Mediocre, oui monsieur Scorsese? –
Based on “The Invention of Hugo Cabret” a historical fiction book written and illustrated by Brian Selznick. Swooping from the sky through tumbling snowflakes, clouds of steam and crowds of travelers, Scorsese‘s camera whooshes joyfully through a labyrinth of ladders, shafts, cranks and cogs enchant our eyes into pleasure. Hugo’s exuberant opening shot glimmers at the very beginning of an adventure.
Hugo Cabret (Asa Butterfield) is an orphan who lives in the walls of a busy Paris train station where he works as a clock keeper. His father (Jude Law) inherited an automaton, a mechanical man who is supposed to write with a pen. Convinced the automaton contains a message from his father, Hugo goes to desperate lengths to fix it but he is still missing one mysterious part. Alongside came Isabelle (Chloë Grace Moretz) an orphan who lives with George Méliès (Ben Kingsley) an old man with a sour attitude. He runs a small toy booth in the train station.
After treated to a beautifully captivating opening, the film finally gets where it’s going. We see how Méliès took movies to the moon and back in 1902, how silent cinema’s filmmakers were magicians who can still make us smile and gasp, and how precious things are lost between the grinding gears of technology and time. But yet after the story gets deeper somehow you’ll see a gap around the story, and slowly you’ll be disappointed. While it was fine from a technical standpoint, the story was completely confounding.
The director are too focused on the visuals that the story and characters get left behind. The linkages between characters are lifeless and stiff, the dialogue are constrained to look poetic, and the plot is so slow moving that it trips over itself. It’s so superfluous that it loses it’s meaning and impact. Sadly, Scorsese aren’t quite enough to make this adaptation of Selznick’s novel as a wholly satisfying experience. Truly mediocre, what a shame.
Nevertheless, the film won the 84th Academy Awards for Best Cinematography, Best Art Direction, Best Visual Effects, Best Sound Editing, and Best Sound Mixing. In 2012 BAFTA Awards the film won Best Sound and Best Production Design. In the 69th Golden Globe Awards Scorsese won Best Director.
Hell in Stone’s perfection –
The Vietnam War was an unpleasant experience for everyone involved. Having served in Vietnam, Oliver Stone harnessed these experiences to make Platoon, he managed to made an astonishing Vietnam war film. Everything about it is as close to perfection as we are likely to see. And he unbelievably makes our feelings oscillated and takes us deeper into the gist of humanity.
Chris Taylor (Charlie Sheen) is torn between the sergeants. From his point of view, war is a hell without end, he also a naive young man who believes in the American objectives in Vietnam before all his beliefs destroyed. Sgt. Barnes (Tom Berenger) is the battle hardened, brutal murderer, who uses the war as an excuse to tender to his sadistic pleasures. Sgt. Elias (Willem Dafoe) is the other side of the spectrum, a soldier with high moral standards. We get the sense that he has wrestled with his inner demons, but he has successfully come through to the other side. He has compassion for his fellow man, and he uses drugs as a form of escapism from this brutal war.
The film is very honestly written by Stone and it is this honesty that makes the film so great. Platoon isn’t an anti war movie and it certainly does not glorify war in anyway, it is simply how war is in its entirety. And Stone perfectly captures war in details. The sheer horror of war is captured so well in everyway. The fear of death, compatriots dying, divisions in the platoon, guilt of killing. The shooting is frantic and impossible to follow. It’s all there and Stone doesn’t try to disguise it. We follow the war at ground level, and see the brutalities first hand.
A riveting political thriller –
From the Golden Globe nominated director John Framenheimer, the film sets in the demonizing and political overtones in the middle of cold war paranoia that struck all over America.
