspense/mystery stories.

© 2007 Kim Bartlett

The Big Sleep - 1946, directed by Howard Hawks

2007-05-29T16:30:00.000-04:00

When I first saw this film, I didn't quite know what to make of it. The story, which was as interesting as any noir I've seen, left some questions unanswered at it's conclusion. However, after letting it all sink in and gradually piecing the puzzle together, I was convinced that this was one of the coolest ever entries into the genre. Bogie is in his element, so cool in his interactions with virtually everyone, that he makes every scene memorable.

Private detective Philip Marlowe (Bogart) drops by the house of an aging general, who had summoned him for a job. He wants Marlowe to take care of some incessant problems facing his family, which includes blackmail, that center around the activities of his youngest daughter Carmen (Martha Vickers). Carmen, whom Marlowe had an electric first encounter with upon his arrival, has apparently fallen into bad company, and is behaving carelessly.

This is of course, just the starting point of what turns out to be a web of trouble, all seemingly centered around the disappearance of one of Sternwood's employees, who has apparently run off with a mobster's wife. As Marlowe continues to probe, he finds that each immediate problem he encounters, is just a ploy to cover up a bigger scheme. And the involvement of Carmen and her older sister Vivian (Lauren Bacall), with whom Marlowe has become entranced, may be more direct than first presumed.

The performances here are all magical, but this is Bogie's show from start to finish. While I won't go on record as saying this is his best performance, I will say that it is definitely his coolest. The way he states his one-liners is legendary, and he has plenty of them in this movie. Take for instance, one of my favourites:

Philip Marlowe: My, my, my! Such a lot of guns around town and so few brains! You know, you're the second guy I've met today that seems to think a gat in the hand means the world by the tail.

In supporting roles, Lauren Bacall is good and Martha Vickers is great, but neither of them are able to capture the magic that Dorothy Malone is able to create in just a 3 minute scene with Bogie. She literally steals the show, and this may just be my favourite cameo performance of all-time.

The Big Sleep is a masterwork. Credit director Howard Hawks for effectively telling this complicated story without making it ever feel boring or confusing. And after all the ploys and red herrings and coverups have been overcome, the final resolution (which may require some thought or a second viewing to completely come to grips with) is about as satisfying as one should expect. Quite possibly the greatest of all classic noir films.

© 2007 Kim Bartlett

Fight Club - 1999, directed by David Fincher

2007-05-28T10:24:00.000-04:00

Bringing an equal mix of philosophy and hard-hitting, ballsy, all-out, bare-knuckled fist fighting, Fight Club succeeds on many levels. And as much as I am impressed by the fight sequences and seemingly random escapades experienced by our two leads, I am moreso tied to the film because of its thought-provoking philosophy. One of the best-directed films of all-time in my books, Fight Club deserves multiple viewings to fully appreciate everything it has to offer.

Edward Norton plays a pretty successful office employee, who grows weary of the mundane routine of everyday life. In an attempt to spice up his life, he unnecesarily joins support groups with the intention of experiencing a sense of comfort and belonging. This provides temporarily relief, until he spots a woman (Helena Bonham Carter) consistently attending the same support groups that he is. Not wanting to share his space in the group with another 'faker', he tries to make a way for them to attend the groups on different days, which of course poses a problem. Enter Tyler Durden.

By chance, our protagonist runs into a mysterious character named Tyler Durden (Brad Pitt). And after a misfortunate accident at his condo, he calls Tyler for some assistance. They spend the evening at a bar, and after having a few too many drinks, decide to break out in a spontaneous fist fight. Broken and bruised, the two laugh it off and go away feeling absurdly refreshed.

This unconventional display of aggression quickly catches on, and before long a 'Fight Club' is formed, complete with membership, rules and initiation. Without delving into the realm of spoiler territory, I'll just say that it is from this point that our protagonist's life quickly spirals out of control, and Tyler becomes more and more uncontrolled and irrational. The philosophy presented, such as the irrelevence of material things and the inanity of what society deems important, are all quite admirably handled. And like I said, this film will require at least 2 or 3 viewings before everything presented can be fully appreciated - look out for the spliced images!

The pair of leads are perfect in their portrayals. Norton sucks us in by playing a guy we can all identify with. He does nothing groundbreaking here, but plays average, great. Brad Pitt utilizes his charm to keep us thoroughly interested in Tyler. His performance here is nod-worthy. Helena Bonham Carter and Meat Loaf also bring memorable characters to the screen.

Fight Club deserves a place amongst the great films of the 90s. It provides such an eclectic mix of philosophy and entertainment that it's almost impossible to dislike. There's something here for everyone, and I would say to any film lover who hasn't seen this, that their life wouldn't be complete without at least one experience with this combination of Mischief, Mayhem and Soap.

© 2007 Kim Bartlett

The Gospel of John - 2003, directed by Philip Saville

2007-05-27T13:45:00.000-04:00

This may seem like an unconventional choice for a Top 50, and maybe it is, but I hold to the belief that this is the single greatest adaptation of the life of Christ ever put to film. This is largely due in part to Henry Ian Cusick's representation of Christ - which is easily one the greatest performances I've ever seen. This film may not be the grandest, and Cusick's performance probably won't impress everyone, but no film has ever before captured the spirit of Christ like this one does. Like it or leave it, it's place on this list is perfectly justified.

The film chronicles the writings of the Gospel of John, literally word for word, which is amazing in itself. Narrated by Christopher Plummer, the exposition never gets tiring. Watching Cusick in the role of Christ is a revelation - it's almost as if he was made for this role. Uttering every word with utmost earnesty and truth, he makes the words of Christ come alive.

There isn't really much I can say about this film that would impress most people. This is one of the more personal choices on the list, and my appreciation for it comes from the feeling I get every time I watch it. Sadly, most adaptations of the life of Christ I've seen are boring, drawn-out and uninspired, but watching this one is like a breath of fresh air.

The DVD was released with the 2-hour theatrical version, as well as the 3-hour epic version, and I must say that I enjoy the 3-hour version more. Every scene draws you closer and closer into the film, and the cut version takes away from the overall effect. My beliefs are no secret, and I'd agree that it has a lot to do with this film's inclusion in my list. But if you ever want to see a film adaptation of the life, death and resurrection of Christ, I can recommend no other film more heartily.

© 2007 Kim Bartlett

Some Like It Hot - 1959, directed by Billy Wilder

2007-05-26T17:39:00.000-04:00

This is the film that converted me into a Jack Lemmon fan. Prior to this, I had always wondered what the big deal about Lemmon was, never thinking that he possessed any real acting skill that stood out, even though I really liked his work in The Apartment. Already a pedestrian Wilder admirer, I approached this one with uncertain curiosity. After all, the combination of Wilder and Tony Curtis was enough for me to give it a look. Well, the end result of the story is that the chemistry between Lemmon and Curtis and the overwhelming cuteness of Marilyn Monroe, automatically made this a favourite of mine, and over time it has grown into one of the greatest comedies I've ever seen.

Lemmon and Curtis star as two out of work musicians who, after stumbling upon the famed St. Valentine's Day Massacre, find themselves on the lam from a violent mob. They decide that the best way to escape would be to join an all girls band looking for musicians, and go on tour with them. So, dressed as 'Daphne' and 'Josephine', the two end up in a well-paying gig, and a free ticket out of town. Of course, being around all those women proved to pose a problem for the two, as 'Josephine' finds himself falling for Sugar Kane (Monroe), but can not tell her his true identity and get kicked out of the band. As for 'Daphne', he finds himself being relentlessly pursued by millionaire Osgood. This is just the base of what turns out to be a tangled mess of false identity, that only spirals more and more out of control the longer the two stick around. And of course there's still the mob...

