The Trial of Joan of Arc Review

Normally I enter the experience of viewing a Robert Bresson film brimming with optimism, but the odds were stacked against The Trial of Joan of Arc before I even pressed play. By all accounts I was sitting down for a special, beautifully crafted film, which should come as no surprise considering the previous work I had seen by Bresson, yet I still had an impossible, comparable standard to reflect on throughout the movie. Fair or not, when the subject matter of one of the greatest cinematic achievements in history is revisited at a later date, it is going to get scrutinized under a much more powerful microscope. 

The Passion of Joan of Arc by Carl Theodor Dreyer tells the story of the trial and execution of Jeanne d'Arc without using a single word, and its haunting power is almost literally overwhelming. When it comes to my top five films of all time, it is typically difficult to find a work worthy of pushing their way into consideration yet the film by Dreyer had me questioning whether it was possible the single greatest movie ever made before it had even ended. So yeah, you can understand why a different approach at telling the story filmed decades later would be challenging to critique based on its own merits rather than constantly harping on its shortcomings in comparison.

Released in 1962, The Trial of Joan of Arc is undoubtedly an excellent film and had it been my first journey through this story I would likely be raving about it, but it simply does not have the power of the Dreyer effort. I could go through everything Bresson does right here and it would take forever to tackle all of the different aspects, yet a much more simple way to put it is this: in 1928 this story was told and it devastated me, with the last act viewed through wet, reddened eyes. Here, everything I appreciate about the craftsmanship of cinema was tickled and delighted, yet I felt no raw, stomach churning power, my soul not shaken in the slightest.

This review sounds unfortunately negative, which sucks because The Trial of Joan of Arc doesn't deserve it. It truly is a remarkable film. At the end of the day though, if I want to revisit this story again in the future (and I certainly will), I won't feel inclined to turn to the Bresson effort ever again.

4/5

WALL-E Review

Over the past few years I have grown to deeply admire the silent era of cinema, a period that lasted from the birth of the medium until the end of the 1920's. When I was younger I made the erroneous assumption that a silent film would equal a boring film, that a lack of verbal dialogue would lead to a disconnect between me and the narrative portrayed, and it simply isn't the case. The genuinely funny slapstick efforts of Harold Lloyd, Buster Keaton and Charlie Chaplin. The devastating power that lies in the eyes of Renee Falconetti, on trial for claiming she could speak directly with God. Fritz Lang crafting science fiction ahead of its time, bringing us the brilliant and bizarre performance from Brigitte Helm in front of a surreal, cityscape backdrop. 

Silent films brought us characters that spoke to the audience without literally speaking, a feat that shouldn't be taken for granted. Movement, mannerisms, and emotional depth portrayed through a look in the eyes, these were what made up a performance rather than the delivery of words, and when it was done right like some of the examples I mentioned above, it resulted in arresting, overwhelming cinema.

Fast forward to 2008 when the world laid eyes on WALL-E, a film that benefits from all the bells and whistles of modern technology yet inside that glossy, gorgeously animated package is a tender, nuanced film with silent era sensibilities. We hear what amounts to dialogue between WALL-E and EVE, but the literally robotic communication is limited and not what resonates with me. I fell in love with these characters and their story because of the clever, touching and beautifully realized ways they connect on a deep and profound level without being able to explain their thoughts and feels with coherent sentences. 

I am not one to bash the recent efforts by Pixar Studios because I have been able to have some fun with even their lesser work. I find the Cars hatred to be rather silly because it's easy to assume creativity and the passion for the art should be first and foremost, but the truth is, Disney loves money and Cars is a massive financial winner for them. It would be a poor decision not to continue to make those films, no matter what critics say or people complain about. 

Still though, I haven't felt the true magic of Pixar in years, which is all the more frustrating because we know it is there. Two robots look into each others eyes during WALL-E and say no words, yet I truly feel as if I can see into their souls. Their happiness and their pain, everything they share together has an emotional core and shocking depth to it all that seems unfathomable given the fact that they literally have no heart. 

If you think you are too old for animation, you're not. If you think you won't believe in a love between two cute little robot characters, you will.

If you haven't yet seen WALL-E, you should.

5/5

Iron Man Review

While I am now an excitable fan of comic book/superhero films just like the vast majority of the planet, not long ago I was completely in the dark regarding the sub-genres as a whole. I literally did not see a moment of the first set of films from the Marvel Cinematic Universe until a month or two before the release of The Avengers, when I decided to see what all the fuss was about.

