Written & Directed By: John Michael Mcdonagh Cinematography: Larry Smith Editor: Chris Gill
Cast: Brendan Gleeson, Don Cheadle, Mark Strong, Rory Keenan, Liam Cunningham, Fionnula Flanagan
Sergeant Gerry Boyle is a small-town Irish cop with a confrontational personality, a subversive sense of humor, a dying mother, a fondness for prostitutes, and absolutely no interest whatsoever in the international cocaine-smuggling ring that has brought straight-laced FBI agent Wendell Everett to his door.
This is a film that frankly the audience might be starved for a dialogue-driven character-driven dark comedic buddy cop film. Mismatched partners where one is by the book the other is dirty but with a set of rules all his own. Even as most of the cops he works with are dirty just as he is guilty of it himself.
Don Cheadle is perfect as the midwestern FBI agent brought into this foreign small town. Essentially playing the straight man. A fish out of water. He has a quiet dignity as a gentleman and straight arrow. Who can still kick ass if he has to.
Brendan Gleeson epitomizes the word star in this movie after years as a great character actor in such gems as GANGS OF NEW YORK he occasionally gets the lead role like in the magnificent THE GENERAL (he seems to star in movies with rank and job titles) which is the first film I noticed him in where he was phenomenal. Here he makes his acting look effortless; he fully inhabits the character. Luckily he has someone skilled to play off of.
The film is filled with quirky characters and situations like the villains who frankly are smarter than everyone around them and more dangerous.
The film treats violence like a normal everyday occurrence yet the film is not brutal.
Everyone in the cast is an essential part of the story. Praise should be given to all of them from Actress Finola Flannigan who should definitely be getting more work. She puts so much heart into all of her roles.
The film has a laid-back pace but pulls you in with excitement. As you can’t wait for the next scene or next line of dialogue. As you never know what’s going to happen.
You have philosophical drug smugglers, country-western IRA agents, dirty cops that make out morally questionable heroes look clean. As he only really starts to participate in trying to bust and break up this drug ring because he’s tried and true deputy is killed. Besides that, he pretty much makes no waves and has a standing appointment with his escorts weekly. With his bulldog glare yet puppy dog eyes he’s a Brute but a gentle one.
If you like the film IN BRUGES you will like this. It was fast-paced and action-oriented (which seems more a second thought here) but with a similar mood and style, with good reason. As the writer/director of this film is the brother of writer/director/playwright of IN BRUGES
There are very sympathetic characters in this film yet they find a way into the audience’s heart even if it is for you only a scene or two.
Written & Directed By: John Lee Hancock Based on the book “THE BLIND SIDE: EVOLUTION OF A GAME” By: Michael Lewis Cinematography: Alar Kivilo Editor: Mark Livolsi
Cast: Sandra Bullock, Kathy Bates, Quinton Aaron, Tim McGraw, Kim Dickens, Lily Collins, Ray McKinnon, Irone Singleton, Omar J. Dorsey, Adriane Lenox
The story of Michael Oher, a homeless and traumatized boy who became an All-American football player and first-round NFL draft pick with the help of a caring woman and her family.
I can’t help it. I am a sucker for a lot of tearjerkers. I know the emotional manipulation techniques they use. The emphasis on all the good things that are done.
This one is pretty standard except it also contains the tags to riches story, the orphan story, overcoming The odds, and helping lead the team to victory. In the wrong hands, this could have been just another faith-based movie
The film is based On The true story of football player Michael Oher,
Now I am a Sandra Bullock fan for the most part and here she gives a strong performance in the less glamorized fresh prince of bel Air-like story.
The film is pretty basic and hits all the right familiar notes. Not too much you haven’t seen before. It’s good family entertainment and inspiration.
One of the problems one has with the movie is that there are scenes that have Michael bond with each individual member of the family alone throughout the film, even bonding with his teacher and tutor, but when it comes to the father in the family. He only bonds with him when the whole family is surrounded. Which seems more forced. It’s a nitpick but it bothered me and made me feel like the father went with the flow. But I didn’t necessarily want to adopt him.
