More than a study in criminal rehabilitation, more than a devastating look at societal judgement and overcoming stigma, director Miwa Nishikawa’s Under the Open Sky is first and foremost a masterful character study of an aging ex Yakuza loner who wears his heart on his sleeve while struggling to find his place in a society that won’t accept him.
Based on the novel Mibuncho by award winning crime writer Ryuzo Saki, Under the Open Sky recounts the true-life experiences of Akiyoshi Tamura.
Masao Mikami has just been released from a 13-year prison sentence. As an ex-convict he has spent most of his life in and out of jail. With limited skills, he’s entering a changed society where the Yakuza have mostly been outlawed, shunned by society and barred from legitimate jobs. He is out of touch with this new Japan; the new technologies and what he sees as the servile, polite and hypocritical behavior of its citizens.
Koji Yakusho – Tampopo (1985), with a gift for dark humor, gives a towering and emotional performance as the lone wolf ex mob enforcer. He clearly stands out from the crowd as a rough rare breed of a man who takes no crap from anyone. His time in jail hasn’t changed him a bit and he openly denies any feeling of remorse for his murder victim, even as he’s in the process of being released on the last day of his sentence.
He has a righteous heart but is quick tempered and has strong opinions, speaking out when he feels wronged. Even during his trial, he passionately admitted to his desire to kill a rival gang member while defending the honor of a woman, thereby unwittingly sentencing himself to years in prison.
Having served his sentence, reentering the free world and trying to make a new start, some people who are drawn to his earnest nature feel sympathy for him and want to help him get back on his feet. But in a society where ambiguity is an essential form of expression and direct opinions are considered impolite, Masao is frustrated and angered by people who are afraid to speak up or act against injustice.
Masao uses his brawling skills from his days as a mob strongman to mete out punishment to protect those who are being bullied, getting himself into trouble and alienating himself from society in the process. But therein lies his fatal flaw and his most admirable trait. His old-fashioned values won’t allow him to turn away from injustice when he sees it. The brute who survived the violence of the underworld is unable to adjust to normal society where normal means conforming to group consensus and never engaging in arguments or criticism.
People making an honest living are disturbed by his violent rages but he just wants to be appreciated for doing good work and tries his best to fit in and be accepted. He is told not to get involved when seeing others in trouble. Think about yourself and mind your own business. But it’s just not in his nature to look the other way when he sees injustice. Yet, that is exactly what he must do to fit back into a normal life. This turns out to be his biggest challenge and his fatal weakness. He must kill his conscience to live in harmony with today’s world.
Under the Open Sky is especially relevant in today’s social media culture. It makes a powerful comment on our society where we are rewarded for being selfish and we are not truly free to speak our mind or be authentic for fear of being condemned, rejected or ostracized by society.
JP
my film journal
The Painted Bird
Directed by Vaclav Marhoul and based on the classic and controversial novel of the same name by Polish-American award-winning author Jerzy Kosinski, The Painted Bird is a bleak but powerful wartime drama seen through the eyes of a lost Jewish boy wandering across eastern Europe during W.W.II as he endures all manner of abuse and witnesses the darker side of human nature.
Filmed in stunning Black and White and with minimal dialogue, the cinematography is both epic and intimate, evocative of the Soviet era classics like Andrei Tarkovsky’s Ivan’s Childhood (1962) and Elem Klimov’s Come and See (1985).
The unnamed nine or ten-year-old boy is sent away by his parents to a remote medieval farmhouse in the countryside to live with an old woman and escape persecution during the Nazi occupation. People in these isolated areas of Europe still lived primitively without electricity or running water, lending itself to beautifully stark pastoral landscapes of vast barren windswept fields dotted with livestock or a toiling farmer.
While waiting for his parents to return for him the old woman dies unexpectedly. Unable to wait any longer without a guardian to care for him, the boy begins a long grueling journey from hamlet to village across war-torn Eastern Europe to discover just how dangerous and cruel the world really is for a child who looks like him.
The film is divided in sections named after the people who shelter him for a time until he escapes from the abuse and exploitation he experiences at their hands. Everywhere he goes people are afraid he will bring bad luck and treat him like a demon or evil spirit often mistaking him for a gypsy because of his black colored eyes and dark Slavic complexion.
The theme of the film and the meaning of the title as shown in the film is given by a bird catcher who shows the boy that when a bird’s feathers are painted and the bird is released to return to its flock, it will not be accepted by the flock. The painted bird will be attacked and pecked to death simply because it looks different and is perceived as an imposter, an outsider just like the Jewish boy is attacked by people because of his appearance.
The story is relentlessly brutal and full of depraved cultural prejudices and customs folks practiced at the time. The boy is subjected and exposed to every kind of ill treatment imaginable by the peasants he meets. He survives only on the fringes of society with social outcasts like himself.
What stands out is the film’s use of beautiful compositions and lighting to tell a harrowing story with almost no dialogue. Images of close up facial expressions make a powerful emotional connection with the audience. The action is deftly conveyed through economical use of montage sequence editing.
The film revolves around the brilliant performance by Petr Kotlar a non-professional actor playing the young boy who is mesmerizing and keeps us transfixed by his every move. There are some surprisingly big-name cameo performances throughout by Udo Kier, Stellan Skarsgard, Harvey Keitel, Julian Sands, and Barry Pepper.
