DAILY FILM DOSE: A Daily Film Appreciation and Review Blog
Friday, July 10, 2009

Charlie Chan's Murder Cruise


Charlie Chan’s Murder Cruise (1940) dir. Eugene Forde
Starring: Sidney Toler, Sen Yung, Lionel Atwill, Leo G. Carroll and Cora Witherspoon

***

Guest Review By Greg Klymkiw

Most years saw 20th Century Fox releasing three feature-length Charlie Chan mysteries annually. After several pictures with Warner Oland in the role of the famous Honolulu-based Asian detective created by Erle Derr Biggers, the torch was passed to character actor Sidney Toler after Oland’s death. Toler acquitted himself magnificently and by the year 1940, he had created – what some might argue – the definitive Charlie Chan. Most importantly, Fox, as the studio generating the series, were able to keep the creative juice going so that the films, in many cases, got better and better.

By 1940, rather than succumbing to the usual law of diminishing returns, the Chan series saw three of the best released all in the same year.

“Charlie Chan’s Murder Cruise” is as entertaining and engaging a Chan picture as one could imagine. Directed by one of Fox’s prolific B-and-small-A-picture stalwarts, Eugene Forde, the movie opens with the grisly strangulation of Chan’s best friend Duff, a Scotland Yard inspector who meets his fate in Chan’s office no less. Duff has been investigating a murder amongst a group of passengers on a round-the-world cruise. Chan joins the tour for its final journey from Honolulu to San Francisco where, in typical fashion, he not only solves the murder, but also in so doing, avenges his friend’s death.

The tale is a tad familiar (beyond the successful Chan formula) as the picture borrows a very significant item from “Charlie Chan in Paris”. It is also, most notably a remake of the earlier Warner Oland Chan vehicle “Charlie Chan Carries On” (one of the lost Chan pictures that hopefully will one day turn up) and both the original and the remake are based upon the hard-boiled Biggers novel. A Spanish-language version filmed simultaneously with the Oland version, entitled “Eran Trece” remains extant and can be seen on Volume One of the Fox Charlie Chan DVD series. “Murder Cruise” is, possibly because of its relative adherence to the Biggers novel, reasonably hard-boiled. The murders are not only pretty intense and almost serial-killer-like, but the first on-screen murder includes the dead character possessing the killer’s curious calling card – thirty pieces of silver. This becomes a tale of both betrayal and retribution.

In spite of the darker tone, the film is still imbued with the wonderful sense of humour that became a hallmark of the Toler Chan pictures. Many of the laughs come from the delightful interplay between Chan and his Number Two Son, the bungling, wide-eyed, prat-falling Jimmy (the always delightful Sen Yung), but there’s also a magnificent comic turn from the daffy Cora Witherspoon as a scatterbrained socialite whose ludicrous, confused descriptions of various suspects raise more than a few eyebrows.

And as always, the Chan films would not be complete without a clutch of sinister supporting performances and “Murder Cruise” provides not one, not two, not three, but four such great actors. Claire Du Brey and Charles Middleton are on hand as an American Gothic-styled couple (resembling a cross between funeral home owners and bible thumpers). The great Leo G. Carroll appears as a seemingly benign archeologist and rounding things out is the astoundingly perverse Lionel Atwill (whom will forever be remembered as the wooden-armed inspector from “Son of Frankenstein” so gloriously parodied in Mel Brooks’ “Young Frankenstein”). Atwill portrays the somewhat Franklin Pangborn-like cruise director. This, I assure you, must be seen to be believed.

Ultimately, though, like most of the Fox Chan pictures, “Murder Cruise” simply has to be seen.

“Charlie Chan’s Murder Cruise” is available on DVD as part of Volume 5 of the Charlie Chan Cinema Classics Collection from 20th Century Fox Home Entertainment.

Read More...