The performances in this film are an example of comedic genius. Lemmon is the real standout, as his comedic timing and sense of humour prove to be one of the most memorable characters I've had the pleasure of viewing. Tony Curtis is also excellent in 3 roles, as his character also adopts another identity as a rich young millionaire to impress Sugar Kane. And Marilyn Munroe portrays such a sweet and innocent Sugar Kane, that I couldn't help but fall for her.

This is my second favourite Wilder-directed film. Another entry in this list will identify my favourite, but this is a very close second. This is a must see for all film lovers, especially those with a developed sense of humour. I think anyone can find this film enjoyable, whether you like it hot or not.

© 2007 Kim Bartlett

The Princess Bride - 1987, directed by Rob Reiner

2007-05-26T03:00:00.000-04:00

I remember seeing this film when I was much younger, and liking it. Then years later seeing it again and loving it. The difference is that I was finally able to catch all the inside jokes and innuendo. This film is so funny, and what makes it all work is that it never actually takes itself seriously. This is about as good as twisted fairy tales get, and is a rare comedy that stands the test of time: it gets better with each viewing.

When a grandson (Fred Savage of The Wonder Years) becomes ill, his grandfather pays him a visit to read him a story. This was a story that had been passed down through their family, and the kid was more than eager to hear it. Of course, as soon as he learns that it's about a princess and that there are bits of romance throughout, he quickly becomes disinterested. Yet, his curiosity is peaked, and he allows his grandfather to continue the story.

The story is of a beautiful woman named Buttercup, who is separated from the love of her life, Westley, when she hears of his tragic death at sea. But is he really dead? Buttercup swears to never love again, and is betrothed to Prince Humperdinck. After she is kidnapped by a gang led by quick-witted Vizzini, Prince Humperdinck sets out to save her, although apparently for reasons other than her well-being, but he isn't the only one there to rescue her. The gang is also being pursued by the Dread Pirate Roberts, who bears a striking resemblance to Westley, and who picks up friends along the way after he outsmarts (or outduels) them. It is from here that the adventure quickly escalates, and as we learn from Westley, not even death can stop true love.

The list of quotes from this film is endless. Even if you haven't seen it, I'd bet that there is at least one quote that you could recognise from it. From Vizzini's hilarious overuse of the word "inconceivable", to Inigo Montoya's "My name is Inigo Montoya. You killed my father. Prepare to die", there are more than enough memorable one-liners to keep any viewer entertained.

What also makes this film work is its tongue-in-cheek sarcasm. Everything is a joke, and that makes watching it an event each time as you try to recognise something you hadn't noticed before. The acting all around is superb, and there are quite a few memorable characters developed along the way. My favourite character is Vizzini (hilariously portrayed by one of my favourite character actors, Wallace Shawn). Then there is Inigo Montoya (Mandy Patinkin), Fezzik (Andre the Giant) and Miracle Max (Billy Crystal). These characters round out a brilliant cast led by Cary Elwes, Robin Wright Penn and Chris Sarandon.

I have lost count of the amount of times I have seen this film; and my appreciation for it only grows with each viewing. The direction by the underrated Rob Reiner is wonderful, and the playful tone is carried out with tremendous effectiveness by an excellent cast. Don't be misled by the title, there is far more offered here than what is suggested, and I can almost guarantee you that once you see it, you will want to see it again.

© 2007 Kim Bartlett

Autumn Sonata - 1978, directed by Ingmar Bergman

2007-05-25T14:00:00.000-04:00

In a showdown of two of the greater actresses in film history, Ingrid Bergman and Liv Ullmann are the anchors that hold this talky, relational analysis together. The direction is solid, and in typical Bergman fashion (Ingmar this time), we are presented with philosophical themes on issues that most can relate to. Not my absolute favourite Ingmar, but it's up there.

The film opens up with Viktor secretly watching his wife in admiration, as he tells us a little about the first time they met, and about the first time she saw the room in their house that is now her favourite. This scene proves to be the bookends of the film, although the second time around, the exposition is given in a different tone. Viktor's wife Eva (Ullmann) has invited her estranged mother Charlotte (Bergman) for a visit. When Charlotte gets there, she is told that her daughter Helena, who is struggling with a degenerate mental illness, is now living with Eva. After abandoning her children for the majority of her life as she pursued her career as a pianist, Charlotte isn't prepared to face the hard slap of reality that hits her on this visit. As words are shared and tempers escalate, we begin to see beneath the surface of both women's deeply rooted pain.

In what is called the performance of a lifetime, Ingrid Bergman completely inhabits Charlotte. Every bit of her performance rings true, and we end up caring for her far more than we would if her character was reduced to a caricature by a lesser performer. As her daughter Eva, Liv Ullmann provides an equal force that allows this expository study to work. Had the leads been any less credible, this film would simply not work. In a supporting role, Lena Nyman gives an excellent portrayal of Helena that I couldn't fail to mention.

The theme that stood out most to me was the look into how people who have children are sometimes unable to give what they have not been given. Charlotte's inability to show love to her children had stemmed from the lack of love she had received as a child. The way this theme, amongst many others, has been effectively handled makes this movie worth watching; and the possibility of redemption that is presented in the final scene shows what can happen when we allow repressed feelings to be released.

This film is not for everyone, as most will find it boring and uneventful. If you are looking to be entertained, look elsewhere; but if you are looking for a film that takes a look into parent-child relationships (particularly that between a mother and daughter), and offers explanations to ponder upon, then this is your ticket.

♥♦♠½ 8/10

© 2007 Kim Bartlett

Sweet Smell of Success - 1957, directed by Alexander Mackendrick

2007-05-24T19:12:00.000-04:00

I hadn't even heard about this film until relatively recently, while searching for noir titles during my recent obsession with the genre. Even before I watched it, this film had two things going for it: Burt Lancaster and Tony Curtis, two of my favourite actors. I remember after seeing it the first time, I couldn't get over the snarky, acerbic dialogue. This film has one of the most memorable screenplays ever written, with nearly every line quotable. Combine that with near-flawless execution, and you've got yourself a movie.

The film centers around J.J. Hunsecker, a powerful newspaper columnist, who uses the power of the press to control and manipulate those around him. Tony Curtis stars as Sidney Falco, a press agent who will sink to any low in order to impress J.J. and make his way to the top. J.J., upon hearing of his sister's romantic affiliation with hot-tempered jazz singer Steve Dallas, puts Falco on the job of doing whatever he can to keep his sister away from Dallas.

Some of the most memorable scenes are those that feature Falco running around New York City in a desperate attempt to split up the pair. As the film progresses and Falco's desperation grows, the attempts become more aggressive and subtlety is thrown out the window. Almost everyone that speaks says something memorable, but unsurprisingly, the best lines are delivered by Lancaster and Curtis. For example:

J.J. Hunsecker: What's this boy got that Susie likes?
Sidney Falco: Integrity -- acute, like indigestion.
J.J. Hunsecker: What does that mean -- integrity?
Sidney Falco: A pocket fulla firecrackers -- looking for a match!

Of course, having a great script is only half of it, and Lancaster and Curtis are more than capable in their delivery. Lancaster captures J.J.'s obsessive desire for control, and Curtis inhabits sleazeball Falco's 'win at any cost' mentality. The supporting cast also does a credible job forming memorable background characters for Lancaster and Curtis to play off. With a screenplay that's as dynamic as this one, and a cast that more than ably delivers, the end result is unquestionably commendable.