The film also could have been a little fairer to Michael’s character by making him more of a character. Allowing him to show more emotions. Here he is played as the familiar screen type for African Americans. The gentle giant and while he might be in real life. I’m sure there is more to his character than What is presented on screen. Which is simple and all things to all people. The saintly black character helps all The Caucasian characters with their problems.
Especially when most of the African American characters shown in the film aren’t exactly positive characterizations. In fact, more than is needed are more villainous than anything. This is disturbing especially when it is not the same way when it comes to the Caucasian characters
I will give the film credit that it has an absence of real conflict. As everything seems to happen smoothly and successfully. Conflict only occurs towards the end and at that point, it feels more minor.
Maybe the reason it is left out is to show both the family and him coping with these strangers around the.
And how they go against the wishes of their friends to do what they feel is right.
It makes almost everyone come off as saintly. Which would be fine as a movie of the week or a Disney film. While I enjoy the film. I think there is a strong enough story to make a better film. All parties involved do their job.
Some Like Ms. Bullock go above and beyond. While not the most powerful of actresses, she is always a likable screen presence. A star can still disappear at times inside of a character. So it’s nice when she decides to stretch past the romantic comedies that are her forte and actually invest herself in a drama. Lightweight as it might be, but at least she tries and in this case succeeds.
Written & Directed By: Maggie Gyllenhaal Based on the book By: Elena Ferrante Cinematography: Helene Louvart Editor: Alfonso Concalves
Cast: Olivia Colman, Jessie Buckley, Dakota Johnson, Ed Harris, Peter Sarsgaard, Paul Mescal, Dagmara Dominczyk
A woman’s beach vacation takes a dark turn when she begins to confront the troubles of her past.
This is a film full Of good performances that by the end comes off a little more soap opera. As the characters are loved in but it feels more melodramatic than anything.
Dakota Johnson is sexy in a role that makes her never quite know what to do and confused. Kind of represents a mirror image of Olivia Coleman’s character at her age as a to-go mother who is overwhelmed.
Whereas in the scenes where Jessie Buckley plays her younger she seems to have a good life but is unfulfilled. Johnson’s situation seems more shady and dangerous.
Throughout the film, we follow Coleman’s Character on vacation who feels full of mystery but has a good life,, and in telling stories we see flashbacks to fill us in on her and her family. So that while it builds it feels like it never quite goes anywhere. Except for some decisions that change things. Yet never ruin.
Which then becomes the theme of this film. As nothing is quite permanent though it trays them like they are.
By the end, it feels much ado about nothing. Throughout the film, it seems like it is building towards a dark secret and once we get there it is rather simple. That comes off melodramatic and the reactions seem a bit more over the top by that point. Where nothing seems to come of it.
As it is a midlife crisis movie for women. Showing what can happen if you make certain choices and how hard it might be to get back what you once had at all.
It is a strong directorial debut for Maggie Gyllenhaal but beautifully filmed and fully lived in by the actors. While it is full of depth it never quite makes the connection. Maybe for some members of the Audience but not over here.
Written & Directed By: Katrin Gebbe Cinematography: Moritz Schultbieb Editor: Heike Gnida
Cast: Julius Feldmeier, Sascha Alexander Gersak, Annika Kuhl, Gro Swantje Kohljof, Daniel Michael
The young Tore seeks in Hamburg a new life among the religious group called The Jesus Freaks. When he by accident meets a family and helps them to repair their car, he believes that a heavenly wonder has helped him. He starts a friendship with the father of the family, Benno. Soon he moves in with them at their garden plot, not knowing what cruelty is there to come. True to his religious belief he stays with them although the increasing violence by Benno is torturing him. Tore is fighting the torment with his own weapons. So a dangerous struggle between libidinous actions and altruism begins. Inspired by true events.
This is a film that took me by surprise. I only heard about it recently.
This is a horror tale that sneaks up on you in the worst way, in plain sight. As it seems like a drama at first. As it isn’t a horror film Filled with slashers or any supernatural evil.