The Painted Bird is an exquisite must-see arthouse film but not for the faint of heart. Aside from the compelling story telling techniques employed, the images are striking in their visceral beauty and shocking in their raw cruelty and horror.
The Painted Bird was the Czech Republic’s official Oscar entry and was shortlisted for the 2019 Academy Award season winning much critical praise around the world for its raw honest portrayal of not only war atrocities but also man’s baser instincts. It was recently part of the European Union Film Festival.
JP
Joker
Yes, this is the same “Clown Prince of Crime” from the Batman franchise, but don’t be fooled, this is not a comic book franchise movie. This is an adult themed origin story about the human side of the man who laughs, Arthur Fleck, a pitiful figure who will eventually become Batman’s arch nemesis.
It’s not what you would expect from a supervillain film. Todd Phillips’ Joker is a gritty realistic take on the character. It’s a dark tragic tale that treats its bedraggled antihero with great sympathy and insight, resulting in a memorable but dismal story that feels like a low budget independent film.
The film is set in 1981, when Bruce Wayne is still a young boy and only appears briefly at the end of Joker, setting up the personal clash between these iconic characters. What’s not well known is how this insecure and tormented man who works as a party clown, is driven to be one of the most feared villains in Gotham.
The Gotham City of Joker is a shadowy, crime ridden, rat infested retro New York City of the 70s and 80s as seen in Scorsese’s early films reinforced by a bleak gloom drenched visual palate. Arthur Fleck is a kind of Travis Bickle from Taxi Driver (1976) seemingly quiet and gentle, trying to bring some joy into his drab world as a party clown and aspiring stand-up comic, but inside he harbors rage and anger.
He’s mentally unstable, and his strange medical condition that makes him laugh uncontrollably when he is nervous or under stress makes people uncomfortable. They sometimes think he’s mocking them, which can get him into trouble with the wrong people.
But Arthur tries hard to see the positive side of life in the face of his misery. He always tries to be honest and do the right thing. His mother tells him to “always smile and put on a happy face”. But it just seems to make things worse and society just keeps pushing him to the limits of tolerance.
The city’s denizens eventually get the better of him and in fact, he does get into trouble with the wrong people. He is bullied, name called and violently beaten up because of his clownish cackle, which can be analogous to the stigma of mental illness.
Joaquin Phoenix’s moving portrayal is convincingly creepy as a man on the verge of being unhinged. His performance as someone who seems to constantly be on the brink between love and hate is scary and mesmerizing to watch. He makes Arthur Fleck a sympathetic character who society has pushed too far until a revelation about his past sends him over the edge.
Joker, in his first stand-alone film, is a disturbing, shocking and painful vision that reflect our own angry hate-filled and corrupt times. It’s an uncompromising and uniquely intimate character study done with great empathy and shown through an unsentimental lens that talks directly to our fears and insecurities as a society at large.
Icelandic composer extraordinaire, Hildur Guonadottir’s cello score is not only hauntingly beautiful but also perfectly evocative of Arthur’s tragic journey into mayhem. She was also the cellist on Sicario (2015) and The Revenant (2015), and recently won the golden globe for the Joker music and an Emmy for the award-winning TV series Chernobyl.
Joker is nominated for 11 Academy Awards including Best Picture, Best Actor, Best Director and Hildur’s music score, the most of any film this year, which is a testament to its powerful appeal.
JP
It’s not what you would expect from a supervillain film. Todd Phillips’ Joker is a gritty realistic take on the character. It’s a dark tragic tale that treats its bedraggled antihero with great sympathy and insight, resulting in a memorable but dismal story that feels like a low budget independent film.
The film is set in 1981, when Bruce Wayne is still a young boy and only appears briefly at the end of Joker, setting up the personal clash between these iconic characters. What’s not well known is how this insecure and tormented man who works as a party clown, is driven to be one of the most feared villains in Gotham.
The Gotham City of Joker is a shadowy, crime ridden, rat infested retro New York City of the 70s and 80s as seen in Scorsese’s early films reinforced by a bleak gloom drenched visual palate. Arthur Fleck is a kind of Travis Bickle from Taxi Driver (1976) seemingly quiet and gentle, trying to bring some joy into his drab world as a party clown and aspiring stand-up comic, but inside he harbors rage and anger.
He’s mentally unstable, and his strange medical condition that makes him laugh uncontrollably when he is nervous or under stress makes people uncomfortable. They sometimes think he’s mocking them, which can get him into trouble with the wrong people.
But Arthur tries hard to see the positive side of life in the face of his misery. He always tries to be honest and do the right thing. His mother tells him to “always smile and put on a happy face”. But it just seems to make things worse and society just keeps pushing him to the limits of tolerance.
The city’s denizens eventually get the better of him and in fact, he does get into trouble with the wrong people. He is bullied, name called and violently beaten up because of his clownish cackle, which can be analogous to the stigma of mental illness.
Joaquin Phoenix’s moving portrayal is convincingly creepy as a man on the verge of being unhinged. His performance as someone who seems to constantly be on the brink between love and hate is scary and mesmerizing to watch. He makes Arthur Fleck a sympathetic character who society has pushed too far until a revelation about his past sends him over the edge.