Ernest Lehman, famous for writing some of the most memorable screenplays in film history (most notably, Who's Afraid of Virginia Woolf?), is arguably at his best here. The direction is also flawless and the atmosphere is perfectly noir. The inclusion of this film in this list is testament enough of it's impression on me. I have nothing but accolades for this film, as it is a true representation of cinematic success!

© 2007 Kim Bartlett

My 50 Favourite Films of All-Time: Introduction

2007-05-23T22:54:00.000-04:00

I was almost sold on doing a list of my 100 favourite films, but taking into account the number of films I see on average, my opinions would probably change considerably by the time the 100 is completed. Thus, I have decided that 50 is easier to accomplish, would be more accurate, and would maintain an interest level far greater than if I was doing 100.

This list will represent the 50 films that I have enjoyed most, for one reason or the other, since I started rating movies about five years ago. To come up with this definitive list, I had to rummage around my list of rated films, picking out the ones that stood out the most. Using this process, I initially chose over 130 films, and narrowed it down to 100, and later 50.

Ranking films is never easy. On any given day, I could like any one of these films higher than another on the list. However, I am pretty confident in the accuracy of this list, as I had it tweaked a few times over the course of a few months, making sure that each entry was accurately positioned. Each film that is ranked higher than another is justifiably so.

For those who know me, or have read through this blog, #1 will be anti-climactic, but the progression upwards may include a few surprises. I have decided also, that I will update this list twice a year, with the intention of expanding it to 100 in the future.

I will present the list in reverse order, starting at number 50, and proceed to list each subsequent film, one daily. Each entry will feature a mini-review, similar to the ones seen throughout this blog. They will be presented as blog entries, as well as added to the official list on the side. Also note that I will still be adding other entries to the blog, including reviews, so don't confuse them with entries into this list. The 50 films will be clearly marked so.

So, for those who have expressed interest in seeing a ranked list of my all-time favourite films, and passers-by looking for a possible title of interest, enjoy! I hope the unfolding of this list is as fun for you as it is for me.

© 2007 Kim Bartlett

Grave of the Fireflies - 1988, directed by Isao Takahata

2007-05-21T19:58:00.000-04:00

As one of the most heartfelt, heartbreaking films I have ever seen, Grave of the Fireflies is sure to be a film I will never forget. Set in post WWII Japan, it tells the story of a young man's fight for his survival and that of his young sister. Brutally honest in it's approach and execution, it pulls no punches in portraying this tragic story of love and hopelessness.

The story opens as we see the mother of Seita and Setsuko on her way to a shelter. She tells Seita to look after his younger sister. Shortly thereafter, a bomb raid follows and the whole town is wiped out. Seita finds his mother burnt beyond recognition and on her last few breaths. After she dies, he and Setsuko go to live with their aunt, who is also feeling the strain of war and lack of food, and seems to be harsh on the siblings. Not wanting to be a burden, he takes Setsuko and makes a place for them to stay in an old bomb shelter. It is from this point that we really see the relationship between Seita and Setsuko develop, and this sets the tone for the heart of the story.

What makes this story stand out is it's no holds barred, punch in the gut approach. Everything feels authentic and poignant. It also helps too that the mournful score sets the tone beautifully, and has a lingering effect that almost forces you to feel everything long after you've seen it. The visuals are also a wonder to look at, not so much for any groundbreaking animation, but for it's convincing view of war-torn Japan.

In the first few minutes of the movie, it is made clear that both our protagonists will die. But as we watch their story unfold, the dread for the inevitable becomes increasingly unbearable. The relationship between Seita and Setsuko is so sincere and loving, that you almost wish that more could have been done to save them.

This movie is a triumph in every sense of the word. It is as heartbreaking as it is beautiful, and brutal as it is tender. This incomparable story, brought to full effect by one of the greatest studios to grace the world of cinema, is unforgettable. Complemented by a beautiful, melancholy score, and featuring one of the most heartfelt relationships ever put to film, I have no doubt that this is one of the most powerful motion pictures I have ever seen: a true testament to love's enduring power.

♥♦♠♣ 10/10

© 2007 Kim Bartlett

The Invisible - 2007, directed by David S. Goyer

2007-05-20T14:50:00.000-04:00

When I first saw the trailer for this film sometime late last year, I was hooked. The premise seemed fun, fresh and oozing with potential, and the release date of April 27th seemed ages away. After seeing the film last night in the theatre, I don't know whether to be pleased or disappointed. While The Invisible has a lot going for it, it takes a few huge missteps that dampen my overall enthusiasm.

The Invisible opens with a dream sequence that shows our protagonist Nick Powell (Justin Chatwell) at a going away party held in his honour by his mother (Marcia Gay Harden). He awakens, and we see that his relationship with his mother is nonexistent. They don't communicate, and they both seem to be having a hard time coping with the loss of his father. After helping a friend at school get rid of a group of bullies led by tomboy Annie Newton (brilliantly portrayed by Margarita Levieva), Nick is inadvertently thrown into a huge mix up that ultimately leads to him being beaten near to death and left for dead. It is in this state that he finds himself, existing ghost-like outside his body, in a race against time to help authorities find his body before he dies.

This movie does a few things right. For starters, the build up before the demise is perfectly set up and admirably paced. Also, the performances all around are solid, including a standout performance by Margarita Levieva as Annie. It is these two qualities that carry the film throughout. My main qualms have to do with it's incomplete and inconsistent resolution, and some cheesy plot contrivance that still leaves important questions unanswered. Goyer does a credible job in holding everything together for most of the duration, but doesn't close things off as effectively as I would have liked.

With this pretty even mix of pros and cons, I can not say that I didn't enjoy the film. Points are given for development, pacing and acting, and taken off for contrivance and a hideous resolution. My rating for this will probably fluctuate for awhile before I settle on my opinions, but overall I'd say it was worth watching. It's entertainment value is enough to give it a slight push over the average mark.

♥♦½ 6/10

© 2007 Kim Bartlett

Leaving Las Vegas - 1995, directed by Mike Figgis

2007-04-17T16:49:00.000-04:00

A touching, magical film, that tells it's story over a soundtrack so intimately beautiful that it burns. As we watch everything unfold, there is a despairing sense of transience, only slightly dispelled by the depth of our protagonists' need for each other. Figgis' direction is top-notch, as his use of the camera and score lure us into this story of two people in desperate need of love. It is a credit to him that once the final credits have rolled, we won't soon forget what we saw.

Ben Sanderson is a man in a state of hopelessness. He is a reckless alcoholic with no sense of value on his life. After he loses his job, he sets out to Las Vegas where he plans to drink himself to death with his severance pay. Sera is a prostitute who has seen and done it all. After a chance meeting with Ben on the streets of Las Vegas where he brings her to his motel not for sex, but for conversation, she begins to crave his company. Soon, they begin to see each other regularly and accept each other for who they are: Ben as a drunk and Sera as a prostitute.

The relationship between Ben and Sera, though by all means unconventional, is every bit touching. The film doesn't condone what either of them does, but rather shows the ill-effects of their lifestyles and how it affects their relationship. Sera's line of work has put her in a position where she is seeking companionship - someone who actually cares about her. Ben's alcoholism inhibits any attempt at a real relationship, as his alcohol dependency leaves his behaviour quite unpredictable. As we watch this shaky union unfold, we know that it must eventually come to an end, but like Ben and Sera, we enjoy it while it lasts.

The performances by Nicolas Cage and Elisabeth Shue are nothing short of superb. They both capture the heart and soul of their characters and deliver equally substantial turns. Few performances in '95 have been able to grasp what these two do here. The soundtrack is also a work of art, as it preserves each tender moment ensuring that we understand the desperation underneath it all.

