Films I loved in December 2018

20 December 2018
Roma

Roma

Alfonso Cuarón’s Roma is a brilliant fusion of personal storytelling with broader observations on race, class and gender with it’s stunningly photographed story of a maid working for a middle-class family in Mexico City in the early 1970s. It’s a slow burn drama that invites the audience into the inner world of the characters, making its ability later in the film to quietly devastate, all the more profound. A film of both sensitivity and unflinching honesty, it left me trembling long after the final credits rolled.

Climax

Climax

Climax delivers what audiences have come to expect from a Gaspar Noé film with its large offerings of drug fuelled transgressions, as a party for a troupe of contemporary dancers becomes increasingly nightmarish thanks to the LSD-spiked punch. It’s also the film where Noé displays the closest he has come to restraint, so that rather than being simply grim, the film’s hallucinogenic descent into hell is an exhilarating rush of black humour, astonishing dance choreography and gleefully vicarious nastiness.

CAN YOU EVER FORGIVE ME

Melissa McCarthy as Lee Israel and Richard E Grant as Jack Hock in Can You Ever Forgive Me?

Can You Ever Forgive Me? could have been a lighthearted it’s-funny-because-it’s-true film about the literary hoax committed by author Lee Israel (Melissa McCarthy) in New York in the early 1990s, but instead it’s a sweetly melancholic tale about failure, ostracisation and disappointment. While the stakes aren’t as high as they are in Midnight Cowboy, it has much in common with that 1969 classic, as it’s similarly a beautifully acted, heartfelt drama about how a friendship against the odds helped endure hardship.

First Reformed

Ethan Hawke as Ernst Toller in First Reformed

Ethan Hawke is outstanding as a priest spiralling into destructive despair in First Reformed, the enticingly intense new film by writer/director Paul Schrader who has long explored the psyches of damaged and disturbed men. The starkness and existentialism evoke the early 1960s spiritual films of Ingmar Bergman, but this is nevertheless a distinctively contemporary and American work that captures the palpable dread of losing faith in the 21st century. Released in Australia on home entertainment.

THE FAVOURITE

Olivia Colman as Queen Anne in The Favourite

The Favourite is a sort of All About Eve for contemporary audiences, but set in 1708 and loosely based on the love/power triangle between Anne, Queen of Great Britain (Olivia Colman), and two women who competed for her affection. While a lot more grounded than director Yorgos Lanthimos’s previous films, there is still a sense of heightened absurdity brought to the style and narrative, which effectively enhances the film’s wicked sense of humour and biting social satire about political power and the patriarchy.

Cold War

Joanna Kulig as Zula and Tomasz Kot as Wiktor in Cold War

Cold War is a classic story of an impossible love affair that plays across four decades of 20th century Europe, where two lovers are continually thwarted by the dehumanising and long-lingering effects of war, but are still continually drawn together, often through the overwhelming power of music. Based on the experiences of writer/director Pawel Pawlikowski’s actual parents, this is a bittersweet personal reflection on the recent past that is romantic and bleak, nostalgic and sobering.

Thomas Caldwell, 2018
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Film review – The Day the Earth Stood Still (2008)

27 December 2008

The original 1951 film The Day the Earth Stood Still is one of the all time great classical Hollywood films. It was the first significant Hollywood science fiction film and one of the first films to ideologically engage with the political climate at the time by tackling anti-Communist/Cold War paranoia. Despite its big budget it was a narrative driven film with more emphasis placed on dramatic action rather than spectacle and effects. The eclectic and reliable director Robert Wise, who began his career in film as the editor for Citizen Kane (Orson Welles, 1941), directed the film and the legendary film composer Bernard Herrmann wrote the music. Herrmann’s use of the theremin for the music in The Day the Earth Stood Still was hugely influential, making the theremin the standard sound for all science fiction soundtracks throughout the 1950s. The idea of remaking such a definitive and important film seems at first glance to be incredibly foolhardy, however this new 2008 film should not be automatically dismissed. It is by no means as good as the original but by taking the central premise of the original and maintaining its core ideology in order to address contemporary issues, this remake becomes a film that is worth considering.

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