A former Korean War POW Raymond Shaw (Laurence Harvey) returns with the Congressional Medal of Honour, to his domineering mother Eleanor Shaw Iselin (Angela Lansbury), who he tries to distance himself from. Lt. Raymond Shaw is not a person you would like. The Vietnam veteran and son of the conservative Senator John Iselin (James Gregory) should be in bad memory for his fellow war comrads as a sulky, self-opinionated character. That’s why it seems quite odd that they praise Shaw after they have returned home. His commanding officer Maj. Bennett Marco (Frank Sinatra) has been having nightmares where he is seeing the troops were kidnapped and brainwashed by the enemy, while war hero Shaw killed two of his own men under hypnosis. Soon, Marco finds out that Shaw is converted into a will-less, deadly instrument without knowing of the actions of his alter ego.
I can’t think of another movie that induces paranoiac feeling in the audience as well. It is a grim, daunting film which imparts an irritating coerciveness of its happening on the screen with perfectly arranged and meticulously shots. The architecture of the images seems to be precisely sophisticated in various perspectives which are mutually commenting, contradicting and completing – as if the events on the screen are following a secret dramaturgy.
As in acting, you’d be surprised with the uniformly excellent acting. And Sinatra proves himself a great actor for the lead. The possible doubtful casting of Laurence Harvey as Raymond Shaw pays off, even with his accent but nonetheless he is wonderfully creepy as the controlled assassin. His account of his love affair is very moving. And Lansbury as his mother is amazingly good and very sinister, she has played unsympathetic roles but never like this. She is unforgettable, and scary. a very riveting conspiracy drama and psychological thriller.
The film was nominated the Oscar for Best Film Editing, and it was nominated the BAFTA for Best Film from any Source. And Angela Lansbury Won the 20th Golden Globe Award for Best Supporting Actress. If you’re looking for something to blow you away, something completely unlike anything you’ve seen before. It has aged well, still providing the same amount of suspense and drama that it did then.
Requiem of the mole –
The film is based on John le Carré espionage-novel “Tinker, Tailor, Soldier, Spy”. John le Carré (also known as David Cornwell) writes the novel based on experiences during his time as a member of the British Intelligence service sectors MI5 and MI6 during the 1950s and 1960s. After directing a distinctive vampire-drama “Let The Right One In”, Swedish director Tomas Alfredson sculpted a fine, absorbing picture which engrosses from beginning to end, and it’s absolutely brilliant.
Sets in British post World War II, precisely during the Cold War. Control (John Hurt), the leader of an unknown sector of the British Intelligence service, is ousted along with his long-standing companion George Smiley (Gary Oldman) due to a botched operation in Budapest, Hungary which saw the officer Jim Prideaux (Mark Strong) murdered in public. Control had senses that there was a mole among the top ranking members of the service, referred to as the Circus by the other top ranking members due to its location in Cambridge Circus, London. Fortunately, a British agent, Ricki Tarr (Tom Hardy) discovers that there may be a high ranking Soviet mole within the Circus. And for obvious reason Smiley is drawn out of retirement to pinpoint the culprit after Control passes away, Aided by Peter Guillam (Bendedict Cumberbatch) the young Intelligence officer who is Tarr’s handler. Smiley has four primary candidates to focus his investigation upon, which they are the last remaining members of the Circus, Bill Haydon (Colin Firth), Percy Alleline (Toby Jones), Roy Bland (Ciarán Hinds) and Toby Esterhase (David Dencik).
For your consideration, this is a slow-burn film, full of meaningful looks, crafty dialogue and one that hints at deeper and more complex plot strands but it has an authentic air and it is a fascinating to observe a build-up of tension and Alfredson never rushes any moment, instead he allows for the audience to become accustomed to their surroundings and appreciate the beauty. If you’re expecting fast-paced-full of action and flying cars, then put your expectation aside for the summer. Because I’m sure that this will not suited for many mainstream movie-goer’s tastes, it is one for those who are looking for a film of a different type, time and pace.
Hitting all the right notes in its performances, script, and direction, the film triumphantly infuses a challenging narrative with a deeper humanity, and questioning devotion to duty affects all aspects of our lives.