Boyhood

Genre: coming-of-age drama  

With: Ellar Coltrane (Mason Evans Jr.), Patricia Arquette (his mom Olivia), Lorelei Linklater (his sister Samantha), Ethan Hawke (his dad Mason), Libby Villari (Grandma), Marco Perella (Bill Welbrock), Jamie Howard (Mindy), Andrew Villarreal (Randy), Barbara Chisholm (Carol), Angela Rawna (Professor Elena Douglas), Jenni Tooley (Annie), Evie Thompson (Jill), Richard Andrew Jones (Grandpa Cliff), Karen Jones (Nana), Brad Hawkins (Jim), Tom McTigue (Mr. Turlington), Zoe Graham (Sheena), Bill Wise (Uncle Steve), Maximillian McNamara (Dalton), Jessi Mechler (Nicole)

Director: Richard Linklater

Screenplay: Richard Linklater

Release: 2014

Studio: IFC Productions, Detour Filmproduction

Rating: R

MBiS score: 8.5/10

 

 

Young People Need All That Time to Figure It Out... If They're Lucky! 

 

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Story-line: BOYHOOD follows 6-year-old Mason, his sister and their divorced parents as they go about their lives from 2002 to 2014. That’s it… there’s nothing more to this movie!

Pluses: excellent acting by Ellar Coltrane (as the free-spirited, intelligent and increasingly likeable Mason), Lorelei Linklater (his sympathetic sister), Patricia Arquette (their well-meaning but luckless mom) and an endearing Ethan Hawke, efficient direction, a sincere and lively screenplay paced by natural dialogues, consistent production values, pretty cinematography, sensible editing and a satisfying ending.

Minuses: none… but do plan ahead because this movie is 165 minutes long.

Comments: BOYHOOD tells a familiar story and holds few surprises but never loses interest because of its accuracy and simple humanity. In a few words… it rings so true! Richard Linklater’s idea to spread out the film shoot over 12 years in order to let his characters breathe, evolve and grow older was quite astute, echoing Michael Apted’s well-known UP documentaries. What makes BOYHOOD so watchable is how it allows us to know, accept and even cherish its characters while they experience triumphs and setbacks like anyone would… with optimism, disappointment, confusion or resilience. Love and relationships, family dynamics, school and work issues, mentors and bad influences are covered wisely in this modest and worthy film. Enjoy!

 

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An Education

Genre: romantic comedy drama

With: Carey Mulligan (Jenny Mellor), Alfred Molina (her father Jack), Cara Seymour (her mother Marjorie), Olivia Williams (Miss Stubbs), Peter Sarsgaard (David Goldman), Matthew Beard (Graham), Dominic Cooper (Danny), Rosamund Pike (Helen), Emma Thompson (Mrs. Walters, the Headmistress)

Director: Lone Scherfig

Screenplay: Nick Hornby (based on a memoir by Lynn Barber)

Release: 2009

Studio: BBC Films, Finola Dwyer Productions, Wildgaze Films et al.

Rating: PG

MBiS score: 8.0/10 

 

‟There’s so much I want you to see.” 

 

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Story-line: Twickenham in the 1960s. Although Jenny Mellor, a brilliant high-school student, appreciates the support she receives from her watchful father and her boyfriend Graham, what she really wants is to leave home, study at Oxford and have a life of her own… hopefully in Paris. One rainy day, after a cello rehearsal, fate offers her a ticket to freedom... David Goldman, a charming man who will pull her out of her stifling little world.     

Pluses: fine performances by Carey Mulligan and Peter Sarsgaard (showing superb chemistry as a couple), delightful support from Alfred Molina and a faultless cast, competent direction, a spiffy screenplay enlivened by truthful, well-written dialogues, lovely cinematography and attractive production values.

Minuses: the story-line may seem a tad predictable to some viewers (me included). 

Comments: I’ll be frank: AN EDUCATION is not a work of great human import but it certainly fulfills its purpose as the illustration of one girl's struggles in a confusing world. Catchy, bittersweet and very pretty, Lone Scherfig’s work will please movie buffs with a taste for romance (and we are many!).  

