Man, I watch on average two movies per week, one of which is usually in theaters, write quick rated 'reviews' of them for my friends on Facebook, and I'm just now discovering this thread? May as well start posting to it! Here's what I watched this week:
Three Colors: Red (1994)
Rating: 10/10
The anti-romance of Kieslowski's Three Colors trilogy--also the last film he would ever make. The famed director could not have possibly gone out on a better note. Part of what makes Kieslowski such a fascinating director is his ability to explore very abstract themes and philosophical principals without beating his audience over the head with his intentions. Red says fascinating things about the connections between people, fate, and the impact of grey morality in society, but the film is nothing but captivating and beautiful throughout. This is helped greatly by the two principal actors, Jean-Louis Trintignant and the luminescent Irene Jacob, who is one of those actresses who elevates whatever she appears in by simply appearing in it and standing there.
It is something of a shame that Blue is the first entry in this trilogy--it may number among one of the best films ever made, but it's by far the most difficult film in the trilogy to actually like--it is far easier to admire than to love. I suspect that watching Blue first might actually turn people off from the other two films in the trilogy--if you're interested in Kieslowski, I'd suggest that you start with White or Red. Or, if you love films like Mulholland Dr. or Eternal Sunshine of the Spotless Mind, check out The Double Life of Veronique.
Skyfall (2012)
Rating:8/10
Even more of a series reboot than Casino Royale--sort of. Casino Royale sought to take the Bond series in brave new, darker direction--Skyfall, on the other hand, hearkens back to the old ways, and is extremely unapologetic about it. That's not to say that there isn't some darkness here--the film's final act, in particular, is a grim one. Still, this is the Bond that (almost) everyone knows and loves, and the filmmakers unabashedly revel in nostalgia almost right from the start. Some of it certainly seems a bit forced, but for those of us who were practically weaned on old Bond films it's a hell of an emotional ride--if you're at all like me, you'll catch yourself grinning ear-to-ear about every five minutes.
I would argue that Casino Royale is still the superior film--but Quantum of Solace was, unfortunately, perhaps the only logical way to follow Casino Royale up. Those two films sought to modernize Bond and to update him for a new audience, but Quantum of Solace became too mired in its own seriousness for it to be even remotely enjoyable--and that's the whole point of Bond, isn't it? To be enjoyable? With Skyfall, the filmmakers were aware that this was not a direction viable for the continued longevity of the series. Charmingly, the film itself is very 'meta' with regards to this dilemma--references to Bond's age are frequent, and one character even says that 'the old ways are best.' (The character was talking about knives. I don't believe that the filmmakers were.) This is a sentiment with which the filmmakers obviously agree, and long-time Bond fans will find a lot of references to the past here that are very welcome, even if they are aware of the degree to which they are being manipulated.
Of course, this approach does have its drawbacks--everything that was wrong with 'old' Bond is wrong again here (like the misogynistic attitude, which is expressed in a shockingly cold way during one scene in particular), but the filmmakers at least take pains to ensure that Bond is a character in development here. No other film has ever spent as much time on Bond's 'back-story' as this one does, and while such details are ultimately of little importance to the plot, they do allow for the final act of the film to exude more painful emotional resonances than it otherwise would.
I know that this review is overlong already, but before I end it, I want to bring special attention to the cinematography. This is a *gorgeous* film. Possibly the best looking movie I've seen all year, and it doesn't exactly lack competition. (The Master, for instance.) Yes, it does help that this is a Bond film and much of the shooting takes place in various 'exotic' locations, but the behind-the-camera artistry on display here is truly masterful work. Scenes set in Shanghai and Scotland especially approach visual poetry. For this work we have cinematographer Roger Deakins to thank, whose work you may know from No Country For Old Men, Jarhead, The Assassination of Jesse James by the Coward Robert Ford, In the Valley of Ellah, The Village, and Shawshank Redemption.
At any rate, check this movie out. It's one of the year's best, and believe me, you'll want to see it on the big screen.
Edited by metalsonata - 11/18/12 at 3:18pm