Joker, in his first stand-alone film, is a disturbing, shocking and painful vision that reflect our own angry hate-filled and corrupt times. It’s an uncompromising and uniquely intimate character study done with great empathy and shown through an unsentimental lens that talks directly to our fears and insecurities as a society at large.
Icelandic composer extraordinaire, Hildur Guonadottir’s cello score is not only hauntingly beautiful but also perfectly evocative of Arthur’s tragic journey into mayhem. She was also the cellist on Sicario (2015) and The Revenant (2015), and recently won the golden globe for the Joker music and an Emmy for the award-winning TV series Chernobyl.
Joker is nominated for 11 Academy Awards including Best Picture, Best Actor, Best Director and Hildur’s music score, the most of any film this year, which is a testament to its powerful appeal.
JP
Monos
Monos is a modern twist on the Lord of the Flies story, while also recalling the surreal jungle insanity of Werner Herzog’s Aguirre, The Wrath of God (1972).
Set in an unknown Latin American jungle, a group of teenage guerrillas are training for a war that seems to be happening somewhere beyond the Andean mountain camp where they are based above the clouds while waiting for orders.
It’s a classic tale of how children from different social backgrounds, unsupervised and isolated from civilization left to their own devices armed with deadly weapons, will bring out their most violent instincts.
Playing soldier, the young commandos, addressed by their war names like Rambo, Lobo, Smurf, Dog and Bigfoot, are tasked with holding an American female doctor hostage (Julianne Nicholson). As rivalries grow, and opinions differ, shifting alliances form into separate camps that eventually threaten to tear apart the fragile order of the wild cult of kids with deadly results.
What makes Monos so intriguing and powerful is its unflinching and unnerving look at how a cadre of child soldiers, wielding automatic weapons, steadily degenerate from free spirited self-discovery, to baser warlike instincts and survival in the lower depths of the jungle.
The original music, a mix of drums, whistles and synthesizers, by Mica Levi contributes to the dark dense eerie atmosphere and feeling of primeval beauty and terrifying horror. With echoes of the hellish tribal chaos of Apocalypse Now (1979), Monos is a bold unpredictable film with an impressive ensemble cast of young unknown actors.
They are referred to as Monos, meaning monkeys, which is exactly what they appear to be devolving into as they savagely lose their innocence, regressing to a state of anarchy and eventually forced to individually fall away from the group to find their own way out of the jungle.
As the film builds to a gripping climax, we are left with the wild forces of nature consuming any sense of humanity. The visuals become darker, hallucinogenic and confused. A small breakaway group of aggressive fanatical “monos” enter into another world, another reality, absorbed by the heart of darkness.
Visually stunning, Monos was beautifully filmed by cinematographer Jasper Wolf on remote locations in Colombia’s Andean mountains and dense jungle rivers that were mostly untouched by humans.
Director Alejandro Landes in only his second fiction feature, brings us a mesmerizing nightmarish vision; an unforgettable experience with fully realized characters, and makes it relevant for our modern times with all its metaphorical elements in tack. He is an important new voice in Colombian cinema.
An International co-production between eight countries, Monos has won multiple international awards including the World Cinema Dramatic Special Jury prize at the 2019 Sundance Film Festival, and was selected as Colombia’s official Oscar submission for the Best International Feature Film.
JP
Set in an unknown Latin American jungle, a group of teenage guerrillas are training for a war that seems to be happening somewhere beyond the Andean mountain camp where they are based above the clouds while waiting for orders.
It’s a classic tale of how children from different social backgrounds, unsupervised and isolated from civilization left to their own devices armed with deadly weapons, will bring out their most violent instincts.
Playing soldier, the young commandos, addressed by their war names like Rambo, Lobo, Smurf, Dog and Bigfoot, are tasked with holding an American female doctor hostage (Julianne Nicholson). As rivalries grow, and opinions differ, shifting alliances form into separate camps that eventually threaten to tear apart the fragile order of the wild cult of kids with deadly results.
What makes Monos so intriguing and powerful is its unflinching and unnerving look at how a cadre of child soldiers, wielding automatic weapons, steadily degenerate from free spirited self-discovery, to baser warlike instincts and survival in the lower depths of the jungle.
The original music, a mix of drums, whistles and synthesizers, by Mica Levi contributes to the dark dense eerie atmosphere and feeling of primeval beauty and terrifying horror. With echoes of the hellish tribal chaos of Apocalypse Now (1979), Monos is a bold unpredictable film with an impressive ensemble cast of young unknown actors.
They are referred to as Monos, meaning monkeys, which is exactly what they appear to be devolving into as they savagely lose their innocence, regressing to a state of anarchy and eventually forced to individually fall away from the group to find their own way out of the jungle.
As the film builds to a gripping climax, we are left with the wild forces of nature consuming any sense of humanity. The visuals become darker, hallucinogenic and confused. A small breakaway group of aggressive fanatical “monos” enter into another world, another reality, absorbed by the heart of darkness.
Visually stunning, Monos was beautifully filmed by cinematographer Jasper Wolf on remote locations in Colombia’s Andean mountains and dense jungle rivers that were mostly untouched by humans.
Director Alejandro Landes in only his second fiction feature, brings us a mesmerizing nightmarish vision; an unforgettable experience with fully realized characters, and makes it relevant for our modern times with all its metaphorical elements in tack. He is an important new voice in Colombian cinema.