Thursday, July 9, 2009

Missing


Missing (1982) dir. Costa-Gavras
Starring: Sissy Spacek, Jack Lemmon, John Shea, Melanie Mayron

***

Quick, name the Palm D’Or winner of 1982… You’re right, it’s “Missing”, Costa-Gavras’ American-made political drama. It also nabbed Lemmon a Best Actor trophy at Cannes and three of the major Oscar Nominations that year – Best Actor, Actress, Picture. Until its Criterion Collection coronation on DVD last year it was a forgotten classic – ‘missing’ from DVD shelves for years.

Unfortunately the integrity of the film and it’s political message trumps its entertainment aspects. While there’s a passionate desire for truth, a slow pace and truncated narrative structure makes it more an admirable venture then great cinema.

Before Oliver Stone, Costa-Gavras was perhaps cinema’s best known and most experienced political dramatist. Unlike Stone, Costa-Gavras is not so much a provocateur as a truth-seeker. In “Z” with uninhibited anger dramatizes the unjust murder and cover-up of Greek leftist politician – a disguised version of assassinated Greek politician Grigoris Lambrakis.

In “Missing”, like “Z” we never know the location of the story, but subtle clues tell us it’s Chile and an indictment of Augusto Pinochet’s military junta rule. John Shea and Sissy Spacek play Charles and Beth Horman, newlyweds who have chosen to live in the unnamed volatile South American country to get closer to the political pulse of this hot button region. One day the military presence is suddenly heightened and before they realize it the government has been taken over in a military coup. And then out of the blue Charles disappears – snatched from his home in the middle of the night.

Enter Ed Horman (Jack Lemmon) Charles’ father who arrives in town on a mission for answers and to ensure a forthright investigation by the American consulate. When the Americans present a standoffish front, Ed takes it upon himself to lead the investigation. And so Beth and Ed become an unlikely team – Beth, the young leftist radical, Ed, the elderly conservative father. Together they uncover clear American culpability in Horman’s disappearance as a pawn of appeasement for their participation in the coup.

Despite the political procedural details, “Missing” is at heart a picture about the two people who get to know each other amidst the cloud (or fog) of war. As a showcase for Lemmon “Missing” is a triumph as the film is so heavily weighted to his performance. Costa-Gavras even delays this satisfaction until the second act- going through a lengthy and tedious opening act before Horman disappears and Lemmon enters the picture.

From then on Jack Lemmon owns the film.

His performance, like a couple of his other great late-career serious roles – “The China Syndrome”, “Glengarry Glen Ross” – is magnetic and electrifying. His glances and small mannerisms are the stuff of acting royalty. I can think of only a handful actors with this kind of presence and power.

The actual narrative details, the movement of A to B to C and the political revelations aren’t as profound as they may have been in 1982. American participation in military coups are not even contested anymore – they are an accepted fact of their Machevellian roles in the world politics. And so the film leads to where we expect it to go, thus reducing its controversial power.

But “Missing” is still a film to be rediscovered merely for the presence of Jack Lemmon, one the greatest ever actors, in an amazing Brando-worthy performance, little seen and discussed today.

Read More...

Wednesday, July 8, 2009

North West Frontier

North West Frontier (1959) dir. J. Lee Thompson
Starring: Kenneth More, Lauren Bacall, Herbert Lom

****

If you haven't brushed up on your history or geography, the title of this film might suggest a western, perhaps set in the snowcapped Rockies. In fact North West Frontier refers to the contentious Muslim province of India, now Pakistan, once ruled by the British during their colonization of the country. It's a fresh environment for what turns out to be an underappreciated rediscovery, a near masterpiece of classic action cinema.

It's the turn of the century, the palace of a six-year-old Hindu Maharaja has just been overrun by a group of Moslem rebels. Together with his coterie of caretakers, British officer Captain Scott (Kenneth More) leads the survivors on a journey to a secure military base on a ramshackle locomotive engine. For fans of action and epic cinema, how can you not be intrigued by a story that takes place entirely on a train armed with a rotating automatic machine gun, on the run from an army of horseback riding, gun-toting rebels set in India?