I have generally regarded 1995 as the crowning point of filmmaking in the 90s, and possibly my favourite year for films of all-time, and Leaving Las Vegas does nothing to quell that notion. In fact, it represents one of the finest examples of the year's best and is deserving of every bit of critical appreciation. Once you've been drawn in, you will not soon want to leave.

♥♦♠♣ 9/10

© 2007 Kim Bartlett

"Unchained Melody"

2007-04-10T15:02:00.000-04:00

You Got Owned!

2007-03-29T14:31:00.000-04:00

http://you.justgotowned.com/

Whisper of the Heart - 1995, written by Hayao Miyazaki

2007-03-19T23:44:00.000-04:00

Funny Face - 1957, directed by Stanley Donen

2007-03-14T23:51:00.000-04:00

Hepburn is delightful as the Plain Jane bookstore clerk turned model, in this heartwarming film, directed by the man who brought the likes of Singin' in the Rain and Seven Brides for Seven Brothers to the screen. Having directed these two favourites of mine, I was quite pleased to find a Donen musical that I hadn't previously heard about - on DVD no less. Starring the sweet and charming Audrey Hepburn and the enchanting Fred Astaire, Funny Face is a real treat.

Funny Face is the story of the chance meeting of bookstore clerk Jo and fashion photographer Dick Avery, set amidst a world of fashion, philosophy and love. After their brief encounter in the bookstore where she works, Jo finds herself unexpectedly caught up in the plans of Avery and fashion designer Maggie Prescott, to bring a new look to the fashion world. They find her "funny face" to be a perfect feature for their next project. Through a trip to Paris, and a lot of plot contrivance, the philosophically-minded Jo discovers the love that had been absent from her life.

What makes this film work for me is the lovely score, choreography and acting. Hepburn and Astaire are both splendid, and while not exuding quite enough chemistry between them, they make up for it through song and dance. There are quite a few memorable numbers and sequences to be found, including Hepburn's "Basal Metabolism" dance in a cool-cat bistro. The songs are unforgettable and there is a sweet undertone in the film's mood that offsets the obvious plot obstacles set only to complicate their affair.

Although not as strong as his generally regarded classics, Donen's Funny Face is a more than worthy diversion. Those, like me, who can enjoy a sweet story set to memorable music, and complemented with some marvelous dance sequences, will find this one charming. Classic musicals like these prove that when all the right elements are in place, simple stories can be just as rewarding as the most thoroughly developed.

♥♦♠½ 8/10

© 2007 Kim Bartlett

Anna Karenina - 1997, directed by Bernard Rose

2007-03-13T14:34:00.000-04:00

This adaptation of my favourite novel of all-time is the best I've seen yet. That, of course, says nothing, as up to this point I haven't seen one that I would even consider worth watching. Rose's version is a breath of fresh air for those like me, wanting to see Tolstoy's grandest tale brought to life on screen. As flawed as it is under-developed, what makes this version standout is a delightful performance, a title character who is actually beautiful as the story requires, and the inclusion of most of the original story. Previous versions have been left so incomplete that even this dummed down version is comparably full.

Marceau's Anna is beguiling. A fault of some of the earlier adaptations was that their version of Anna was hardly beautiful, an absolute necessity if any of the story is going to be intriguing. In fact, Marceau is so beautiful here that I accepted Vronsky's unwarranted attachment to her as passable. A lot of the sexual tension between these two has been left out however, which underplays the gripping element of their affair.

The story lacks the grand, sweeping cinematography that has been so magnificently penned by Tolstoy. What makes the novel so alluring is the attention-to-detail descriptions of the immediate surroundings: Levin's fields, the ballroom scene, the horse race, have all been vividly sketched by Tolstoy. Everything feels so epic in the novel, but in all the versions I've seen, including this one, it is sadly forgettable. I've yet to see an adaptation that does the novel's beauty justice.

However, this film features a delightful performance by Alfred Molina as Levin. Decent performances are also delivered by Sophie Marceau, Sean Bean, Danny Huston and Mia Kirshner. Everyone else, altho adequate, are hardly memorable. The British accents are also off-putting, as the film is set in 19th century Russia. It was nice to see Levin's story given so much attention, as it has been notably absent or barely mentioned in other sources. This version gives almost equal attention to both Levin and Anna's story, as is in the novel.

Fans of the novel should at least have hope now that a watchable version of the story has been made. One can only hope that in the next few years, another, even better version of the story will be made. And God willing, when I make this movie, there will be no further need to adapt it, as mine will be the quintessential motion picture adaptation. Until then, this one is definitely worth a look.

♥♦♠ 7/10

© 2007 Kim Bartlett

My 10 Favourite Screen Performances of All-Time

2007-03-13T06:21:00.000-04:00

In my 5 or so years of reviewing films, I have seen some of the most diverse and original characters brought to life on screen by some of the most talented actors. In light of this, I have decided to excavate from my handful of favourites, the 10 most affecting, striking, profound, convincing, substantial and inspiring performances I have ever witnessed. Take these to the bank:

My Inspiration

10. Emily Watson as Bess McNeill in Breaking the Waves

This is without a doubt, the most powerful debut performance in the history of cinema; and what makes Emily legendary, and my favourite actress of all-time, is that this isn't even her best. With every bit of understanding of her character, Emily Watson owns this movie from start to finish. Her performance is captivating and heartbreaking. The fact that I really don't like this movie does not affect Watson's inclusion in this list. She more than makes it worth watching.

09. Mary Badham as Scout in To Kill a Mockingbird

This is probably the most natural performance I have ever seen. Combine that with her being a 10 year old with no previous acting experience, and I'd say that's some feat to accomplish. I'll admit that this isn't the most technically impressive performance I could come up with, nevertheless it impressed me just as much as most that are included on this list. The single most impressive child performance I've seen, and I've seen all the acclaimed. I don't know if that's testament to the director or to the actress, but I do know that this performance deserves all the praise it has received over the years. It's a shame she hasn't starred in more movies.

08. Marlon Brando as Terry Malloy in On the Waterfront

This is one of the most beautiful performances I've ever seen. Just thinking about the "glove scene" gives me chills down my spine. The way Brando captures simple nuances in his character, that he doesn't draw attention to, but leaves for the audience to perceive is blissful. I challenge you to watch this performance 5 times, and not find something you hadn't noticed before each time. This is effortless multi-layering. Brando redefined acting, and his take on Malloy is the greatest example of how he did it.

07. Emily Watson as Jacqueline du Pré in Hilary and Jackie

I know you're thinking: "How does Emily Watson get two spots in your top 10?" Well, it is mostly due to the fact that I feel these two performances by one actor are unmatched. Give me two performances by any actor that are collectively greater than these two. I doubt you will persuade me otherwise. Watson does so much here, that her loss to Gwyneth Paltrow in '99 is the single biggest disgrace in Oscar history. This is a complete, authentically-portrayed performance, and what I consider to be the greatest female performance of the 90s. Her work in Breaking the Waves may be more recognised, but it's what she does here that I feel is her crowning achievement.

06. Robert De Niro as Jake La Motta in Raging Bull

De Niro does everything right here. But what impresses me most is how realistically La Motta's jealousy and insecurity is portrayed. I am also equally impressed with the way De Niro balances La Motta's different personality changes throughout the film. The combination of boxing, Scorsese and De Niro makes this film a favourite of mine, and De Niro's forceful portrayal of a confused and unstable La Motta is awe-inspiring. Easily a top 10 favourite.

