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Movie Review; Frank (2014)

September 14, 2014 Leave a comment

Frank (2014)
Michael Fassbender, Maggie Gyllenhall, Domhnall Gleeson

A truly left field approach to a poignant analysis of the question; art and creativity, are they madness, or is it madness without? You’ll have a lot of fun watching these fantastic actors seemingly having fun with their craft themselves, until you get to the real heart of the matter, only hinted at throughout the film like a slap in the face, during a slap fight and realize oh yeah, what the fuck? That’s not funny.

You’ll wonder when it gets serious, how you didn’t know you’d have that fat lip, since after all, it is a slap fight and you were being slapped. It was right in front of you the whole time.

I’d recommend seeing this movie if you have ever thought yourself crazy for being an artist, or like myself, the unfulfilled artist, wondered if a life dedicated to art would have been the mad thing I felt it was, or the life I should have had. The film examines this question through the main character and it examines us, who love art, the artists and their craft, all mediums and forms, through those that in the film follow the main character, Frank.

Who are you? Are you the artist? Are you the fan? And where on the scale of mental illness do you fall? I give nothing away by saying these things, and hopefully inspire you to go out of your way to catch this flick before it leaves theatres. An Indie, it’s in limited release. I made my way to the Sunshine down here in post bohemia Soho New York where all of that ilk would reside still if the rents weren’t too damn high- but don’t get me started. It’s a bit surreal leaving the theatre considering it’s subject matter and the surroundings. All this actual madness down here… But I digress…

Catch it. If you like music, movies, acting, art… see it.

Sorry for the links, I’m mobile. Had to get this one out.

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Categories: TV

Movie Review; A Most Wanted Man

September 14, 2014 Leave a comment

A Most Wanted Man  (2014)

Philip Seymour Hoffman, Rachel McAdams, Daniel Brühl

Now I’ll admit, I wanted to see this movie, and every movie that Philip Seymour Hoffman is in, just as when he was alive, but more so because the brilliance of his acting is no longer on the same plain as ours. Though I would not have gone to the movies to see it, instead putting it on my TBD (to be downloaded), or wait for cable mental list- I thought to make the pilgrimage the way I do for James Gandolfini’s first release after his death, Enough Said, and pay the price of admission which for me is the defining point for some films these days. “Is it worth it?” you think to yourself, and you have to if you’re the frugal sort, not privileged to have the money to throw away on indulgences you can work your way around otherwise. I procrastinated I’ll admit too, since it seemed to be in limited release, or sticking to the art houses at first, but then to my surprise I saw it listed at my local theatre, a major chain in the area- so I seized the opportunity and sat down in the predictably nearly empty theatre to take in the brilliance…

I was not disappointed. But as I will do in my reviews- I WILL WARN YOU! This is a German made film apparently, if not English, with the direction of a definite German at the helm, Günther Bachmann. I am not versed as some snobs are, in the German film other than WWII propaganda I might have seen in documentaries here and there, but this definitely has a feel of a German style film, not just because it’s set in a German city. Now understand me- I enjoy German films I have seen- And I enjoy whenever a film takes you to Germany, and I happen to love the sound of the German language- so note my bias if you will. I liked this film. You might not.

As I also tend to appreciate- it adheres to life’s true bleak ire, with little romanticizing or melodrama. The briliance, and yes I will refer to it as such as many times as needed- of PSH’s acting is executed (another apt word) through the undercurrent. Not as in Capote (2005) or The Master (2012), where it is character acting if I am correct- with a bit of invention and flair the creativity runs broad along the canvas, no. Here the brilliance (yes! what!?) in in delving into the portrayal of the common, yet real word-like uncommon man. He plays a doggedly adept investigator in the war against terror, marred by past failure, and undermined by superiors as a result. You can’t get much more commonly uncommon than that.

Well he does it so well that you wonder if the character didn’t have an effect on his personal life, knowing as we all do, the details of his unfortunate passing.

So you are warned. It is a very good film, but you have to know what kind of movie you’re going to see. and now you do, because I just told you.

Recommendation; If you like what you just read- Go see it! If you have your doubts, or you categorize as I do and have less a sentimentality towards PSH, then wait. It’s OK. You’re not a bad person and you’re no less a movie lover I promise.

Oh, and Rachel McAdams looks mother fucking delicious in this movie!

OK?

Done reading? Go see a movie now!

Movie Review; The Drop (2014)

September 13, 2014 Leave a comment

The Drop (2014)

Tom Hardy, Noomi Rapace, James Gandolfini

This “slow burner” as they say, lives up to that description, serving up a dish of cold blooded could-be-true crime drama only the faithful will enjoy watching.

If you think to yourself “yeah, thats me” because you loved Scarface or The Godfathers I, II, and III… or you can recite Goodfellas lines and do impressions of Joe Pesci asking if anyone thinks you’re funny… My friend, you’re not the type to sit through a slow burner with your mouth watering for the meal you’re about to be served. You’re a fast food mafia crime drama aficionado is what you are. No. You need to have loved Millers Crossing, or The Pledge, or the absolute classic slow burner… Blood Simple. Of course there are many more, some more recent, like the well made No Country for Old Men (incidentally, by the same brothers Coen who penned Blood Simple AND Millers Crossing- so they’re good at it), and surely more that fall in line with the theme of this film- but ye who knoweth, knoweth what I speak of.

You aren’t just there for one of James Gandolfini’s last performances, nor are you there for Tom Hardy, but the fact they’re both there makes you suspect this is going to be good. And it is. For you who can appreciate it.

See it.

You’re welcome.