It all boils down to being a movie about faith about a character who has an unwavering faith and no matter how bad things get beloved he is being tested for a higher purpose. He encounters a man who is a sociopath and just so filled with hate and evil that he makes it his mission to try and get him to stop believing and take out His anger on him whenever frustrated.
Even if he hadn’t encountered this teenager the sociopath would bring those around him down and finding these victims might have saved others from his terror.
The Second half of this movie is brutal and upsetting. So that once the film is over you feel dirty or somehow stained from the experience.
The teenage character believes he has to accept these punishments. To save others. So they are safe but by witnessing it hopefully, they will finally be brave and strong enough to run away. As the family seems to stay with him out of survivor’s syndrome. Some prove to be just as evil as accomplices who just need a bit of a push or to be led into that behavior. The teen sees the main character as a challenge eventually instead of being afraid and realizing how disturbed this guy is.
It also doesn’t help that the sociopath is obviously jealous of the teen in a few ways. Especially when it comes to his teenage daughter.
He sells to prove him wrong. As the teen stays true to his faith and religious convictions that ultimately he seems he can never defeat. Even as he seems hell-bent on trying to punish him for his beliefs. Truly showing strength of conviction. Leading the movie to some dark and disturbing places.
What is upsetting about this film is that it is supposedly based on a true story and also it’s a. Martyr tale that is upsetting as there is no comeuppance. So no sense of justice and no emotional or tension release.
What is scary is the terror through the movie is so matter of fact. That sets the tone. As there is nothing necessarily heightened. It is all in plain sight. Little by little, we can tell something isn’t right. It stays believable
The wife tries to say that nothing has been right since the teen got there. Though things seemed already a bit off. The addition of him only adds an adversary for him to lord over and make a slave maybe just for his faith or showing him up in a brief random meeting in the begging getting his car to work.
Though at times the cruelty comes out of nowhere like selling him off, if only for extra income. It infuriates the audience when he has a chance to escape but see’s all of this as his mission.
It’s filmed more like a docudrama, though it can feel like torture porn. To get there seems to be a point to it all.
The acting is spot on and believable. No performance rings false.
There is some hope at the end but only born out of tragedy. As all around are made into an accessory. Very disturbing. This plays like a Michael Haneke Film that tries to mix with a Lars von Trier movie, but those films can come off as natural. This seems cruel to be cruel. Sadistic and just when you think there will be somebody to save him or some hope. It shows how cruel that world and environment are.
Directed By: Todd Louiso Written By: Gordy Hoffman Cinematography: Lisa Rinzler Editor: Katz & Anne Stein
Cast: Philip Seymour Hoffman, Kathy Bates, Jack Kehler, Stephen Tobolowsky, Erika Alexander, Sarah Koskoff, Kelli Garner
Following the unexplained suicide of his wife Liza, a web designer turns to gasoline fumes and remote-control airplanes while avoiding an inevitable conflict with his mother-in-law.
Philip Seymour Hoffman takes a stoner character who could have easily been more a comedic performance on any other film. Despite the tragedy that surrounds him and makes him heartfelt and all too human that is recognizable.
It’s a poignant performance where we find out the cause of his addiction. We see the beginnings and the depths he goes through to feel numb to hide from fears and emotions. After the death of his wife.
It’s a mesmerizing performance that brings an extra sadness knowing his own tragic end in life. Making you wonder how parallel it close might have been to this performance.
We see his mother-in-law’s emotional reactions. She wants to be nurturing but is also falling apart and is looking to him to help her grieve but finds nothing.
At times the film veers close to seeming like it will be a quirky slice of life that will teach the character life is worth living and appreciating for so many unpredictable reasons, but the film is smarter than that and brings him back to reality after time to time finding peace on a lark. Like his developing friendship with a fellow recluse.
The film explores how the world reacts and moves on as normal, but he is stunted or held back in his grief. Whereas his addiction is as odd as it is. Seems to be the only way for him to move forward. Even if in destructive ways.
It’s a film built more on performances and the strength/Charisma of the lead actor than a conveniently plotted three-act structure.