05. Tom Hulce as Wolfgang Amadeus Mozart in Amadeus

Hulce IS Mozart. Regardless of the claims of the historical inaccuracies of the film, everything one would expect Mozart to be, Hulce IS - in his own original way. The character that Hulce has created is so memorable that in any other year he should have been a shoo-in for every best actor award receivable (of course, another entry in this list will explain why I wouldn't have given it to him). From his playful demeanor, to his high-pitched cackle, this is one of the most memorable characters in film history, and Hulce nails it admirably. A showcase of creativity.

04. Sean Penn as Matthew Poncelet in Dead Man Walking

I remember getting in trouble in school, and waiting for my punishment as worry ate my insides out. Penn's Poncelet awaiting his punishment for murder captures the core of that feeling, and magnifies it. I can not imagine what it would feel like to be awaiting my fate, knowing that it will be death, as the hours and days and weeks drag on. The scenes that feature Poncelet pouring out his heart to Sister Helen, and the ones that are between him and his family are devastating. Penn's ability to portray so much emotion, while never going over the top, is one of the finest accomplishments in the history of motion pictures. Penn is one of the most talented actors to grace the screen, and the best at crying. I don't know how anyone could see this performance and not be affected.

03. Humphrey Bogart as Rick Blaine in Casablanca

As the lead character in my favourite film of all-time, Bogart's performance still has me in awe. In a decade where screen acting was not much different than stage acting - with very little subtlety, Bogart delivers one of the most subtle and nuanced performances ever filmed. The cynicism in his speech, the hidden hurt beneath layers of pessimism are just two example of what Bogie offers here. Featured in one of the most powerful love stories ever filmed, adding it to my list was a no-brainer. Exquisite.

02. F. Murray Abraham as Antonio Salieri in Amadeus

So, not only do I have 2 performances by one actor, but 2 performances in the same film! This is without a doubt the greatest work by a male actor I have ever seen (and the reason I wouldn't have awarded Hulce). Abraham manages to out-act Hulce in arguably the greatest showcase of lead acting in history. He is flawless. Salieri's desperation, admiration, jealousy, hatred, confusion, regret and ultimately his madness, are all impeccably portrayed by Abraham. He is every bit deserving of the best actor statue he took home in '85.

But no other screen performance has impressed me more than...

01. Meryl Streep as Sophie Zawistowski in Sophie's Choice

I don't think any performance ever committed to celluloid, whether past or future, will be able to match what Streep does here. This is THE performance that defines all the clichés usually attached to great performances: multi-layered, pitch-perfect, complete, flawless, and anything else of the sort that I haven't thought of. I still don't know how she did it; how she managed to create a character on-screen with such depth and reality. Streep gives her all into this role. Words can never describe all that she does here, it's a phenomenon that has to be seen to be fully appreciated. Every essence of Sophie's character is so fully developed that when watching this performance, you become lost in Sophie. This performance is in a league of it's own, even separated from the other favourites on this list. I dare you to find Meryl Streep anywhere in this film, she is nowhere to be found.

The Near List-worthies

Ellen Burstyn (Requiem for a Dream), Henry Ian Cusick (The Visual Bible: Gospel of John), Vivien Leigh (A Streetcar Named Desire), James Stewart (It's a Wonderful Life), and Orson Welles (Citizen Kane).

"As Time Goes By"

2007-03-08T07:06:00.000-04:00

"Elephant Love Medley"

2007-03-08T07:05:00.000-04:00

"Boogie Wonderland"

2007-03-08T07:01:00.000-04:00

Why Casablanca is my favourite film of all-time

2007-03-05T16:19:00.000-04:00

SPOILER ALERT!
This review may contain spoilers. I have tried my best to leave the less obvious out of this entry, but for those wanting a "fresh" viewing experience, save any further reading until after you have seen the film.

For many film lovers, this film represents classic cinema; a representation of an era when film was pure, innocent and full of romance. There are many who like it, but don't give it a second thought, whilst there are others who think of it as an overrated piece of film history. Then there are those who view this film as the quintessential representation of what movie magic truly is. I belong to that group. As long as I live, I doubt I will ever see a film that means more to me than this one does. Read on as I attempt to explain why.

Casablanca is a story of love, loss, regret and sacrifice. Rick and Ilsa were two souls searching for love when they first met in Paris. Over time, they developed a love so free, so fun, so full of life, that they became inseparable. Because of extenuating circumstances, Ilsa left Rick on the day they were supposed to leave the country together, leaving him with a letter, an extra train ticket and a broken heart.

All the while, the story is set in the midst of the second world war, in the city of Casablanca, where the desperation to leave grew by each agonizing day. Only the rich or influential were granted exit visas to leave the country, heightening the level of despair of those not wishing to be a part of another territory of the third reich. As the story opens, we see Rick, now the owner of a flourishing night club in Casablanca, in a very advantageous position. He has enough money, power, influence and respect to be granted the ability to leave at any time. So the first question posed is, why is he still there?

By a sheer twist of fate, Ilsa and her husband Victor enter Rick's Cafe, some eighteen months (I think) since she and Rick last saw each other in Paris. After a brief reunion in the cafe, she visits Rick alone to explain her reasons for leaving him that day, but a drunken Rick insults her and adds further insult to injury.

Rick and Ilsa's initial relationship represents that "first love" that we all have experienced. Full of carefree romance, but deprived of detail, they developed a very precarious liaison (although not obviously apparent to either of them at the time). The film's mood most impressively captures both losses of innocence: Rick's loss of the innocent trust in love that he held, and the loss of the city's innocence as the Germans' oppressive hand ominously drew nearer.

I think the reason Rick chose to stay in Casablanca is because he didn't want to feel happiness again. The city's dreary semblance coincided with his feeling of dreariness on the inside, and he felt that if he blocked out every possibility of happiness, that he would not have to ever know the hurt he felt without Ilsa ever again. How many times have we put up barriers in our heart to prevent a second or third heartbreak? Rick's cynical nature, that was so perfectly portrayed by Humphrey Bogart, was only developed after he left Paris. The Rick that everyone knew was only a façade. Only Ilsa knew the real Rick - the tender, vulnerable, romantic Rick.

Casablanca also presents a fight for freedom. Rick's inner struggle to let go of the love that was, was only a secondary fight. Rick's political convictions had him joining in the fight against the progression of the third reich - a fight he had only given up since leaving Paris. Because of his lost love, his now barricaded heart had lost it's will to fight. This representation of love's handicapping power is beautifully assayed.

As Rick slowly begins his recovery, due to the presence of Ilsa in Casablanca, his true character is revealed in a number of ways - like when he helps the young man win at roulette so that his wife wouldn't be forced to make a compromising decision that could be detrimental to their happiness. This was a display of genuine compassion. He knew how much damage a broken heart could do to a person, from a first-hand experience, so he did what he could to preserve this young couple's innocence.

The film's strongest themes are presented when Rick is given the opportunity to keep Ilsa or let her go. By making the ultimate sacrifice, Rick showcases two very real aspects of human nature. The first is that when presented with a decision to choose between two things you hold dear, the thing closest to your heart almost always prevails. In this case, Rick's commitment to the fight for freedom was stronger than his love for Ilsa; and he let her go for the sole purpose of keeping her husband in the game.

The second (and least obvious) deduction, and the one that is most debatable, is that sometimes the memories we hold onto are greater than the object of those memories. Allow me to explain. Maybe when Rick finally saw Ilsa again, and everything he had ever dreamed of was given back to him, he realised that she wasn't really worth all the pain he put himself through. The abrupt departure in Paris left a big chapter in his life incomplete, and maybe all he really needed was some closure. Maybe all he needed was to see her again to be able to let go of the overbearing memory of their ill-fated affair. Whether this is true or not is up to the viewer to decide, but for me, this explanation fits in perfectly with both Rick's character, and the ending of the movie.