J. Lee Thompson, a prolific director of action/thrillers such as Guns of Navarone and Cape Fear, before he hacked out all those atrocious Charles Bronson pictures in the '80s, shows the inspiration of youth in 1959. Thompson shoots the majority of the film on an actual train through the real landscape of India. Perhaps influenced by the on-location realism of David Lean's Bridge on the River Kwai, Thompson's cinemascope action is unencumbered by stagy process shots, or studio fakery — an integrity and authenticity that is not lost on today's eyes.

Tagging along with Scott and the young prince are a number of warm and conflicting characters that make the non-action scenes more than tolerable. Lauren Bacall is a commanding presence, not to mention stunning, as the free-spirited American widow who, when not protecting the boy, quarrels with Scott about the differences between Americans and the British. The smarmy Dutch journalist Van Laydan, played with wonderful Peter Lorre-esque creepiness by Herbert Lom, is the unknown traitor within the group. It's not all imperialist heroism though, as the affable train engineer, Gupta, emerges as a courageous hero.

But it's the razor-sharp action and focused plotting that keeps this film on the rails. Politics are kept to a minimum (Thompson never leaves his heroes), and the train never (or rarely) stops moving. In fact, when the train does stop, the quiet stillness makes for a handful of scenes of remarkable Hitchcock-worthy tension. Like other recent MGM releases, it's a no frills, menu-less release. No matter, we don't need Peter Bogdanovich analyzing this one; we should just be happy to have this minor cinematic revelation on DVD.

This review first appeared on Exclaim.ca

Read More...

Tuesday, July 7, 2009

The Graduate


The Graduate (1967) dir. Mike Nichols
Starring: Dustin Hoffman, Anne Bancroft, Katherine Ross, Murray Hamilton

****

Oh to be Mike Nichols in the late 60’s, like Orson Welles in late 1930’s, a revered stage director, brought to Hollywood and given the biggest toybox in the world to play in. After ‘practicing’ his skills with “Who’s Afraid of Virginia Woolf” in 1966, Nichols at the height of his creative talents was shit hot and birthed the great masterpiece, “The Graduate” – a time capsule of American 60’s progressiveness and a benchmark for the Hollywood changing of the guard.

Benjamin Braddock arrives home a college graduate. His parents are joyful, not because they’re happy he’s back but because he has achieved what they’ve always wanted of him. But they are not content with this, expectations are further heaped on Ben to go to graduate school and push forward with his career. Typically Ben feels the pressure and is caught frozen and overwhelmed with doubt.

And so, when the wife of his father’s business partner, Mrs. Robinson (Anne Bancroft), comes onto him, he gives in to her sexual demands. They start an affair ‘just because’, which we all know will end badly. The rift comes in the form of Mrs. Robinson’s daughter Elaine (Katherine Ross) whom Ben’s parents have been pushing Ben to date. He gives in and goes out with Elaine, instantly sparking a chemistry which infuriates Mrs. Robinson. Her efforts to separate the two do not phase Ben as he embarks on a mission find Elaine at Berkeley steal her for good.

I think every romantic comedy made in the 90's and beyond owes a debt to the final act of “the Graduate”. As Benjamin Braddock races against time, scouring the Berleley campus for Elaine’s whereabouts the film gathers speed and momentum for its wedding-crashing finale. Same goes with the youthful self-expressionistic indie-film ilk of Wes Anderson, “Juno” “Away We Go” et al . Specifically Mike Nichols’ use of Simon and Garfunkel as a tonal reference point for the film with today’s eyes looks as fresh now as then. While the emotions of Benjamin and Elaine run from extreme highs to lows, the poignant music and lyrics route our interpretation of those emotions in it’s own subdued hyper-reality. Listening to “Mrs. Robinson” during the frantic chase finale lightens up what, for Benjamin, is a harrowing and desperate search. And the despair Ben feels for his soulless sexual affair for Mrs. Robinson achieves tonal perfection with the song, "The Sound of Silence".