An International co-production between eight countries, Monos has won multiple international awards including the World Cinema Dramatic Special Jury prize at the 2019 Sundance Film Festival, and was selected as Colombia’s official Oscar submission for the Best International Feature Film.
JP
Jojo Rabbit
A child’s eye view of war in Nazi Germany
and the propaganda machine that vilified Jews, Jojo Rabbit starts as a hilarious farcical romp that mocks Nazis
and their Hitler youth indoctrination program, and becomes a surprisingly poignant
and touching comment on hate and the toxic effect of lies.
Written and directed by New Zealand
wunderkind actor, producer, director and comedian Taika Waititi who previously directed
Thor: Ragnarok (2017) and Hunt for the Wilderpeople (2016), from a
novel by New Zealand-Belgium author Christine Leunens’ Caging Skies, Jojo Rabbit
is very much a reflection of Waititi’s own wacky irreverent Kiwi humor.
A mixture of zany comedy and uplifting drama
that makes no bones about portraying the Führer as a childish buffoon as played
by Waititi himself. This Hitler is the imaginary companion of ten-year-old ardent
Nazi follower Johannes (Jojo) Betzler (Roman Griffin Davis).
To help the audience understand the extent
of Hitler’s popularity in Germany, there is a brilliant musical sequence early
on that shows images of adoring crowds screaming and reaching for Hitler put to I Want to Hold Your Hand by The Beatles. If you didn’t know who these people were, you’d think
they were crazy Beatles fans.
Jojo, egged on by his imagined Hitler, thinks
war is fun and exciting, so when he must prove his courage at the Hitler youth
camp by killing a rabbit with his bare hands and fails miserably, he’s teased
by the other kids who call him a scared rabbit.
After being injured in an accident during
war games while trying to prove he can be as fearless as the other kids, he starts
questioning the blind fanaticism of the country. It’s not until he discovers a
Jewish girl Elsa (Thomasin McKenzie) secretly living in his house, a “monster”
hidden in the attic by his mother (Scarlett Johansson), that he starts to
question his own loyalty and humanity.
Part of Jojo
Rabbit’s huge appeal is Waititi’s hilarious performance as Hitler and how
it contrasts dramatically with the innocent naive sweetness of Johannes who
tries to be the perfect Nazi killer but just can’t seem to live up to the
morally corrupt expectations of his Nazi superiors.
Sam Rockwell who won the best supporting
actor Oscar for Three Billboards Outside
Ebbing, Missouri (2017), brilliantly portrays a hysterical disillusioned
Nazi training officer who clearly struggles with the Nazi ideology.
Jojo
Rabbit is a fun and moving satire that exposes the
absurdity of war and the harmful consequences of blind faith in propaganda. In
this there are a few similarities with the Roberto Benigni film Life is Beautiful (1997). Both are
coming-of-age stories that have at their heart a young boy who is protected
from the horrors of war by an adult who plays into the illusion of war as an
exciting game.
Jojo
Rabbit has just won the coveted People’s Choice
Award at the Toronto International Film Festival 2019, and it’s a good bet to
do well at the Oscars. You won’t find a more crowd-pleasing and audacious film
than this one.
JP
Honeyland
Amid the ruins of a remote, long abandoned stone hamlet somewhere in the Balkan Mountains of North Macedonia, lives one of the last remaining European women to practice an ancient tradition of beekeeping.
This visually stunning documentary and winner of multiple Sundance Awards, follows Hatidze Muratova as she goes about her daily routine taking care of her ailing mother in a small stone hut as she moves about the barren valley landscape tending to her beehives and collecting honey according to ancient traditions.
Without electricity, phones or transportation, her dedication and love of the wild bees is apparent as she respectfully safeguards her beehives, ensuring their sustainability by only taking from the bees what she needs, leaving enough honeycombs for the bees to continue their production.
It’s a quiet solitary existence but Hatidze seems content to live this simple way of life harvesting and selling her pure honey to the marketplace in the capital city of Skopje, some 12 miles away by foot.
Set in a world seldom seen in film, the breathtaking visuals are realized with starkly beautiful vistas showing a way of life now gone or quickly disappearing. It harkens back to a time when people worked the land in harsh conditions always conscious of the delicate balance of nature.
When a family of Turkish gypsies arrive with their herd of cattle, Hatidze is glad for the human company, especially the children that she befriends and teaches about the ways of beekeeping. But her trusting and generous nature is betrayed and her livelihood threatened when their father Hussein is forced to supplement his income to support his growing family by starting his own beehive business with disastrous results.
The naturally unfolding drama is a microcosm of today’s problems in society as a whole and environmental allegory. Being a docudrama, filmed by Tamara Kotevska and Ljubomir Stefanov over the course of three years, the experience of Hatidze’s hard life, which plays like a neorealist parable, is as real and heartfelt as it gets.
Honeyland recalls the early films of the acclaimed Iranian director Abbas Kiarostami – Close-Up (1990), and Jafar Panahi – Taxi Tehran (2015), 3 Faces (2018) in style and setting; about people living on the fringes of society in extremely poor and desperate circumstances.
For those who are looking for an eye-opening experience and learning about how some people are living in isolated regions of the world, this is a must-see. But this film is more than that eventually revealing an important cautionary tale about our consumerist greed.