No film that I have ever seen has touched me on a more personal level. Casablanca is more than just a movie for me; it is a projection of all the themes I ponder on most in life; it is a showcase of the essence of life that affects every member of the human race; and it is profound without being complicated. If I had to choose one film to watch for the rest of my life, I'd take this without question. If you ask me for the reason why I love film, I'd say Casablanca.

© 2007 Kim Bartlett

Tideland - 2006, directed by Terry Gilliam

2007-03-03T20:09:00.000-04:00

Imagine the themes presented by Pan's Labyrinth told through the lens of the man who brought Fear and Loathing in Las Vegas to the screen, and this is what you get. In all his quirky glory, Terry Gilliam tells this tragic, yet upbeat tale of a young girl's manner of coping with the misfortunes that surround her. What Gilliam is able to capture here, is pure genius. It amazes me how a film this idiosyncratic, can come together so beautifully, without ever feeling like it's as wierd as it actually is.

After the death of her mother, Jeliza-Rose and her loving, but drug-abusing father, relocate to his childhood home. Because of his drug addiction, he spends most of the time on a "vacation" (or drug-induced mind trip), and Jeliza-Rose is left alone to play with her doll heads who all have distinct personalities.

After encountering her eccentric and mysterious neighbours, the story takes another turn, but disclosing much more information would be treading on spoiler territory. While the themes of the story are dark, and the occurences in the story are bizarre to say the least, Gilliam manages to completely tell the story from the little girl's perspective, which affects the way we perceive everything.

The performances offered here feature some of the best of the year, especially those of Jodelle Ferland as Jeliza-Rose, and Brendan Fletcher as Dickens. Both these performances are incredible, and had I seen this film before making my official Top 10s of the year, either or both of these performances would be featured, and this film would probably finish at around #6 or 7 (yes, for me it did more than Pan's).

Go and see this movie now, but be forewarned, this isn't for everyone. Many will be shocked by what they see, and there are some pretty gross moments, but those who allow this to deter them would be doing themselves a great disservice. Gilliam definately gets it right here, as the trip to Tideland will leave you hypnotized.

♥♦♠♣ 9/10

© 2007 Kim Bartlett

My 10 Favourite Performances of 2006

2007-03-01T15:43:00.000-04:00

While I can be quoted as saying that 2006 brought me some of my favourite films of the past decade, the collective performances left me less than impressed. However, there were still quite a few performances that left me stunned, silenced, laughing, crying, afraid or just flat-out entertained. To the chase I cut, here are the 10 that wooed me most this past year.

The Acting Class of '06

10. Sergi López as Capitán Vidal in Pan’s Labyrinth

In a film that relied heavily on it's fantasy elements and the performance of it's lead actress, Sergi outdid himself. A master of brutality, Sergi's Vidal was a beast as he employed severe, pitiless methods to sustain order in the midst of war. It is this fierceness that helps us to understand the severity of Ofelia's situation. Vidal not only battled a physical war, but a personal one as well, and López convinced me thoroughly by playing it perfectly. Vidal's battle for survival, victory and honour brought out the animal within, and Sergi López brought it to the screen.

09. Will Smith as Chris Gardner in The Pursuit of Happyness

Many would say that Smith's task was relatively easy because he was playing the part with his son, which may or may not be true. What is true however, is that Smith's performance is one of only two to elicit a tear from me in '06. Smith's portrayal of Chris Gardner is one of the most human and moving performances of the year. There isn't a hint of artifice in what he does, and this is crucial to the way we perceive, identify with and care about Chris. Smith takes the film on his shoulders, brings us with him on his journey, and stays in our minds long after the credits have rolled.

08. Jack Nicholson as Frank Costello in The Departed

Simply put, Jack's best performance since '97, and one that so wonderfully mixed equal parts charm and menace, that I couldn't imagine anyone else doing it. In recent years, where Jack smiles for the camera and picks up a paycheck, it was a joy to see my all-time favourite actor earn his pay this time around. One of 3 performances in this film that really impressed me, which brings me to...

07. Matt Damon as Colin Sullivan in The Departed

This seems to be the forgotten performance in the film, but definitely one of my favourites. This is Damon in his element: a bit of a hard-edged loverboy, whose main concern is pleasing himself. There's just something about this performance that I can't quite put my finger on, that absolutely grabs me. Not the most technically impressive performance, but certainly a pleasure to watch. My list wouldn't have been complete without him.

06. Abigail Breslin as Olive in Little Miss Sunshine

In the midst of such a great ensemble, this starlet outshines them all. Breslin won her way into my heart in this role, and without her performance I probably wouldn't have even remembered this movie. The relationship she shares with Arkin, as her grandfather, is pure chemistry. The two feed off each other in such an endearing way, that it's sure to touch even the coldest of hearts. The best of the film, and one of the best of the year. Pretty good for a 10-year old kid.

05. Eddie Murphy as James "Thunder" Early in Dreamgirls

I had been skeptical upon hearing all the buzz for Murphy's performance in this movie. I thought it may have just been an overblown James Brown impersonation. Was I ever wrong. Murphy's Jimmy is portrayed with so much depth and personality, that it is a travesty that he didn't win the Oscar for this role. The charisma, depth, appeal, and gradual degradation of Jimmy is perfectly showcased by Murphy, who gives one of the most memorable performances of the year. And as if this wasn't all enough, Murphy surprises with some of the best vocals this side of Jennifer Hudson. A thorough, complete and perfect performance. One of the biggest snubs of the decade.

04. Rinko Kikuchi as Chieko in Babel

The top half of this list is really something, because I'm sitting here wondering how in the world is Rinko #4? She could have just as easily been 1 or 2. That alone is testament to the strength of the performances in the upper half. Enough of that. Kikuchi's performance here is mesmerizing. The emotional depth of her performance is amazing for a few reasons, one being the fact that the only mode of communication she has in the entire film is sign language. The other is the fact that before this she lived in relative obscurity, so this is technically her first major exposure as an actress. Rinko brings all the right elements to the table and delivers a performance that is in one word, heartbreaking. Once you see it, you will not soon forget it.

03. Helen Mirren as HM Queen Elizabeth II in The Queen

Mirren carries this film in a performance that is so technically sound, it blows me away every time I see a clip or scene from it. The strength and confidence in which she portrays the queen is outstanding. From the emotionless stare into the camera to the hints of restrained emotion that helps us to remember that this legendary figure is actually human, Mirren captures the queen's very essence and breathes life into it on screen. This is the pitch-perfect performance of the year, and one of the most deserving wins of the decade.

02. Leonardo DiCaprio as Billy Costigan in The Departed

I don't remember the "good guy" in a movie being this unpredictably violent. This is the best performance in a film that featured 3 of my favourite performances of the year. Billy is committed to justice, capriciously brutal, in need of a female's touch, and ultimately unsure of what he really wants out of life. One of the most entertaining performances of the past few years. I had battled for a while before settling on who would take the no.1 spot on this list, and believe me, this one gave the other a good run.

But no other performance in '06 impressed me more than...

01. Hugh Jackman as Dr. Tom Creo in The Fountain

The range of emotion that Jackman is able to show is remarkable. This performance is so impressive that from the moment I saw it, I knew it would be my favourite of the year. A man battling with his own mortality after the death of a loved one, a man living in mournful regret, a man determined in his quest to find the tree of life, a man in love... these are just some of the many faces Jackman carries throughout the film, and he brings them altogether seamlessly. One scene in particular, that shows a closeup of Tom's face as he is crying is so devastatingly beautiful, that I joined in with him. The brevity of life, and the importance of showing love has never hit home this hard. Jackman breathes life into this man, and sits atop the heap of the 2006 acting class.