 

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Vampyr

Genre: horror movie (in black and white)

With: Nicolas de Gunzburg, aka Julian West (Allan Grey), Maurice Schutz (the Lord of the Manor), Rena Mandel (Gisèle), Sybille Schmitz (Léone), Jan Hieronimko (the Doctor), Henriette Gérard (Marguerite Chopin), Albert Bras (the servant)  

Director: Carl Theodor Dreyer

Screenplay: Christen Jul, Svend Rindom and Carl Theodor Dreyer (based on a book by J. Sheridan Le Fanu)

Release: 1932

Studio: Tobis Filmkunst

Rating: -

MBiS score: 8.8/10 

 

Still Creepy After All These Years* 

 

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Story-line: Allan Grey, a young man fascinated by devil worship and vampirism, stops in the village of Courtempierre and takes a room at the local inn. That evening, after hearing a strange chant and seeing a disfigured man, he goes to bed, sleeps badly and is awakened by the old Lord of the Manor who tells him ‟Quiet!... She must not die. Do you understand?”  

Pluses: fine acting all around, an efficient and eerie screenplay stoking much tension, spare dialogues complemented by a continuous stream of sinister music by Wolfgang Zeller, adept editing, artful direction, competent cinematography (by Rudolph Maté and Louis Née) and Henri Armand’s striking special effects.

Minuses: since this spellbinding movie is 90 years old, don’t expect state-of-the-art production values − for one thing, the door to Allan’s room looks like it’s made of cardboard − but such shortcomings are more than compensated by a brilliant display of imagination and strangeness. A series of mysterious events involving Allan at the one-hour mark can be explained as a dream sequence.  

Comments: for anyone not acquainted with vampires, this pioneering work by the legendary C.T. Dreyer serves as a fitting and wide-ranging introduction to their dark and nightmarish universe. In fact, VAMPYR does so much with so little − and with such potency − that I was unsure if it was a movie I was watching or some scary dream I had unwittingly stepped into. Doubtless a classic and a chilling good time for all. And just in time for Halloween...  

 

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*My apologies to Paul Simon, of course.

Nosferatu: Phantom der Nacht

English title: Nosferatu the Vampyre 

Also known as: Nosferatu: fantôme de la nuit

Genre: horror movie

With: Klaus Kinski (Count Dracula), Isabelle Adjani (Lucy Harker), Bruno Ganz (Jonathan Harker, Lucy’s husband), Roland Topor (Renfield, Jonathan’s boss), Walter Ladengast (Dr. Van Helsing), Dan van Husen (the Warden)

Director: Werner Herzog

Screenplay: Werner Herzog (based on Bram Stoker’s novel)

Release: 1979

Studio: Werner Herzog Filmproduktion, Gaumont, Zweiten Deutschen Fernsehen

Rating: PG

MBiS score: 8.7/10 

 

The Drinks Are On Me 

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Story-line: despite his wife’s frightful premonition, a real estate agent travels to Transylvania to meet an aristocrat interested in buying property in his area of Germany. Oddly enough, the aristocrat’s name is… uh… Dracula… count Dracula.

Pluses: fine acting by an obsessed Klaus Kinski (with bald head, eyes wide open, toothy grin and visible fangs), Isabelle Adjani, Bruno Ganz and Roland Topor, a screenplay spare in dialogues but generous in spooky sights and disturbing events, Werner Herzog’s calm and unhurried direction, pretty cinematography that lingers on its subjects, judicious production values (Old World sets and costumes, ghastly sound effects, competent makeup work) and an eclectic score combining opera, spaced-out electro and choral music.

Minuses: none I can think of.

Comments: Werner Herzog may have gone against conventions in conceiving a quiet and artistically-minded vampire movie but his NOSFERATU THE VAMPYRE delivers as many chills − if not more − than typical horror fare. Although less striking than Dreyer’s VAMPYR, this adventure in terror, which borrows elements from Herzog’s AGUIRRE, THE WRATH OF GOD, is disturbing and convincing enough to satisfy any movie buff. When I heard the nefarious one say ‟There are things more horrible than death”, I didn’t doubt him and neither will you. 