JP
This visually stunning documentary and winner of multiple Sundance Awards, follows Hatidze Muratova as she goes about her daily routine taking care of her ailing mother in a small stone hut as she moves about the barren valley landscape tending to her beehives and collecting honey according to ancient traditions.
Without electricity, phones or transportation, her dedication and love of the wild bees is apparent as she respectfully safeguards her beehives, ensuring their sustainability by only taking from the bees what she needs, leaving enough honeycombs for the bees to continue their production.
It’s a quiet solitary existence but Hatidze seems content to live this simple way of life harvesting and selling her pure honey to the marketplace in the capital city of Skopje, some 12 miles away by foot.
Set in a world seldom seen in film, the breathtaking visuals are realized with starkly beautiful vistas showing a way of life now gone or quickly disappearing. It harkens back to a time when people worked the land in harsh conditions always conscious of the delicate balance of nature.
When a family of Turkish gypsies arrive with their herd of cattle, Hatidze is glad for the human company, especially the children that she befriends and teaches about the ways of beekeeping. But her trusting and generous nature is betrayed and her livelihood threatened when their father Hussein is forced to supplement his income to support his growing family by starting his own beehive business with disastrous results.
The naturally unfolding drama is a microcosm of today’s problems in society as a whole and environmental allegory. Being a docudrama, filmed by Tamara Kotevska and Ljubomir Stefanov over the course of three years, the experience of Hatidze’s hard life, which plays like a neorealist parable, is as real and heartfelt as it gets.
Honeyland recalls the early films of the acclaimed Iranian director Abbas Kiarostami – Close-Up (1990), and Jafar Panahi – Taxi Tehran (2015), 3 Faces (2018) in style and setting; about people living on the fringes of society in extremely poor and desperate circumstances.
For those who are looking for an eye-opening experience and learning about how some people are living in isolated regions of the world, this is a must-see. But this film is more than that eventually revealing an important cautionary tale about our consumerist greed.
JP
The Cinema of Astronauts in Jeopardy
On the 50th Anniversary of the
Apollo 11 moon landing, I have compiled a list of films that have attempted to
capture both the adventurous wonder and the dangerous horrors of space travel.
As we learn more about vast new expanses of our universe with unmanned space probes, space travel becomes a more tangible prospect within our grasp. These films have captured our imagination and whetted our appetite for the challenges of exploring the universe beyond our own planet.
In recent years we have seen a slew of big budget films exploring the technology and spirit (or folly) necessary for traveling through space and reaching unknown destinations. The infinity of space is both intriguing and terrifying. Even more so today since advancements in science and technology have shown that we are very likely not alone in the universe.
Our imaginations run wild as we contemplate
the unknown with possibilities both positive and negative. But as humans have
taken their first steps into space we have discovered that the study of
science and physics are critical to the understanding of the cosmos and how to
survive in it.
Whether you are fascinated by the prospect
of space exploration, discovering unknown regions of our universe, the challenges of
living in isolation from the rest of humanity while floating in a self-contained
bubble orbiting the earth, or stranded on an uninhabited planet, scientific reality-based
astronaut films that attempt to portray realistic adventures in space while keeping
the fantasy elements to a minimum are becoming a genre on it's own.
We have come a long way toward making those
ambitious dreams of life in space a reality and recent films and documentaries
have made the prospect seem a little more exciting if scary. IMAX space documentaries
such as Blue Planet (1990), Cosmic Voyage (1996), Space Station (2002), Magnificent Desolation: Walking on the Moon
(2005) and Hubble (2010) have ignited
the imaginations of many filmmakers, making the idea of living and traveling in
space tangibly real.
The latest in a new sub-genre of Sci-fi space
films have created a whole new visual vocabulary for realistic interstellar space
travel. Ron Howard’s Apollo 13 (1995)
set a new standard for astronaut films, Alfonso Cuarón’s award winning film Gravity (2013), Christopher Nolan’s Interstellar
(2014) and Ridley Scott’s The Martian
(2015) each taking the perennial Homeric hero’s journey to a whole new
metaphysical level with both intellectual and emotionally satisfying results.
Below is a list of 26 films that represent
the evolution of the astronauts-in-jeopardy adventure cinema since 1950. You
are now go-for-launch. T minus 3, 2, 1, liftoff…
Ad Astra (2019)
First Man (2018)
Alien: Covenant (2017)
Passengers (2016)
Interstellar (2014)
Stranded (2013)
Europa Report (2013)
Sunshine (2007)
Solaris (2002)
Red Planet (2000)
Space Cowboys (2000)
Mission to Mars (2000)
Armageddon (1998)
Lost in Space (1998)
Event Horizon (1997)
Apollo 13 (1995)
The Right Stuff (1983)
Marooned (1979)
Robinson Crusoe on Mars (1964)
Rocketship X-M (1950)
JP
JP
Bohemian Rhapsody
I grew up with Queen’s music while going to
school and loved their dramatic, lyrical, diverse sounds, but I knew very
little about the band itself during that time.
Whatever you might think of the rock band Queen,
or director Bryan Singer, or whether this musical tribute to the band is
accurately portrayed, it matters little as there is no denying the sheer
emotional power of this rapturous film that tells the story of one of the legendary
performers of our time.