I quickly ran through the five preceding films, learning about the characters, discovering their connective tissue, exploring their worlds, and I realized what I was missing out on during those years of ignoring the existence of characters like Iron Man, Thor, Captain America, and Hulk: a whole shit ton of fun. Are any of the Phase One films perfect cinema? Modern masterpieces dripping with rich subtext and art house sensibilities? Of course not. Hell, I think one of the movies is flat out bad, although the revisit coming soon will be approached with an open mind. The point is, I don't demand perfection nor do I desire losing sleep as I ponder the nuance of a movie about a guy in a cool metal suit. It's okay to crave simple, flashy fun.

Even with their shortcomings, films like the original Iron Man manage to warm my heart and put a giant smile on my face because I look over at my daughter and realize that in this moment, she thinks the images on the screen are the coolest thing imaginable. At one time, I was that kid too. I refuse to let go of the part of me that still recognizes and cherishes that, the part of me that holds those memories near and dear, the days when the sights and sounds of cinema felt like a magic trick and I didn't even feel compelled to peak behind the curtain. 

I just wanted to see it again and behold the wonder of it all. 

4/5

10 Most Anticipated Films March - June

As the weather begins to warm up, so does the season of cinema. While the second half of the year always features a far more interesting slate of films overall, that doesn't mean some truly special gems aren't released before July.

Here are the 10 movies I am most excited about that will hit theaters between now and the end of June.

Kumiko, The Treasure Hunter

Directed by Nathan Zellner

Starring Rinko Kikuchi

U.S. Release Date: March 18th

A film based on an urban legend surrounding the real life and death of Takako Konishi, as the media falsely reported that she died while on a quest to find the missing money buried near the end of the film Fargo. In actuality Konishi killed herself, but the fictionalized version of events is far more interesting and cinematic than reality. Reviews are pretty outstanding for this one, and I can't wait to see it.

Clouds of Sils Maria

Directed by Olivier Assayas

Starring Kristen Stewart, Juliette Binoche, Chloe Grace Moretz

U.S. Release Date: April 10th

Unfortunately, a common reaction when many people see the cast listing will be to write this film off because of the presence of Kristen Stewart. Insert Twilight jokes, comments about her personal life, whatever. The truth is, with the right material she can certainly act and apparently that is the case here. Why do I say that? Well, she recently won the Cesar Award for Best Supporting Actress for her performance here in France. Not only is this a prestigious award, it's especially significant because Stewart is the FIRST American actress to ever win one. So yeah, safe to say I am excited to see this film.

Lost River

Directed by Ryan Gosling

Starring Christina Hendricks, Matt Smith, Eva Mendes, Saorise Ronan

U.S. Release Date: April 10th

Reviews for Lost River have been almost universally terrible and it was booed viciously at the Cannes Film Festival last year. So why do I have it on my most anticipated list? Because I don't care, I want to see it for myself and make up my own mind. The directorial debut by Ryan Gosling, word is this film was heavily and noticeably influenced by David Lynch and Nicolas Winding Refn, which makes me intrigued to say the least. 

A couple of years ago, people kept talking about how terrible Only God Forgives by Refn was. It was angrily booed at Cannes and the negative reviews came pouring in. In my opinion, it was one of the finest films of the year. So yeah, Lost River may be terrible, but I need to make up my own mind.

Ex Machina

Directed by Alex Garland

Starring Alicia Vikander, Domhnall Gleeson, Oscar Isaac

U.S. Release Date: April 10th

Oh man do I love some good science fiction. I literally don't need to know anything from a project, just tell me it is well reviewed and science fiction and I will be there, and that is exactly the case here with Ex Machina. Critical reception has been fantastic, my boy Oscar Isaac is in it, and the writer/director Alex Garland previously wrote 28 Days Later, Sunshine and Never Let Me Go. Count me in.

Avengers: Age of Ultron

Directed by Joss Whedon

Starring Robert Downey Jr, Scarlett Johansson, Mark Ruffalo, Chris Hemsworth, Chris Evans, Elizabeth Olsen, Aaron Taylor-Johnson, James Spader, Paul Bettany

U.S. Release Date: May 1st

What really needs to be said? The first Avengers film was, in my opinion, the first truly excellent thing to come from the Marvel Cinematic Universe, until 2014 rolled around and both Captain America: The Winter Soldier and Guardians of the Galaxy exceeded it. Those are the last two films to be released before Age of Ultron, so yeah, expectations are through the roof.