 

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Spartacus

Genre: antiquity drama 

With: Kirk Douglas (Spartacus), Laurence Olivier (Marcus Crassus), Jean Simmons (Varinia), Charles Laughton (Gracchus), Peter Ustinov (Batiatus), John Gavin (Julius Caesar), Tony Curtis (Antoninus), Nina Foch (Helena)

Director: Stanley Kubrick

Screenplay: Dalton Trumbo (based on Howard Fast’s novel)

Release: 1960

Studio: Bryna Productions, Universal Pictures

Rating: PG-13

MBiS score: 8.5/10 

 

‟ I'm free. And what do I know? I don't even know how to read.” 

 

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Story-line: in the first century before Christ, Rome was asserting its might as the centre of the ‟civilized” world but its glory was far from immaculate. Power struggles were frequent between members of the ruling class, slavery and colonialism were the drivers of economic growth and jobless Romans were kept quiet with bread and circuses. Spartacus, the proud son of a Thracian slave, a forced labourer and a gladiator in training, will rebel against this world order and confront the Empire.  

Pluses: wondrous acting by Kirk Douglas (rugged, defiant but also tender), Jean Simmons (regal in a complex role), Laurence Olivier (notable for his toughness), Charles Laughton, Peter Ustinov and a superior cast, an intelligent screenplay that blends insightful psychological portraits, period detail and virile − even funny − dialogues to compose a striking piece of history, straightforward helming by one of cinema’s great directors (behold the awesome combat choreography), suitable production values, fine editing and an evocative musical score by Alex North.

Minuses: none I can think of.   

Comments: SPARTACUS, a movie epic for all tastes, reminded me of THE TEN COMMANDMENTS and BEN-HUR in its use of atmosphere, colours, landscapes and settings. Although it features some violence, Stanley Kubrick’s work paints an old-world picture of political wranglings (as complex and dastardly as today’s), romance, heartbreak and surprising solidarity. On a historical level, the Roman Empire has never ceased to fascinate and influence our world despite its brutality. On a cinematic level, Kubrick’s oeuvre still enthralls and will remain an object of admiration for decades to come. 

 

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Joker Is Wild (The)

Genre: biographical drama (in black and white)

With: Frank Sinatra (Joe E. Lewis), Mitzi Gaynor (Martha Stewart), Jeanne Crain (Letty Page), Eddie Albert (Austin Mack), Beverly Garland (Cassie Mack), Jackie Coogan (Swifty Morgan), Barry Kelley (Captain Hugh McCarthy), Ted de Corsia (Georgie Parker), Leonard Graves (Tim Coogan)

Director: Charles Vidor

Screenplay: Oscar Saul (based on the book by Art Cohn)

Release: 1957

Studio: AMBL Productions

Rating: Approved

MBiS score: 8.3/10 

 

‟Make me laugh.”

  

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Story-line: Chicago in the mid-1920s. When Joe E. Lewis, a singer at Georgie’s 777 Club, receives an offer from the rival Valencia Club, he readily takes it because the Valencia is ‟a classy joint where they carry the drunks out instead of throwing ’em in the street”. Georgie, who doesn’t like the idea, warns him outright: his bar may be a speakeasy but employees don’t ditch him easily. As things turn out, Joe’s decision will impact his whole life.

Pluses: superb acting by Frank Sinatra, Eddie Albert, Mitzi Gaynor and a radiant Jeanne Crain, competent and well-paced direction, a thoughtful and realistic screenplay true to the mood of the times, irreproachable cinematography and fine production values (costumes especially).

Minuses: didn’t find any, baby!