Bohemian
Rhapsody follows frontman Freddie Mercury (Rami
Malek) as he gains fame and battles with his identity as a bisexual of
immigrant parents, and his relationship with fans and the other band members.
The music of Queen is so brilliantly used
here to connect the turbulent story of lead singer Freddie Mercury and his rise
to fame; a performer who believed so strongly in himself and his ability to
capture an audience with his amazing vocal range that his bursting onstage energy
could barely be contained.
The historic epic performance of the band’s
Live Aid appearance that bookends the film is one of the most euphoric and powerful
cinematic experiences of any film I’ve seen.
We meet Freddie at the beginning of the
film working as a baggage handler at an airport in England and scribbling
poetry and lyrics in his spare time. When he goes out at night to see a small
band play at a nightclub gig, he approaches the band members after the show to
offer his admiration and boast of his own musical talent. This is the early
group of musicians who would eventually become the musical phenomenon of the
70s known as Queen.
Bohemian
Rhapsody shows us the creative process of a
disparate group of misfits with an unwavering belief and acceptance of each
other while working as a family unit. And the power of Queen’s music comes from
Freddie’s ability to use his incredible vocals in a way that spoke to those who
are outsiders and feel unwanted or unloved.
A special mention is due to the incredible
performance by Rami Malek as Freddie Mercury who fully deserves the accolades
and awards he has been receiving which include the Best Actor at the Screen
Actors Guild Awards. He embodies the spirit of Mercury’s larger than life
persona both onstage and off.
Like Queen’s music, the critics were not
always kind to the film, slamming it for its inaccuracies, but for many fans that
are not familiar with the band’s private or public history, Bohemian Rhapsody absolutely works as an
emotionally satisfying film with so many iconic songs that it easily warrants
multiple viewing. Most filmgoers have come away from the experience with
elation.
Bohemian
Rhapsody was nominated for 5 Academy Awards,
including Best Picture and Best Actor for Rami Malek who has already won the
Golden Globe and the SAG Awards, making him the front runner to win the Oscar. The
film also won the Golden Globe for Best Picture – Drama.
JP
Border
Border or Gräns is a unique and
fascinating Swedish take on mythical creatures living among us from
Scandinavian folklore. A fantasy film that looks and feels as real as the
contemporary world we live in today.
When we first meet Tina (Eva Melander), we
know she is different. Aside from the way she looks she also behaves oddly. At first,
we can rationalize her behavior as a product of her loneliness due to her strange
unsightly appearance. But slowly we realize it may be something else.
Tina has a live-in companion at home but they
have a platonic relationship and his pet dogs are instinctively hostile toward
her. She likes to walk alone barefooted through the forest surrounding her
remote backwoods cabin home. Wild forest animals are attracted to her and are
not threatened by her. She seems to have an almost supernatural connection with
nature and wildlife. And her fear of lightning is more than justified.
Tina works as a customs security officer in
Sweden on the border with Finland where she uses her extraordinary ability to smell
people’s emotions and feelings, making her valuable for picking out criminals
or people who are hiding something.
Many things in this film aren’t what they
seem. We are given clues but even Tina is not aware of the truth about herself.
The questions she has, slowly come to light after she meets a man named Vore (Eero
Milonoff) who resembles her with many similar physical features.
After her second encounter with Vore, she
becomes curiously intrigued by his strange behavior and senses that he’s hiding
something when he reveals his knowledge of insects that she has always had a
fascination with since her childhood.
As they get to know each other and become romantically
involved, Vore eventually opens her eyes to a whole new world, making her aware
of her true identity and powers. But what she discovers about herself will
change her life forever, forcing her to make the toughest decision of her life.
Border is a weird but powerful tale about how people who look and behave
differently are pushed to the edges of society, touching on issues of identity,
racism, compassion and living in harmony with nature. It should resonate deeply
with anyone who feels like an outcast, an orphan or has in some way been
marginalized.
Thanks to the fearless daring performances
of Eva and Eero, the characters of Tina and Vore are nothing short of
mesmerizing and totally convincing. Border
captivates with a world that reimagines ancient Nordic mythology for a modern
audience while staying true to mythic traditions.
Directed by Iranian-Swedish filmmaker Ali
Abbasi and winner of the Un Certain Regard award at the 2018 Cannes film
festival, Border is a dark, mysterious
thought-provoking drama unlike any other film I’ve seen and will leave audiences
stunned in amazement, wondering what they have just witnessed.
JP
The Accused - Acusada
The
Accused follows a young 21-year-old student, Dolores
Dreier (Lali Esposito), accused of murdering her best friend at a house party
where she was the last one to see her alive. Under virtual house arrest for two
and a half years, Dolores becomes increasingly frustrated and angry by the
physical limitations imposed on her life by her family.
Set in contemporary suburban Buenos Aires just
days away from her trial, which has become a high-profile case intently
followed by the Argentine media, Dolores is strictly coached by her lawyer and
parents, and her freedom of movement restricted to avoid media attention while
preparing for the trial.
This intense drama is clinically shot with
cold icy blue tones and intimate camera work that reflect the dark mood of
Dolores who is portrayed unsympathetically at times and seems quietly distant
as if hiding some unspoken secret.