It’s a lonely journey barely populated but it does certainly meet the characters. Who brings a little definition to a wide-ranging performance and film that likes to wander with no clear path. It constantly feels strong yet singular as one of the fears of the main character is that he caused his wife’s death or he wasn’t good enough for her when she needed him.
These darker films are built on characters and performances. Seems to be like most actors more the type he preferred. That offers a more intimate experience and more richness for an actor to offer. Performances that feel more lived in, like in the film JACK GOES BOATING that can come off as tragedies.
A tragedy, desperation not a movie to see cinematic beauty necessarily more organic. At one point it becomes a road trip movie
In the end, the film actually does have a symbolic ending. Starting over a new at first thought we should never find out what was in the letter left for him that he carries throughout but by actually revealing the contents of the letter it allows for closure and an ending of sorts
Cast: Aubrey Plaza, Christopher Abbott, Sarah Gadon, Paola Lozaro, Grantham Coleman, Jennifer Kim, Lindsay Burge, Lou Gonzalez, Shannon O’Neill, Alexander Koch
At a remote lake house in the Adirondack Mountains, a couple entertains an out-of-town guest looking for inspiration in her filmmaking. The group quickly falls into a calculated game of desire, manipulation, and jealousy, unaware of how dangerously convoluted their lives will soon become in the filmmaker’s pursuit of a work of art, which blurs the boundaries between autobiography and invention.
This film is experimental in the best kind of way. A fractured meta-narrative that makes us examine the relationships between the characters and what we have seen or have been told.
The first half is more of a slow burn of hidden emotions, ambitions, and attractions. Where Aubrey plaza is more of a seductress and coveted by the male half of the couple. While the female is more jealous of her and her accomplishments.
Where in the second half the flip is switched and we realize the first half was the film the second half characters were making. So while the first half might seem UNFINISHED as they are in the middle of filming the second half gives it an ending while continuing the drama. Even now all the actors are in different roles. Aubrey plaza goes from being the director in the first half to be the star of the film who is having a breakdown as her partner is directing the film but seems to be oblivious to her feelings and needs. While trying to nurture the ingenue in the film. Whereas in the first half the ingenue played by Sarah Gadon was the put upon the pregnant wife of the male. Who was neglected once plaza’s character comes into the picture literally.
The film lightens up a little in tone in the second half with more humor centered around the crew making the film. As it shows the little problems and culture that goes on such an independent project.
Which actually perfectly offsets and magnifies Aubrey Plaza in these scenes. As she goes from easy going to emotionally tortured and while they seem more in a comedy. Her raw performance is so dramatic it offsets them and makes their dilemmas all the more shallow.
The film lets it’s casa averted fixations be known in the second half. Plaza’s performance does remind the audience of Gena Rowlands in A WOMAN UNDER THE INFLUENCE the raw emotions as she continuously drinks and becomes more emotionally open but also has more despair.
The second half of the film also allows for more side stories and ongoing jokes with the characters. Whereas the first half is more solitary and focused on the core three actors. The second half while focused allows for more of an ensemble m.
This film is quite the experience that you might need to watch a few times to get your head around and fully understand the film.
Fabietto Schisa is a boy in the tumultuous Naples of the 1980s. The Hand of God is a story full of unexpected joys, such as the arrival of football legend Diego Maradona, and an equally unexpected tragedy. Fate plays its part, joy and tragedy intertwine, and Fabietto’s future is set in motion.
This film is oddly restrained considering it is directed by Paolo Sorrentino. Whose films always lean on beautiful visuals, characters, and landscapes and usually showcase a surreal reality as well as feeling more epic in scope.
This film is autobiographical so that it feels more personal and with more depth. Not so much an ensemble but we do see the world of Neapolitan Italy through the eyes of our teenage protagonist. Though we spend a lot of time with his family and the characters he comes across. Who each affects and shape his life in some way
Some are more obvious and immediate, others we get glimpses of and then learn about them later but never quite forget them. As each has some kind of advice for the main character.
