Miles Messervy 007
Posts: 6870
Joined: 11/2/2009
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Features:
44. Baisers volés [Stolen Kisses] (1968, Truffaut)
The Doinel saga continues with this wonderful film. There is less experimentation with form than in say Shoot the Pianist, but it's chock-full of fantastic things: the Laurel and Hardy masks, Lonsdale's clueless asshole, Seyrig's ageing beauty, the chanson from which the title is taken, and of course the love story. At the centre of it all is Leaud's fantastic performance, who really brings the bumbling alienated romantic to life. The film's funny, cute, and a perfect time-snap even though it doesn't capture much of the riots and stays quite old-fashioned. More please.
46. Sunset Blvd. (1950, Wilder)
REVIEW HERE
56. Dawn of the Dead (1978, Romero)
REVIEW HERE
74. Perfect Blue (1998, Kon)
REVIEW HERE
91. The Purple Rose of Cairo (1985, Allen)
I still think Woody's movies lose something when he's not in them, but this is great. Super-meta, with great acting (Herrmann and Daniels in particular), cool period representation (though as always not too remarkable visually), and a superb bitter-sweet ending.
98. Fast Times at Ridgemont High (1982, Heckerling)
Fulfilled my expectations exactly. It’s no Clueless or anything (and even though I placed it ahead of Dazed and Confused, that brand of high school movie is also ultimately more worthwhile), but it’s funny, alternately warm and biting (or, if you prefer, uplifting and honest), has a nifty soundtrack and some great performances (the stand-outs being Penn as a stoner surfer, Walston as a funny uptight history teacher, and Leigh, who gets as much out of her character as possible). It’s dated, but that only helps it to be a snapshot of early 80s teen life. It’s hit-and-miss, but it’s a very good film overall.
101. Katzelmacher (1969, Fassbinder)
Very interesting stuff from Fassbinder. It’s similar in style to his debut feature, but even more minimalist. The set of characters hang out together in about 5 locations in total, exchanging elliptical dialogue in utterly static shots (except for the walking scenes which are very plain cinematically as well). None of them are likeable to begin with, but they truly become vile when a foreign worker (played by Fassbinder himself) enters the picture. The film is slow, meticulous; there is nobody to identify with. Why did I like it so much? Because it’s distinctive, because of all the stuff I mentioned above. The actors all sell their roles completely especially since all but Hermann, Fassbinder, and Schygulla are unknowns to me. The editing (while probably not too difficult considering) is superb. Still not as good as his debut as the latter is more cinematic and existential and awesome, but I probably prefer it to Ali despite the latter’s cinematic superiority.
106. Repulsion (1965, Polański)
REVIEW HERE
115. The Thin Blue Line (1988, Morris)
Breaks one of the major cinematic rules by being 80% talking heads (though the recreations of the scene add a cinematic edge to it), but rules are there to be broken, and as far as talking heads documentaries go, this is one of, if not the best I've seen. Examining not just police injustice, but also the nature of memory and truth in general, this has stuff going for it besides its major achievement (getting Adams out of prison). Strikingly well edited, and appears to be even less manipulative in a way than a Frederick Wiseman film, because there's no buffer between the participants (including, staggeringly, the real killer) and the audience. The cut-aways (for instance, to the Boston Blackie film when the woman is speaking) are drily humorous and well observed. Glass is also superb, composing a score which exists alongside the film without trying to take over it. There are things wrong with this, for instance the irritating courtroom drawings and perhaps it's a little dragged out, but it's certainly very impressive.
129. Lektionen in Finsternis [Lessons of Darkness] (1992, Herzog)
Not that much to say here. First of all, isn’t it amazing how Herzog made Aguirre and this, both films loosely based on the subject of war and both unlike anything else, including each other? Secondly, even if this wasn’t any good (it is), it would all be worth it for that “life without fire” bit at the end. Thirdly, shows how much can be achieved with how little, though of course only someone crazy enough would do this. Also, amazing soundtrack. And the silentness of it all is striking, particularly as two of the interviewees don’t speak because of the horrors they witnessed. All in all, 3rd of out 3 Herzogs I’ve seen so far, but this is not a slight on it at all, the apocalyptic imagery will stay with me for a while.
138. Hable con ella [Talk to Her] (2002, Almodóvar)
To be honest, I'm not sure. No complaints whatsoever about the style or the acting (which was helped by the fact that Chaplin was the only thespian I had seen in anything previously), just not sure that I'm satisfied with the story, and I didn't connect with it for very long (I am not even a fan of The Smiths but 'Girlfriend in a Coma' does more for me than most of this). They say this is 'mature' Almodovar, maybe it could do with a little less of that (that silent movie thing is hilarious but sticks out way too much). Definitely intriguing though.
151. To Catch a Thief (1955, Hitchcock)
Ah, Hitch, one of my gateways into the world of cinema. Not nearly as captivating now (though of course I got past his most impressive films), but always satisfying. This has Grant as suave as ever, Kelly beautiful as usual, and a messy plot. Basically, Edith Head is the star, and the sexual innuendo overshadows the crime plot, but ultimately, this is as fun as I expected a breezy film set in the French Riviera to be.
160. 4 mosche di velluto grigio [4 Flies on Grey Velvet] (1971, Argento)
REVIEW HERE
233. Una lucertola con la pelle di donna [Lizard in a Woman’s Skin] (1971, Fulci)
REVIEW HERE
Shorts:
46. High and Dizzy (1920, Roach) {26 mins}
My first encounter with Lloyd is a success, and I can’t wait to explore more. This has a loose plot but everything that’s needed is there. It’s charming and romantic because of the primitiveness of its love story, and funny, though some gags work better than others. The humour is entailed in both the intertitles and what’s happening. Lloyd may not have the same iconic status as Keaton and Chaplin, and he didn’t direct his own films, but whoever made this has my thanks, and fortunately, there’s loads more to come. He’s probably subverting his image here by playing a drunk character but I have to see more before I can comment on that.
78. Get Out and Get Under (1920, Roach) {25 mins}
Not as good. Strung together again, but appears lazy rather than versatile unlike High and Dizzy. Some fun gags though, sure.
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quote:
jamesbondguy:
Miles is clearly the finest film theorist of his generation
quote:
Deviation:
if it isn't ham, I'll eat a living pig.
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RE: Top 100 Films I've Watched This Year: 2010 - 
So yeah, considering what it is, talking heads were inevitable, but because of what it is, it overcomes the fact that it's breaking the (according to rawls, non-existent) rule.
That's the lowest in years. 
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