Lali Esposito as Dolores gives a gripping
subdued performance as an embittered teenager preparing for the worst, making
her seem less innocent and more ambiguous than her family would like. But she
remains a compelling character due to Lali’s empathetic portrayal and the
film succeeds in keeping us guessing about her innocence.
Public opinion seems stacked against her as
the media scrutinizes her and her upper-class wealthy family. The media circus
surrounding the murder case and how the family deals with their daughter’s
public perception is the main focus of the film and the financial and
psychological toll it takes on the family.
As the day of the trial draws closer, the
tension increases as we slowly discover that her father Luis (Leonardo
Sbaraglia), has used his considerable wealth to protect his daughter and influence
public opinion to defend her.
There is a lot at stake for Luis, his
family and his career as the pressure mounts and Dolores becomes more unstable.
It eventually becomes too much for her to handle and she decides to take a big
risk by going off script and greatly jeopardizing her chances.
Director Gonzalo Tobal skillfully focuses
our attention with a stunning mix of darkly alluring cinematography,
interesting ambiguous characters, brilliant performances and a captivating
story.
The Accused also touches on modern day issues of cyber bullying, media manipulation and public scrutiny. Dolores’ guilt or innocence is always kept a mystery in the film but it becomes less important whether she has committed the crime or not as the film becomes more about manipulating public opinion to blur the truth.
The Accused also touches on modern day issues of cyber bullying, media manipulation and public scrutiny. Dolores’ guilt or innocence is always kept a mystery in the film but it becomes less important whether she has committed the crime or not as the film becomes more about manipulating public opinion to blur the truth.
The media at one point is focused on
someone’s claim of a loose wild Puma sighting in the suburban neighborhood and
as police investigate, the media attention stokes a frenzy in the public, but
whether or not this Puma was ever really seen or not becomes unimportant. The
mere possibility is what fuels people’s imagination and becomes a kind of
metaphor for the situation Dolores finds herself in.
The
Accused is a satisfying and poignant drama well
made with an assured hand, perfectly cast and with a stunning visual design
making director Gonzalo Tobal one of Argentina’s foremost filmmakers to pay
attention to.
JP
Green Book
Green
Book is the kind of moving holiday crowd-pleaser endowed
with so much charm it’s sure to be an Oscar contender with equally memorable
performances. In the current racially charged times, it might also just be for African
Americans what PRIDE (2014) was for the LGBTQ, it could melt even the most prejudiced
heart.
Directed by Peter Farrelly - Dumb and Dumber (1994), Green Book is a racial justice road
movie with lots of humor that hits all the right notes. But don’t think wacky Dumb and Dumber type of buddy comedy. The
laughs in this film come straight out of a genuine respect for its characters.
Based on true events set in 1962 America,
Viggo Mortensen plays Tony (Lip) Vallelonga, a working-class Italian-American bouncer
and con artist at a New York night club with a talent for “persuading people to
do what they don’t want to do” and a lot of street smarts.
When the night club he works for closes
down for repairs, he applies for a job as a driver for a gifted classical
pianist and composer Don Shirley (Mahershala Ali) who was a virtuoso performer
and traveled all over the US with his trio playing for the country’s wealthiest
establishments.
When the record company sends Don Shirley
and his trio on a three-month concert tour through the deep South, which was
highly segregated in the 60s, Don who happens to be a black musician in America
at a time when African Americans were still looked down upon as inferior and
dangerous, decides he will need the services of someone who can protect him
while also getting him to all his engagements on time.
This unlikely pair and their awkward
relationship play like a kind of Oscar and Felix odd couple, but as opposite as
they are in every way possible, they also depend on each other for their survival
and eventually gain a stronger bond and greater respect for each other.
Viggo Mortensen and Mahershala Ali are
perfectly cast and hold the audience completely enthralled. What we learn about
these two people while spending time together on the road is often hilarious
and heartwarming.
The Green Book of the title is a
segregation era motorist travel guide for Black Americans faced with pervasive
discrimination while traveling in America. Being refused accommodation and food
by white owned businesses was a common dilemma for Blacks in the southern
states, the Green Book helped them to find hotels and restaurants friendly to non-whites.
Being a colored person, Don Shirley was
often refused entry to whites-only Hotels and restaurants, even at places where
he was actually performing, so while Tony could stay and eat wherever he wanted,
Don would often have to find other accommodations during their road tour.
The power of Green Book lies in its emotionally uplifting story, its
inspirational message of love and friendship, and the way its flawed human characters
are treated with humor and dignity without judgement. The closest film I would
compare it to is the French hit The Intouchables (2011) in its portrayal of an improbable comradeship and triumph
of the human spirit.
Winner of the People’s Choice Award at this
year’s Toronto International Film Festival where it had its World Premiere,
this is one of the funniest and moving films of the year.
JP
First Man
First Man is not your
typical astronauts in jeopardy film. Its closest relative is Ron Howard’s Apollo 13 (1997), which set the standard
for the NASA space film. Set during the same time period, it’s the true story of
Apollo 11 and contains many of the same astronauts that were involved in the
Apollo program and eventually went on to fly on Apollo 13 and other missions.
But where Apollo 13 glorified the accomplishments and sacrifices of NASA’s space
missions and the astronauts who flew them, First
Man is decidedly more cerebral showing us a more personal portrait of the
psychological impact the astronauts and their families suffered during the
space program, particularly Neil Armstrong (Ryan Gosling) and his wife Janet (Claire
Foy).