Oleanna - 1994, directed by David Mamet

2007-03-01T08:58:00.000-04:00

This film brought about a mixture of feelings from me, mostly rage. Carol, the female lead, is so manipulative, cunning and annoying, that I don't think I've ever hated a film's character more. Let's just say, the film's final moments brought a feeling of temporary relief for me.

Oleanna follows the story of how truth, when taken out of context and overblown, can be detrimental. A female university student, worried about her grades, comes in to see her professor, and after failed attempts at establishing effective communication, Carol prepares to leave. This is when the professor proposes that he give her an A in exchange for her company over a few days. She appears to be confused; he makes no obvious sexual advances to her, and she leaves on a seemingly good note.

In the second act, Carol is now the bearer of a sexual harassment charge filed against her teacher. As he attempts to talk his way out of it, and try to reach an agreement, it quickly becomes obvious that she isn't going to budge. She even occasionally refers to notes that she made of things he said to her, or to other female students, and is now apparently backed by a committee. Things quickly escalate.

The two leads (the only speaking roles in the entire film), are played by William H. Macy and Debra Eisenstadt. While Macy is particularly good and tries to do his best with the script, his co-star is equal parts annoying, monotonous and weak. Listening to her utter Mamet's lines is painful to say the least. She speaks in monotone, at the top of her voice most of the time, and I can recall having to turn down the volume and cover my ears one or two times to try to get through it. Those familiar with Mamet's writing style, know how poetic his verses can sound - when delivered by a talented actor (case in point, Baldwin in Glengarry Glen Ross). The dialogue in the first act was so poorly delivered by both actors, especially Eisenstadt, that I don't think I've ever heard anything more stilted. No one could get a complete sentence out because they both interrupted each other the whole time. Trying to move on from there to finish the movie was indeed tedious.

I don't think it's fair to criticize Mamet's writing however, what is written is brilliant, thought-provoking stuff. It's moreso the acting, and his direction for not correcting this, that ultimately damages what could have been a real winner. For a film that takes place on one set most of the time, and features only two speaking roles, this one kept my attention. However, there are far too many missteps to recommend this to anyone. I'll say this much, if you are looking for a film that will challenge your mind (and patience, while I'm at it), and present you with a situation where you must decide who's right and who's wrong, this is definitely worth a look. But like the film's tag says, Whatever side you take, you're wrong.

♥♦½ 6/10

My 10 Favourite Films of 2006

2007-02-27T07:06:00.000-04:00

For me, 2006 was one of the more memorable years in film, and surely as far as entertainment is concerned, one of my favourites of the past decade. There was a lot to get excited about, and after painstakingly rummaging through my list of the year's best, without further ado, here are the 10 that left the best impression on me:

The Cream

10. Lucky Number Slevin

The moment I saw this film, I knew it would have a place in my year end Top 10. I remember thinking to myself immediately after seeing it, "what a unique way to tell a story!" This film is storytelling at it's finest, where you become one of the characters, and get to see everything unfold without a clue as to what lies beneath the surface until our protagonists want you to. Highly entertaining, and highly recommended.

09. Babel

In a story that unfolds as a cross between Crash and Syriana, Babel offers a look into the effects of global miscommunication through a series of interconnected events. What sets this story apart however, is it's superb ensemble that features a mixture of seasoned vets and underexposed talent. The performance of the film belongs to Japanese actress Rinko Kikuchi as the deaf and mute daughter of a Japanese businessman. What Rinko accomplishes here without the use of words is incredible, and she gives one of the most beautiful performances of the year. Babel also features one of the year's most memorable scores, one that even further engraves this tragic story in your mind and leaves it there. A perfect ending to the Iñárritu trilogy. A must see.

08. The Prestige

It is almost impossible to mention The Prestige without mentioning the "other" magician movie The Illusionist. And while there are many who subscribe to the belief that the latter is the superior film, I am not one of them. In fact, I think it's laughable to compare the two, the former being the better and more engaging film on almost every level. This film is a wonder to watch, and the storyline is on all points enthralling. Led by a memorable performance by Christian Bale, and a superb script that was adapted and directed by Christopher Nolan, this movie keeps you guessing all the way through to it's stunning, fantastic conclusion. This is as good as it gets in fantasy drama.

07. Pan's Labyrinth

A victim of it's own hype, this movie failed to impress me when I saw it about a month ago. However, after the hype had died down a bit, and I've had time to reflect, I can truly say that this is one of the most memorable films of the year, and one of the few that is destined to be a classic in the future. This film features the best score of the year, the most amazing set design and cinematography, and two remarkable performances by Sergi López and young Ivana Baquero. My only problems lie in the script, and a somewhat overbearing, annoying performance by Maribel Verdú. However, this isn't near enough to dampen my enthusiasm about this beautifully haunting film. As far as foreign-language films are concerned, this one is the year's best.

06. The Queen

I saw this film before I saw many of the other buzzed films of the year, and my opinion of it hasn't changed much since then. I believe this film to be a near-flawless character study of one of the most well-known people in the world, amidst a most universal tragedy. Helen Mirren's performance is flawless, and it isn't long before you are no longer watching Mirren's portrayal, but the very essence of her character. The score is also excellent, and Michael Sheen manages to provide an equal force in his take on Tony Blair. The brilliant direction of this flawless script is proven if only for the fact that it made me care about someone I wouldn't have given a second thought, and left me genuinely touched.

05. Casino Royale

Best. Bond. Ever. And yes, I've seen 'em all. This movie is so addictively entertaining that I've dubbed it my most rewatchable film of the year. Daniel Craig and Eva Green provide a spark that is so chemically balanced that you end up caring for this "Bond girl" far more than you would any other. If you've ever had the desire to see a film that will stimulate your emotions, while not delving into the realm of sap and overbearance, see this one. And just when you think you've got it all figured out, there's at least one more surprise waiting around the corner. If this is the direction the Bond series is heading in, then I declare: Long Live Bond!

04. Happy Feet

Movie magic at it's absolute finest. The music alone makes this a worthy viewing, but the music combined with a wonderful story, excellent voicework and some of the most amazing animation I've ever seen, makes this easily one of the year's best offerings. The boogie wonderland scene is one of my favourite scenes of the year, one that contains so much magic, that my heart fills every time I watch it. Happy Feet is a joy to watch, and is sure to be a favourite of mine for a long, long time.

03. The Fountain

Where do I start with this one? The mournful score ranks alongside Pan's Labyrinth as the best of the year, the amazing visuals are easily some of the most impressive visual effects and cinematography offered. The lead performance by Hugh Jackman impressed me more than any male lead has all year, and the story is so poignant that it literally lingered in my mind for weeks after seeing it. It's somewhat messy direction does not hinder the ability to enjoy, and the film's deeper, hidden meanings are there for the discovery by only the most shrewd and keen observers. There are many who write this off as "pretentious", as I almost did, but after some thought and conversation, it's beauty was revealed in utmost glory. This film punches you in the gut, and then picks you up softly to admire it's transcending beauty.

02. The Departed

One of only two films this year that I assigned a perfect 10. Everything about this film is perfect, complete with an ending so impeccable and fitting that with any other ending, the tightly constructed preceedings wouldn't have nearly had the overall effect that it does. Scorsese's incomparable direction is ideal for this Infernal Affairs remake, and the casting is also a work of perfection. Leonardo DiCaprio gives a performance so hard-edged and multi-layered, that only Jackman in The Fountain impressed me more all year. Matt Damon and Jack Nicholson provide equally incredible characters in this "good cop, bad cop" film. Additional fine work is provided by Mark Wahlberg, Vera Farmiga, Martin Sheen and Ray Winstone, all of whom are superb. The best ensemble of the year. This is easily Scorsese's most impressive work since Goodfellas, and deserves to stand alongside the legendary director's best work. Now what is this garbage about a sequel, hmm?

and...