Far From the Madding Crowd

Directed by Thomas Vinterberg

Starring Carrie Mulligan, Michael Sheen, Juno Temple, Matthias Schoenaerts, Tom Sturridge

U.S. Release Date: May 1st

Talk about jumping in the complete opposite direction of Age of Ultron, and with the same release date no less. I read Thomas Hardy's novel of the same name, which was published roughly 140 years ago, and I liked it but was underwhelmed. Despite this, I am very excited to see this film adaptation. Why? Director Thomas Vinterberg's last work was The Hunt from 2013, which was without a doubt one of the greatest films from that year, so I was going to be excited about whatever he did next. Plus, I'm a fan of Carrie Mulligan, a pretty extraordinary actress. So while I will be seeing Avengers on the biggest screen possible that weekend, Far From the Madding Crowd won't be far behind.

Mad Max: Fury Road

Directed by George Miller

Starring Tom Hardy, Charlize Theron, Nicholas Hoult

U.S. Release Date: May 15th

While on my list because of the outstanding trailer, Mad Max: Fury Road is the first film on this list I am truly skeptical about. I can't shake that amazing trailer, disappointing film overall feeling, but I am hoping for the best. Regardless, I'm sure this will be a pretty spectacular sight on the big screen, and I hope it lives up to the footage we have seen thus far.

Tomorrowland

Directed by Brad Bird

Starring Britt Robertson, George Clooney, Hugh Laurie

U.S. Release Date: May 22nd

An intriguing trailer, a summer slice of science fiction that I can see with my very excited daughter, and Brad Bird. Enough said, I will be there.

Jurassic World

Directed by Colin Trevorrow

Starring Chris Pratt, Bryce Dallas Howard

U.S. Release Date: June 12th

Much like Mad Max: Fury Road, I approach Jurassic World with what can best be described as highly excited pessimism. I am going to see it, I really want to see it, and I hope it is great, but I just can't shake the bad feeling it will be a dud. Excited that Colin Trevorrow is at the helm here as I loved his previous feature film Safety Not Guaranteed, and much like most of the planet right now, I'm a big fan of Chris Pratt, so I am hoping for the best. 

Inside Out

Directed by Pete Docter

Starring Amy Poehler, Mindy Kaling, Bill Hader, Phyllis Smith, Lewis Black, Kyle Maclachlan, Diane Lane

U.S. Release Date: June 19th

The world needs a truly great Pixar film. I have not hated anything they have done, including the Cars films which do what they intend to for their target audience, but it has been years since the glory days of a studio that released animated masterpieces annually. I have big expectations for Inside Out and will be severely disappointed if it ends up merely being "good. This one needs to be something special, and the first couple of trailers indicate it has the potential to be just that.

I'm sure a few of these ten films will be disappointing, but obviously I will hope for the best across the board. Here's to an exciting and highly anticipated next few months of cinema!

Vampyr Review

My only previous experience with filmmaker Carl Theodor Dreyer came when I witnessed the miracle known as The Passion of Joan of Arc a little over a year ago, which after a revisit has safely found a spot in my five favorite films of all time. Vampyr is certainly not lacking in terms of craft, as it is a remarkably well realized film and the atmosphere achieved is actually enhanced by the fact that it was released in 1932. It's hard to explain, but something about the authenticity of its age rather than just a modern work re-created to feel old makes this horror classic all the more surreal, and thus it is impossible to not feel that creepy tingle down your spine throughout.

Despite the fact that the film itself really did nothing wrong, I can't help but feel a bit of disappointment after watching my second Dreyer work, and the truth is it's my fault. The word gets tossed around a lot and thus it may have lost some of its impact, but The Passion of Joan of Arc is a masterpiece in every sense of the word. It is pitch perfect, emotionally exhausting, powerful cinema. When I watched it, I had tears in my eyes and I wasn't even sure why. It's just so damn beautiful. Vampyr was everything I could have expected in terms of style and Dreyer was clearly a visionary behind the camera, but a deeper connection is missing. 

A step down for Carl Theodor Dreyer, yet still a finer achievement than a vast majority of films in the horror genre. Late at night in a pitch black room, the flicker of haunting imagery filmed over 80 years ago made my skin crawl and my eyes play tricks on me, as if shadows cast across the walls were something far more sinister. If you were thinking about paying money to rent some terrible bullshit like Annabelle, put the remote down and give Vampyr a look instead.