The casting is so good, we don’t even release Benjamin and Elaine have the fastest courtship in cinema history. Just one date and we believe how Ben could propose to her (really, who wouldn’t propose to Katherine Ross after one date??) and how Elaine could actually settle for the neurotic and arrogant Ben. Chemistry sears the screen when they finally meet – which only occurs at the halfway point, prior to which it was Anne Bancroft’s picture.

Bancroft needs only a few words and a look of her eyes to express everything about her character. She is simply awesome as Mrs. Robinson, the original desperate housewife. The look on Bancroft’s face in the kitchen reacting to Ben’s conversation with her husband is priceless. The conversation is framed and focused on Bancroft in the foreground reacting only. And watch carefully her oh-so-quick glance down the barrel of the camera as she exits the scene. The seduction scene is played out carefully by Nichols and his actors and the dialogue as written by Buck Henry are the exact words which would have come out of these characters' mouths if they were real people. And so, despite the absurdity and quirkiness of the filmmaking every crucial moment in rooted in genuine real world emotion.

“The Graduate” represented a benchmark shift in studio Hollywood toward a more personal aesthetic like the French New Wave. Hollywood stripped away the old cumbersome production code and leaned on the creative minds such as Mike Nichols to tell us familiar stories in untraditional ways. Though untraditional for a studio film, at the time “The Graduate” is and always has been highly accessible and loved by all who watch it. Enjoy.

Read More...

Monday, July 6, 2009

Woodstock: Three Days of Peace and Music


Woodstock: Three Days of Peace and Music (1970) dir. Michael Wadleigh
Documentary

****

There was a feeling of uninhibited honest naturalism in "Woodstock" which would be very difficult to duplicate today. This is the experience of watching the landmark "Woodstock", the ability of Michael Wadleigh to break any sort of wall between subject and the camera. His subjects are so genuine and candid, whether they love or loath this unique concert experience, it takes just a one line or sound bite from anyone on camera to capture all the texture of this era.

This is one of the reasons why "Woodstock" is not only the greatest-ever concert film, but one of the greatest documentaries ever made - a unique experience capturing the cultural and political importance of the monumentally huge concert with all it's peace, love and rock 'n' roll texture intact.

Director Michael Wadleigh, with his army of camera and sound men, didn't have enough 16mm stock to shoot every act on the bill, not even every song played and so the filmmakers had to pick and choose the right songs. While acts like Crosby, Stills & Nash, Jimi Hendrix,The Who were some of the biggest names in rock, we find some of the most memorable performances in bands like Ten Years After, Richie Havens and Sha Na Na - artists who, in retrospect, have been defined by their Woodstock appearances.

My personal favourite has to be Santana's "Soul Sacrfice", with the scene stealer 19 year old Michael Shrieve’s legendary drumming. It features the best drum solo I've ever seen anchoring the tightest performance of the event.

On a technical level Woodstock trumps all other concert films because of its achievements in epic and spectacular visual grandeur. It was shot on 16mm and blown up to 70mm, but of course a 16mm film frame has a 1.33:1 aspect ratio and 70mm has a 2.20:1 ratio which allowed Wadleigh to experiment with some magnificent split screen effects. And has there ever been a more glorious use of this technique? Hadleigh and his editors, Thelma Schoonmacher and Martin Scorsese, explore every inch of the widescreen frame, using multiple frame sizes and aspect ratios to frame the subjects. In the opening moments it’s a cropped frame, with the left and right portions of the frame cut off as black. But once the music starts the editors fill in the space like an ever changing jigsaw puzzle of imagery, giving us the illusion of being all around the concert at once.