01. United 93

I don't remember ever feeling a more gut-wrenching feeling after watching a movie. This is one of only a handful of movies to give me such an overwhelming punch in the gut, but what set this aside is that it brought me back to a day that I will never forget. I know some of the accounts in the film are fictionalized, but it is more than just based on a true story, it is an experience that puts you right in the middle of the fateful day we will remember forever. This film is so authentic in the way everything is portrayed, the obscurity of the actors, the actual in-flight demonstrations and air-traffic communication; I couldn't feel a hint of artifice in anything about this movie. A part of me feels that this is one of the best films I have ever witnessed, partly because of the connection to 9/11, but mostly because of the authenticity of it's execution. This film, with it's excellent pacing, steadily builds the tension from the beginning all the way through to the end, where it almost leaves you numb at it's conclusion. I haven't seen a better film all year.

The Leftovers

Apocalypto, Blood Diamond, Little Miss Sunshine and Monster House

The 1st Annual Kimbo Awards

2007-02-26T08:28:00.000-04:00

AND THE AWARDS GO TO...

Best Motion Picture of the Year: United 93

Best Performance by an Actor in a Leading Role: Hugh Jackman, The Fountain

Best Performance by an Actress in a Leading Role: Helen Mirren, The Queen

Best Performance by an Actor in a Supporting Role: Eddie Murphy, Dreamgirls

Best Performance by an Actress in a Supporting Role: Rinko Kikuchi, Babel

Best Achievement in Directing: Martin Scorsese, The Departed

Best Writing, Screenplay Written Directly for the Screen: Peter Morgan, The Queen

Best Writing, Screenplay Based on Material Previously Produced or Published: William Monahan, The Departed

Best Achievement in Cinematography: Guillermo Navarro, Pan's Labyrinth

Best Achievement in Editing: Clare Douglas, Richard Pearson, Christopher Rouse, United 93

Best Achievement in Art Direction: Eugenio Caballero, Pilar Revuelta, Pan's Labyrinth

Best Achievement in Music Written for Motion Pictures, Original Score: Javier Navarette, Pan's Labyrinth

Best Achievement in Music Written for Motion Pictures, Original Song: Henry Krieger, Siedah Garrett "Love You I Do", Dreamgirls

Best Animated Feature Film of the Year: Happy Feet

Best Foreign Language Film of the Year: Pan's Labyrinth

My 10 Favourite Moments at the 79th Oscars

2007-02-26T04:08:00.000-04:00

Well, the Oscars are done with, another year of predictions and surprises completed. I must say I particularly enjoyed last night's proceedings. The show didn't feel quite as long, and there were some very memorable speeches and moments to boot. Who can forget Will Ferrell, Jack Black and John C. Reilly's hilarious musical performance? Or the look on Peter O'Toole's face when he didn't hear his name called for Best Actor? Ellen was adequate as the host, but as the night drew on, seemed a bit useless and borderline annoying. Still, I'm glad she wasn't over the top, and managed to provide one or two memorable moments ("stumbling" upon Mark Wahlberg after Arkin had just won Best Supporting Actor was a priceless move). Below, I have listed my 10 favourite moments at the ceremony, in reverse order. For those who know me, #1 may not be as climactic. Enjoy!

10. Pilobolus

Exquisitely talented group who managed to keep my anticipation up throughout the ceremony to see what they would do next. I've never seen anything quite like it. The penguins from Happy Feet were my favourite.

09. Ellen and Clint's picture taken by Spielberg

In between award presentations, Ellen took a stroll in the audience and asked Clint Eastwood to have his picture taken with her. As his wife was about to take the picture, Ellen asked Spielberg, who was sitting a few seats down to take the picture. It was such a random moment, made special by two of the greatest film directors of all-time.

08. Ellen "stumbling" upon Mark Wahlberg after Arkin won

After the biggest shocker of the night: Alan Arkin taking top honours in the Best Supporting Actor category, Ellen took one of her strolls through the audience, and as unaware as she could seem said something to the effect of, "Let's see who we can find here... Oh, Mark Wahlberg!" Of course Wahlberg had just lost to Arkin, and this moment had me on the floor laughing.

07. Ferrell, Black and Reilly does Broadway

The funniest moment of the night. The lyrics of the song, the presentation, and most of all, John C. Reilly's wonderful emergence from the audience, made this moment priceless. Who, but these 3, can make Helen Mirren and an Oscar the two things everyone wants to take home?

06. 'Departed' wins for Adapted Screenplay & Film Editing

As both of these wins unfolded, I began to realise that this was one of those years the Academy may actually get it right... both wins were followed by hearty exclamations and fist pumping.

05. Arkin wins Best Supporting Actor over Eddie Murphy

I don't include this moment as one I was happy about. I had been avidly supporting Murphy after seeing Dreamgirls. I felt that Murphy gave the best supporting performance of the year, and that Arkin was the weakest of the nominees. However, seeing Arkin accepting an award he could not have possibly been expecting, and reading his acceptance speech with equal pride and humility, I could not help but be happy for the man. Of course this revelation didn't occur until after the ceremony. Kudos to you Alan Arkin, you did your work and the people responded, I wish you all the best!

04. Ennio Morricone's Honorary Oscar presentation

This was one of the awards that I had been happy about, but not eagerly anticipating. After the culmination of the presentation I was sure it was one of the more touching Oscar moments I had ever seen. After composing the score for the likes of over 400 plus films, including many undisputed classics, this man deserved his due more than any other. The featurette that featured some of his work, as well as his teary-eyed speech and thank yous, were blissful. A beautiful moment.

03. Scorsese finally takes it!

After much anticipation (amidst little uncertainty), Scorsese finally took home his award for Best Director. After directing such classics as Taxi Driver, Raging Bull, and Goodfellas, and being held winless after 5 previous nominations, Scorsese found 6th time the charm and walked away with a well-deserved award. His was the speech I had been anticipating all night, and he gave a genuine and memorable one. The icing on the cake was having the award presented by fellow greats Spielberg, Lucas and Coppola.

02. Jennifer Hudson

I had not jumped on the "J-Hud" bandwagon. After seeing Dreamgirls, I was less than impressed with her work, and felt that she, like fellow supporting winner Arkin, was the weakest of the nominees. However, she was as sure a lock as anything this year, so her undeserved and inevitable win was not one I had been anticipating. However, when she took the stage, sincerely surprised and honoured, my heart melted. I couldn't help but think what a time it must have been for her, after starring in her first movie, winning every award during the awards season, and sitting at the Oscars amidst some of the all-time greats. The expression on her face when she heard her name announced as the winner was unparalleled. Yes, Jennifer, "Look what God can do!"

and...

01. 'The Departed' takes Best Picture after all the uncertainty

In a year that will be known for having one of the most unclear Best Picture races in Oscar history, the Academy honoured the right film. Babel had won the Globe, Letters from Iwo Jima had been receiving a lot of late buzz, Little Miss Sunshine had picked up so much momentum that it was being called the late frontrunner by many, and The Queen was the best-reviewed film of the year. Even though I had predicted The Departed in my Oscar ballot, I had zero certainty that it would win. This was not only a win for the producers, but it further supported and made credible Scorsese's win. Perfect ending to the ceremony.