4/5

Ivan's Childhood Review

Ivan's Childhood is a film that portrays the horrifying nature of war better than most, yet very little actual combat is shown. Personally, I don't need a constant stream of bodies collapsing to the ground, missing limbs and barely breathing soldiers desperately trying to cover wounds to remind me of just how destructive mass violence and chaos can be on humanity. Andrei Tarkovsky centered this film around a 12 year old boy named Ivan, a child seemingly adopted by the military after he is orphaned as a result of war. We see these men handle him both as the child he is, with kid gloves so to speak, but also with the respect a fellow soldier would deserve as he serves as a spy for their side.

The life of a child, ravaged by war. We see the morose landscapes that he currently occupies, but we also experience both his memories and his dreams, beaches soaked in sunlight rather than the devastation of a region under attack. An adolescence destroyed for reasons far beyond his control, forcing a boy to become a man at an age far too young. 

Often times after someone sees a film, a common question they are asked is "Who was your favorite character?". In Ivan's Childhood, my favorite character might be Tarkovsky himself and the way he framed his subjects. Another possibility is director of photography Vadim Yusov and the absolutely brilliant way he used lighting as it poured in from one spot through an otherwise bleak location, like a ray of hope shining through the surrounding misery. Despite being filmed over 50 years ago, this is a gorgeous piece of cinema, one that seems to have aged like a fine wine. 

As I have previously experienced a few other Tarkovsky pictures, it was interesting to go back and start from the beginning, witness the way he introduced himself to the world as a filmmaker. 

What a remarkable introduction.

4.5/5

Winter Light Review

I have mentioned in previous reviews for films that delved into religious themes that such things aren't of importance to my life, yet I find them fascinating when explored in cinema. I rarely will choose to enter a place of worship during my own free time, yet when one is the setting of a movie I am often times in awe of the imagery and envious of the power that comes with a strong belief in a God. During the first act of Ingmar Bergman's Winter Light, we see a handful of people in attendance of a church service and I was instantly sucked into their world, as if I was sitting in a nearby pew. The thing is, I can't recall what was actually said during this sequence. I'm not even sure if I absorbed the words while I was screening the film, but it didn't matter. I couldn't take my eyes off of the faces of the people listening to the sermon, as their reactions to the message, whether a subtle feeling of regret lingering behind their expressions or a not so subtle pain flooding rapidly to the surface, were far more captivating and cinematic than the message itself.

While the narrative of Winter Light obviously revolves around religion, I actually found that the story centers far more on the nature of humanity, the people that occupy our living world rather than the higher spiritual realm they strive to understand for comfort. Tomas (Gunnar Bjornstrand) is the Pastor of the church, a position that has him literally standing in front of and above the congregation as he delivers the message of a lord, a savior, and yet rarely throughout the film does he actually speak. When he does, his words aren't powerful or meaningful or influential, quite the opposite actually. No matter what Tomas says, it doesn't bring comfort to others nor himself.

Jonas (Max Von Sydow) is a troubled soul, a man who has reached a breaking point in life, haunted by the idea of a literal nuclear holocaust. He and his wife reach out to Tomas for help, for words of guidance and comfort that could perhaps alleviate his fears and bring a sense of normalcy back to their lives, but how could a Pastor who feels no connection to God himself, a man who believes he has failed with his chosen path through life, assist in straightening out the soul of another?

Winter Light is one of those pictures that I find is impossible to pick up on every nuance or peel back every thematic layer with only one viewing. For example, there is a particular scene that I keep playing back in my mind since I finished the film early this morning in which Tomas and a man named Algot (Allan Edwall) are having a discussion about the suffering of Christ and the fact that Algot believes the emphasis being on the physical pain Jesus felt is misguided. Algot points to the fact that after being betrayed, Christ cried out to a father, a God that had suddenly become silent at a time when he needed him most. While not literally comparable in importance, is this perhaps also the case for Tomas as well? Throughout the film it is made evident that he is under the weather, clearly experience physical discomfort, and the focus on his suffering resolves around the loss of his wife years earlier.

Perhaps the real reason Tomas suffers, the real source of his deeper pain, is that beneath the surface he is crying out for a god that is silent. I have no knowledge of what Bergman himself believed in or whether or not religion played a role in his life, but Winter Light feels like a deeply personal work, a narrative that came from both the heart as well as an endlessly creative mind.

Perhaps Ingmar Bergman was in search of a silent god.



4.5/5