Comments: Frank Sinatra − who has played in some 40 movies and won an Academy Award for FROM HERE TO ETERNITY − once mentioned that his most Oscar-worthy performance came in THE MAN WITH THE GOLDEN ARM. I wouldn’t dare challenge his opinion but THE JOKER IS WILD amply demonstrates his overall range as a lead actor, playing drama impeccably, showing perfect timing as a comedian and hitting the right notes as a happy, sad, funny and frustrating character. And the movie itself is much more than a reverential show-biz biopic; in vivid, lively fashion, it tells the tragic story of an entertainer tottering between the limelight and skid row. I can’t put my finger on it, but there’s something in Joe’s life that approaches Frank’s times with the Rat Pack. Thus a great fit for the Chairman of the Board…

 

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 Il Grido

Also known as: Cri (le)

Genre: psychological drama (in black and white)

With: Steve Cochran (Aldo), Alida Valli (Irma), Dorian Gray (Virginia), Jacqueline Jones (Andreina), Gabriella Pallotta (Edera), Pina Boldrini (Lina), Guerrino Campanilli (Virginia's father), Betsy Blair (Elvia), Mirna Girardi (Rosina)

Director: Michelangelo Antonioni

Screenplay: Michelangelo Antonioni, Elio Bartolini and Ennio De Concini (based on Antonioni’s idea)

Release: 1957

Studio: SpA Cinematografica, Robert Alexander Productions

Rating: -

MBiS score: 8.8/10 

 

Anguished when Alone, Anguished with Others

 

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Story-line: the setting is a languorous Italian town in the 1950s. Irma, the mother of a schoolgirl named Rosina, learns that her husband died three weeks before in Australia. Clearly distraught, she goes to the factory where her lover Aldo is employed, leaves his lunch with a co-worker and runs off. When Aldo catches up to her and learns what has happened, he is saddened but relieved: ‟We’ll finally get married… It’s been seven years after all…” Irma, however, would rather break up with Aldo.

Pluses: splendid acting by Steve Cochran (a violently passionate, disoriented Aldo) and Alida Valli, able support from Mirna Girardi, Gabriella Pallotta, Betsy Blair and cast, first-quality direction from a renowned helmer, a simple yet riveting screenplay that goes to the point and draws topical portraits of characters in limbo, impeccable production values, Gianni Di Venanzo’s beautiful cinematography even in unsightly locales and a lyrical, sensible musical score by Giovanni Fusco.

Minuses: none I can think of. By the way, the title can be translated as ‟The Scream.”

Comments: IL GRIDO, which doesn’t qualify as an Italian neo-realist movie yet captures some of its flavour, is the touching story of a man who hits the road with his little girl to mend a broken heart and find happiness wherever fate leads him. This early work by Antonioni, blessed with limitless humanity and poetic grace, is a fascinating exploration of one man’s restless quest for fulfillment and an homage to the women − deserving or loveless − he will meet along the way. 

 

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 Polytechnique

Genre: psychological drama (in black and white)

With: Maxim Gaudette (the killer), Karine Vanasse (Valérie), Évelyne Brochu (Stéphanie), Sébastien Huberdeau (Jean-François), Johanne-Marie Tremblay (Jean-François’s mother), Pierre-Yves Cardinal (Éric), Pierre Leblanc (Mr. Martineau), Francesca Barcenas (the injured student near the photocopiers)

Director: Denis Villeneuve

Screenplay: Jacques Davidts (with help from Éric Leca and Denis Villeneuve)

Release: 2009

Studio: Remstar, Don Carmody Productions, Davis Films/Impact Canada

Rating: -

MBiS score: 8.4/10

 

 

This is a man's world
But it would be nothing, nothing
Without a woman or a girl*

 

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Story-line: while university students are busy photocopying material for their courses, gunshots are heard nearby. An appalling event is unfolding, one that will end lives and shatter many more.

Pluses: a strong cast delivering note-perfect performances, a mature and illuminating screenplay that explores sensitive issues even-handedly and yields several heartbreaking scenes, economical direction that manages to transform a senseless act into a thoughtful artistic statement, irreproachable cinematography, a restrained musical score and a courageous ending.

Minuses: none, except that this important movie and the activism sparked by the Polytechnique shootings of 1989 have not brought the Canadian debate over firearms to a satisfying conclusion until now.  