All of this is happening while in the background soccer player Maradona is bright onto Italy’s Team and is helping them win the World Cup. So Much so that the main characters’ activities are scheduled around seeing the games.
As he interacts with his family we see plenty of domestic drama. Though throughout there is a love story but it is more between the protagonist and his aunt. Who has a mental illness or is treated like she has and wears provocative clothing and has no problem being naked whenever. Not exactly your typical movie romance.
Though she is shown more as as a muse for him of free-thinking, humor, sex, and beauty and Luisa Ranieri playing aunt Patrica fills out the role beautifully. As the camera manages to make her look gorgeous no matter what the angle or lighting. Throughout the movie, there are female characters of great beauty who are treated as normal or every day.
The movie also managed to be one of the few films about filmmaking or future filmmakers that basically barely has any movies or talk of them in it. There is no film appreciation, though there is talk of Fellini, a filmmaker who Sorrentino can remind one of in telling personal stories in a grand way that always feels colorful.
This film doesn’t really follow a traditional plot or story and is more a collection of anecdotes and events that shape the character and give a vivid history and view of his hometown in the 1980s. Not as quirky as one might expect as there is nothing that truly stands out.
Though by the end you are glad you watched and experienced the film that plays and feels more like a book by the end. Only here not everything is spelled out. It is more experienced, witnessed, and felt.
This is also a film best viewed in a theater or on the biggest screen you can find.
Written & Directed By: Terrence Malick Cinematography: Emmanuel Lubezki Editor: Hank Corwin, Keith Frase & Rehman Nizarali
Cast: Ryan Gosling, Michael Fassbender, Rooney Mara, Natalie Portman, Cate Blanchett, Val Kilmer, Berniece Marlohe
Two intersecting love triangles. Obsession and betrayal set against the music scene in Austin, Texas.
The film offers cameos from bands and musicians. Like Robert Altman’s THE PLAYER only less about the life and business just what kind of culture it takes place in
The film is filled more with moments of the day-to-day. That is broken into fragments and left for us to witness and examine. As really the film takes place and shows us the lives of those attending a music festival.
As it becomes a travelogue of the surroundings with a love of narration, that is supposed to help explain but becomes more oddly poetic. Meaning that what we see while visually stunning is a surface. While we learn what is underneath from the narration. Which offers up an explanation of sorts.
The films of Writer/Director Terrence Malick usually revolve around the individual and their relationships with the world. Romantic and intimate ones are at the heart of the films.
This could have easily been a modern NASHVILLE type ensemble, but the music festival is a backdrop for the intentions of music. With emotions and thoughts expressed through the melody with words. just like an album has a bunch of songs. Some are in the same Mold and some are distinct. Others offer a different slice of life and a continuation of themes, but still a different moment and rules.
Going in you don’t know what to expect. But when it comes to director Terrence Malik’s later films. You kind of do, wide-angle lenses, narration, beautiful cinematography, poetic license almost abstract to the non-existent story. Left for you to meditate on, believing that this new film will be the one they have wanted from him and waited for. That will be his next BADLANDS or DAYS OF HEAVEN
He tries to stick with the story more and each time while considered good. Not the classic fans hoped for. Though that seems better and is taken more seriously later, then When they come out originally slow them to be seen more as pieces of art. Then just movies. Even if more and more end up as passable yet disappointing to a certain degree rather than good or even memorable
The camera never really stops. We see private moments more glossy and pretty people doing normal things. Only with more shine and attention on these moments. Offering Communication through images. Never let lies during full conversations do it.
Though you might know what to expect. Though he offers you shards and then Leaves you to interpret and figure out what just happened. Sometimes with Narrations that sound like excerpts from books
Usually, Actors clamor to work with Mr. Malik and his films usually are star-studded. Only then did he cut out half of them from the film. As they are not needed in what he wants to present. Which he finds during the editing process.
So his films always seem like a cut he came to that was releasable after cutting down in the editing room from what might be the first draft filmed. If there was even a script. That it ends up feeling like A book with missing chapters and characters whose fate we never learn.