The moon mission is actually more of a
secondary story in the background here, focusing mainly on the intense
psychological drama playing out through the mind of Neil Armstrong who is shown
here as being a deeply focused, highly concentrated and a dedicated pilot, the
embodiment of calm under pressure.
Neil is the kind of soft-spoken super human
whose quick thinking and determination gets him out of the most difficult
hair-raising situations. He was in many ways the perfect person to pull off
such a dangerous undertaking.
But his stoicism did not always sit well
with his family, particularly his wife who sometimes needed him to be more
nurturing, especially during a family tragedy that occurred just before Neil was
selected to be a part of the Gemini program, which is the precursor to the
Apollo program.
Where Apollo
13 was sometimes criticized for not showing the social political atmosphere
of the country in which these missions took place, First Man makes more of an attempt at showing some brief scenes of
news footage covering Vietnam war protests and general public attitudes towards
NASA’s moon missions.
Visually, First Man is more intimately concentrated on Armstrong the man, as opposed
to the heroic pubic figure of our imagination, and his experiences dealing with
the uncertainty and magnitude of the tasks he and the other astronauts faced
while dealing with overwhelming pressure to succeed.
Based on his essential biography First Man: The Life of Neil A. Armstrong
by James R. Hansen, Damien Chazelle decided to make very few cuts between the
Houston crew on the ground and the astronauts in space, opting to keep our
attention focused on Neil Armstrong’s first-hand experience.
The flag controversy surrounding the film
is really a non-event as it’s clear that the film takes the perspective of Neil’s
personal and private journey connected more to his suffering after a family
loss than to the monumental task he has been given.
When asked by reporters if he will be taking
any personal items up to the moon with him, Neil characteristically responds
with a deadpan serious expression showing again his pragmatic dedicated focus
that he wished he could take more fuel with him.
So, it was deeply satisfying when First Man ultimately culminated with a
powerful emotional climax after arriving on the moon that is completely
unrelated to being on the moon. While surveying the barren lifeless cratered
surface, Armstrong flashes back to memories of his life back on earth and the
moment becomes not about the moon or even the human achievement, but a personal
object that Neil brought with him, which has haunted him since his journey
began.
JP
Shoplifters
Shoplifters is a sensitively
portrayed look at a charming surrogate family living on the fringe of society, making
a compelling case for the way families we create or fall in with can sometimes
be more meaningful and satisfying than the families we are born into.
The cinema of Japan’s Hirokazu Kore-eda
from Nobody Knows (2004), Like Father, Like Son (2013), Our Little Sister (2015), and After the Storm (2016), have all had a
similar thread underlying these stories of unconventional families created out
of genuine kindness under crisis situations who share a special bond that goes
deeper than blood relations.
Cannes Palme d’Or winner, Shoplifters, focuses Kore-eda’s themes
of what it means to be a family more powerfully than any of his previous films,
while also commenting on Japan’s social class system. Along with Our Little Sister, it’s one of his best
films.
Where Our Little Sister was a gentle upbeat feel-good story of sisters living in
their mother’s ancestral home who take in a young girl after the death of their
father; their half-sister, Shoplifters
is decidedly less optimistic showing a bleaker more tragic heartrending side of
humanity.
What at first appears to be a poor family of
part-time vagrants living together in a packed shared accommodation among urban
dwellings in a Japanese neighborhood, is slowly revealed to be a loving group
of outcasts who have come together to help each other for mutual benefit. They
share everything and despite the extremely difficult living arrangement, the
group seems to thrive and enjoy each other’s company, engaging in family outings
and activities.
A kind-hearted and generous low-income couple
in their 30s and 40s, Osamu (Lily Franky) and Nobuyo (Sakura Ando), living with
an elderly lady, Hatsue (Kirin Kiki), left to fend for herself by her own family,
have adopted a young boy, Shota (Jyo Kairi) who was abandoned, and a teen girl
who works at a strip theatre. Osamu the father figure teaches the boy the art
of shoplifting to supplement their meager earnings.
When they come across a 5-year-old girl,
Yuri (Miyu Sasaki) who is neglected and abused by her mother and left out in the cold without
food, Osamu decides to help her and takes her into his care. Yuri quickly
thrives on the love and affection she receives from her new makeshift family. But
when a news story appears on TV that a small girl has gone missing that fits
Yuri’s description, the couple tries to return her to the parents. However,
whether out of compassion for the girl or maybe for selfish reasons, doing the
right thing becomes morally complicated.
The group of outcasts (shoplifters) forge a
real bond and sense of belonging that’s stronger than any family they ever had.
But when the police discover them, the consequences for everyone as the state
returns the children to their real families are devastating. What Shoplifters does so well is show us how
people from all ages and walks of life are being marginalized by a society that
values individual gain and material wealth over human kindness and genuine
affection.
Hirokazu Kore-eda uses his abundance of
reality shooting style and dense interior locations that instantly puts you in
the tight living spaces of typical Japanese homes. Visually, the film is
dedicated to its characters and a high level of detail in their crammed surroundings.
Shoplifters is thought provoking and revealing of Japan’s growing threat to
families for whom an addiction to social media and online living is causing
them to neglect their everyday real-life existence instead of enhancing it.
JP
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