Comments: in its study of rampant sexism and hatred towards women, the jarring POLYTECHNIQUE pays tribute to the 13 promising female students and the Poly employee whose lives were cut short more than 30 years ago and sheds light on the  goodness that shines forth in times of crisis. POLYTECHNIQUE, a clear condemnation of all forms of violence, was early proof of Denis Villeneuve’s brilliance as a director. 

 

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*It's A Man's, Man's, Man's World, by James Brown, Betty Jean Newsome, Anthony (pka Sir Jinx) Wheaton and O’Shea Jackson

Pote tin Kyriaki

English title: Never on Sunday

Genre: romantic comedy (in black and white)

With: Melina Mercouri (Ilya), Jules Dassin (Homer Thrace), Giorgos Foundas (Tonio), Titos Vandis (Jorgo or Jorgaki), Mitsos Ligizos (the Captain), Despo Diamantidou (Despo)

Director: Jules Dassin

Screenplay: Jules Dassin

Release: 1960

Studio: Lopert Pictures Corporation, Melinafilm

Rating: -

MBiS score: 8.5/10

 

 

– Is she?

– She is.

 

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Story-line: in the sunny and vibrant port district of Athens, Ilya, a glorious prostitute, is sought after by all men who live from the sea. And when an aspiring philosopher from America catches sight of her, he too falls under the spell of this siren worthy of the Odyssey. 

Pluses: a triumphant performance by Melina Mercouri (a Cannes Festival winner), excellent support from Jules Dassin and a cast exhibiting great comic timing, a witty and hilarious screenplay that banks on Ilya’s charm, Greek customs and a picturesque setting, sensible and artistically-inclined direction by an underrated helmer, a swinging score by Manos Hatzidakis and one mythical musical scene in which Melina shows as much star power as Marlene Dietrich in THE BLUE ANGEL.  

Minuses: none, and I do mean none.

Comments: NEVER ON SUNDAY, an exuberant and invigorating comedy, plays like a fairy tale pitting the ambitions of men against the joys of a simple life. Lighthearted, endearing, zany yet utterly believable, Jules Dassin’s film ranks right up there with Billy Wilder's best comedies (IRMA LA DOUCE, among others). If you’re looking for sunshine in our forbidding world, this one won’t disappoint you. OK, fellas, let’s hear some more of that bouzouki music!   

 

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Iris

Genre: biographical drama 

With: Kate Winslet and Judi Dench (a young and older Iris Murdoch), Hugh Bonneville and Jim Broadbent (a young and older John Bayley), Eleanor Bron (the Principal), Angela Morant (the Hostess), Penelope Wilton (Janet Stone)

Director: Richard Eyre

Screenplay: Richard Eyre and Charles Wood, based on two books by John Bayley

Release: 2001

Studio: BBC, Fox Iris Productions et al.

Rating: -

MBiS score: 8.4/10 

 

“You must accept what I am. Nothing matters except loving what is good.” 

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Story-line: through multiple flashbacks and flashforwards, IRIS recounts two crucial periods in the lives of writers Iris Murdoch and John Bayley: their early years as a couple and their frightful old age marred by her mental illness.

Pluses: excellent acting by Judi Dench and Kate Winslet (both Oscar-nominated) as two sides of a fiery, daring woman determined to live life to the fullest, valiant turns by Hugh Bonneville and Jim Broadbent (an Oscar winner), a robust and wide-ranging screenplay that dazzles with its witty dialogues and always maintains interest, professional direction and production values, perfect editing (Martin Walsh) and a sad, beautiful musical score by James Horner.

Minuses: a warning to those looking for light entertainment: this sometimes brutal film depicts with uncanny realism the ravages of Alzheimer’s disease and the gruelling task of caregivers.   

Comments: exhilarating at times and heartbreaking at others, IRIS achieves its grand ambitions as it portrays two fascinating intellectuals in full bloom and through their inexorable decay late in life. Especially in these times of tumult and social reassessment, Richard Eyre's work gives us a sterling example of humanity and patience with its ode to great writing and difficult love. 

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