Slow week, surprisingly. It seems as if I’m starting to watch less and less each week now.
In Bruges (2008)
Directed by Martin McDonagh
I remember seeing this film a few years ago, and all I really remembered was how funny it was. Having seen it again this past week, I realized it’s way more nuanced than a standard comedy film. There is a grim, dark story in this film, and it’s the wonderful script that shines constantly through that darkness.
Speed Racer (2008)
Directed by Lana & Andy Wachowski
If you had listened to our podcast episode in which we discuss the mess that is Fantastic Four, we briefly talked about Speed Racer. I mentioned that I had seen it once on the big screen back in 2008, but had not seen it since. Last year I saw it for the first time, since then, and somewhere in the middle of the opening sequence, I had fallen in love.
There was something extremely powerful in the way the Wachowski’s cut from the present to the past. It perfectly explained everything that you needed to know. Also, let’s not discount the film’s jaw-dropping final race.
The Social Network (2010)
Directed by David Fincher
There are tons of scenes that are utter perfection in this film, and I think they’re all after one another, beginning with the intro.
What makes a good film? All those components are at the very least good to great in this film. The writing, score, and editing all won awards at the Academy Awards that year.
I wrote way more words on The Social Network here for Valentine’s Day.
I Saw The Devil (2010)
Directed by Kim-Jee Woon
The cinematography in this is outstanding. It’s something that has stayed with me for the past few years. That, and the insane determination that Kim has as he chases the person who killed his fiancée.
Hail, Caesar! (2016)
Directed by Joel & Ethan Coen
I finally got around to see the new film by the Coen brothers. Going into the film, I was a bit nervou after seeing how divisive it has been. That being said, I loved it.
In typical Coen-fashion, they are far more interested in the character they have realized as opposed to a “conventional narrative”. This time the character is Eddie Mannix, who is a “fixer” for Capitol Pictures (also featured in the great Barton Fink).
Roger Deakins returns as their cinematographer, and he’s back on film a brief stint with the Alexa digital camera. As per usual, his work is delightful. The Busby Berkeley inspired sequence is beautiful, and the dance scene with Channing Tatum is just an utter joy to watch. As the entire film was – at least for me.