It ends up feeling more Like a music video with a score but missing the main song as there is a score but no singing necessarily.
As characters who are almost like newborns come in and take out the narrative partially after an initial connection. Twisting things around a bit.
Then the actors are filmed like fashion shoots. Like a footnote or introduction to a side story that affects the overall narrative.
Usually one can get excited when he sets his films in the present. Not so much historical epics, but his strongest films are those usually based on books and true stories that have actual plots. Allowing them each a few chapters they tend to overlap through each other. To be the one In control of their own POV and their marriage and romantic missteps with guest stars.
The film seems to want to be ambitious but leaves itself hard to grade as it comes across more as an art installation rather than a film.
TO THE WONDER was his last most consistent film. As it seems the most focused
This ends up as A long movie that feels longer than it is and monotonous
It seems like Michael Fassbender’s character is a music manager who is in love with Rooney mara’s character, who works for him and is mildly in the know but once she falls in love with Ryan gosling’s character. At first, she still cheats with Fassbender. Then once she stops, Fassbender meets and marries shortly afterward a waitress he picks up quickly. Where it is all love at first then they start to sleep around. Until she has a romantic liaison and he gets her into drugs and groupies
Then His wife dies and Mara’s character is with gosling. But he seems to still have feelings for his ex and they break up. Once he finds out Rooney had an affair. She signs with Fassbender and then has a same-sex relationship. Gosling moves home to be around family and falls for Cate Blanchett who no one seems to think is good for him. So it continuously plays with this melodrama.
This is one of these Films where you find yourself constantly checking the time where it’s headed and shocked it’s not over yet.
A film that might be smarter than the audience. It is also a film that wants the audience To Interpret it all rather than explain. which can equal big filmmaking wishes handled by a true artist or someone who knows what they are doing.
He sets himself apart as Brave. Most filmmakers choose to have the audience interpret relationships or endings or characters.
Whereas by the end explaining the plot/story is simple as there is so little of it. It whereas it is started out with visuals montages narration poetry, but barely any music which the title suggests there should be more of some
It all feels Pretentious where One might wonder if the director had a script as it feels like there is none and they are making it up as they go along at the location and trying to fit it all In
In the end, the film doesn’t offer as much music as expected
Written & Directed By: Pedro Almodovar Cinematography: Javier Aguirresarobe Editor: Jose Salcedo
Cast: Javier Camara, David Grandinetti, Leonor Watling, Rosario Flores, Mariola Fuentes, Geraldine Chaplin
After a chance encounter at a theater, two men, Benigno and Marco, meet at a private clinic where Benigno works. Lydia, Marco’s girlfriend and a bullfighter by profession, has been gored and is in a coma. It so happens that Benigno is looking after another woman in a coma, Alicia, a young ballet student. The lives of the four characters will flow in all directions, past, present and future, dragging all of them towards an unsuspected destiny.
When it comes to Director Pedro Almodovar, With certain films his attention to detail is mesmerizing by even just the appreciation to women their style dress mannerisms and femininity is fascinating and he pulls us in
Especially for a filmmaker who has always been artistic but also an early provocateur looking more to shock it seems Maybe now, we Just pay more attention to every aspect of his filmmaking. Such as Melodrama, sense of color and suspense
As he seems to base his later films around stories and the works of noted authors he is a fan of, trying to match the depth and tone of their work.
Which might be why this film feels like reading a book. Introductions are made for our main characters but we really don’t know their situations, emotions, motivations or history until the film. Keeps moving and chooses to make the revelations of the twisted stories and personal histories.
As things aren’t always as they seem. It feels like watching Two love stories that are parallel, but then come together. Though it could also be seen by the end. As before , that leads to the worthwhile love story of two damaged people brought together.
As one character stays a victim throughout. As she is more an object of fascination and infatuation. A kind of ideal, who is violated without her knowledge or permission. Then in the end. Looks to get into a romance with someone involved with her attacker of sorts.
It’s a film that challenges you. As the audience might not like or agree with the ending. As one romance is cut short though has time to blossom, yet find out it was ending. The other romance never truly existed. As it had a promising start until extreme acts ended it before it could truly start.
As the character of Benigno could be seen as hopeless romantic, but is more a stalker. Who gets his chance to be near his obsession. Ultimately being devoted to her care and taking care of her, but also getting to be physically intimate with her. Which he never treats as sexual or abused in that way at first. In fact he seems asexual sexually as though he loves her. He seems attracted and flirtatious with Marco in their friendship.
It would seem he lives up to the ultimate title of caregiver. He also seems to idolize women as when he first falls for Alicia, it is while he is taking care of his own dying mom and it seems once she is gone. Out of loneliness his care and loving feelings are transferred to Alicia. just as he is devoted to her in the hospital, but opens up and shows feelings for Alicia even as his co-worker obviously likes him but he stays blind to it.
In fact until he is inspired by a silent movie (in a shocking and visually stunning scene) he never gets sexual. The one time he does in a selfish and undefendable act, is when he is finally punished. Throughout the movie we never really see sex, but it is introduced and we are thrown in The emotional pull of it.
Where it gets more troubled is that this act actually brings upon a kind of miracle… a cure. Where he suffers and deserves to for her recovery and it feels like a minor religious allegory of it all. It also causes a salvation for his friend Marco
Throughout the film there are artistic touches that only add color to the characters and situations. In the end what should be simple is so haywire emotionally, but has beautiful conclusions. Albeit dark and in moments that feel sumptuous.
Even in the bullfighting sequences more the alpha but most emotional of the couple. She always feels more in control. As physically stronger and masculine yet always needing to be saved and supported in life.
It feels like we are watching lives with a bit of serendipity, not a movie or a story. Yet we are still showcased the more interesting parts
Oddly this film is exactly what I thought it would be but still amazing. As it unfolds like a novel and feels nurturing and strangely full. Even though at heart it is disturbing if you think deep about it. it is also romantic
Cast: Garance Clavel, Zinedine Soualem, Olivier Py, Renee Le Calm, Simon Abkarian
Chloe, a young woman, is going on holiday. She entrusts her beloved cat to Madame Renée’s care. But one day Madame Renée (an old lady of the neighborhood) can not find the cat. Chloe starts searching the neighborhood… This is the pretext for the exploration of a quarter of Paris and his inhabitants.
A French film that starts with a simple premise of a young woman looking for her missing cat. That ends up leading to a bunch of adventures and experiences that usually involve some kind of romantic entanglement
This is the first film of French writer director Cedric Klapisch that I saw that perfectly sets up his usual bohemian style. His films work more as ensemble pieces with a main character in the middle. Who this story usually either revolves around or is at the center and cause for situations
As the movie goes on this is really a film about the neighborhood and its citizens more a kind of anthropology study to a degree. As we watch how they work like a well-oiled machine. With one another. While also watching how their quirkiness helps to guide and make connections for the main female character In The middle of all of this.
The film is eclectic and colorful and mostly fun than anything else, not Too dramatic. Yet at times romantic and showcasing how easily we can read into things and believe people at their words a little too soon before they have proven themselves.
This is a French film that was perfect for the time period and comes off as a quirky French film where you want to be in the movie or move into this neighborhood. As it is a classic neighborhood with more younger people moving in and experiencing it’s the charm. So that it feels like that French getaway you might have always wanted to experience in your 20’s so you would get the modern and old school In Equal measure. as you get an insider look at all around France and the different neighborhoods or districts as they prefer to call them
Though the film doesn’t really have too much to do with the story or plot. As you more or less follow Chloe, the main character on her journey, and get to feel or at least witness her experiences. So the film is kind of free form in a way without being experimental. As for all of its freedom, there still feels like there is structure here.
If you have seen his later films THE SPANISH APARTMENT, RUSSIAN DOLLS and CHINESE PUZZLE
This will be a little familiar but allows you to see where it all started at least In theme. Though they are constructed they manage to surprise you and add color to the films through the characters. Who we get to know a bit about and get to spend a little time with. As they only add to the enjoyment of the picture.
Cut To The Chase 