Each musical act seems to have it's own a unique visual design. Jimi Hendrix’s songs are shot almost exclusively with a long lens, and even occasionally changing the shutter angle for a staccato effect. The stupendous "Soul Sacrifice" song by Santana is almost all extreme wideangle lenses, upclose and personal with Carlos Santana screaming away on his guitar,

The night music has a completely different look and feel to the day music. For Sly and Family Stone, though there are a dozen performers on stage the camera is focused entirely on Sly, who glows and pops out of the black background in the bright spotlight. And the rocking Who track, "Summertime Blues", is covered well by the band with multicoloured lights separating Pete Townsend and Roger Daltry with distinct looks.

The large disconnect between the youth and middle-aged in the 1960's is wholly palpable in the verite scenes in between the concert footage. Whether the hippies appear inspiring or completely out to lunch with extreme idealism their uninhibited genuineness is all that we require from a documentary. Perhaps my favourite scene (music included) is the port-o-potty maintenance guy whom we see literally sucking out the shit from the portable toilets, then telling us that he has sons both there at Woodstock and on the front lines at Vietnam. If anything he represents bridge which connects the youth and the middle-aged. Enjoy.

Read More...

Sunday, July 5, 2009

2009 Edinburgh International Film Festival

Hello there everybody, its foreign correspondent Blair Stewart here with a report from the recently wrapped 63rd annual Edinburgh International Film Festival in Scotland. Here's a quick roundup of what I saw:

All That She Wants (2008-Canada) Dir. Denis Cote
Starring: Eve Duranceau

***

A slow-boiling look at small-town hustlers and burnouts shot in gorgeous black and white, Quebec director Cote impresses with his Diane Arbus-ish framing. Eve Duranceau plays Coralie, the 'She' of this film, a sullen local making poor decisions so she can blow town with her boyfriend while the local thugs otherwise scheme. It moves slowly, but has moments of beauty and dark humour to elevate the patience that some audiences might not have. Likely only to be seen in Quebec and on the festival circuit, but worth a look.

The Missing Person (2009-US) Dir. Noah Buschel
Starring: Michael Shannon, Amy Ryan

**

A modern day noir led by the talented Michael Shannon about a private detective on the biggest case of his wonky career. Shannon's John Rosow is a fine gumshoe and a lousy drunk, stuck in a nostalgic time of fedoras and jazz. Rosow is given the task of following a mystery man with a Mexican boy across the western States and south of the border while running afoul of femme fatales, gangsters and new-age flatfoots. SWhile Shannon is exceptional with his Peter Lorre eyes and a squeezed lemon for a face, and both Amy Ryan and Margaret Colin make good of their brief screentime, several vital roles are woefully misplayed - like watching Ray Charles with a lousy backing band. The story dumps several good sub-plots when the topical main plot finally emerges concerning Rosow's past but all the loose ends were bothersome. I did appreciate the patience of the storytelling as the truth uncoiled itself, but I found the editing distracting as several noticable disolves looked out of place. Michael Shannon will next be seen in a new Herzog film produced by David Lynch, which is now a must-see for me next year.

Lights in the Fog (2008-Iran) Dir. Panahbarkhoda Rezaee
Starring: Behrouz Jalili

**

A bigger story than the film was the difficulty in extracting the print out of Iran which delayed the screening, so the fact that it was seen at all is a small triumph. Set in the cloud-schrouded mountains of Northern Iran, "A Light in the Fog" observes an Iranian woman quietly mourning the disapearance of her soldier lover as she nurses her dying father while scraping by in life. A short feature that's more for observation than engagement, its blessed with a stunning, unknown setting on par with Lean's deserts and Malick's forests for beauty. This is a film that seems to be set in-between momentous events in the characters lives, where not much is happening.

Giallo (2009-Italy) Dir. Dario Argento
Starring Adrien Brody, Emmanuele Seigner

*

What could have been a grand last kick in the slasher genre's ass from one of its masters is instead a folly that could spell Dario Argento's retirement and Adrien Brody's agent getting fired. Written exclusively for Argento by fanatics Jim Agnew and Sean Keller, "Giallo" concerns a jaundaced serial-killer (Giallo is 'Yellow' in Italian, and refers to the pulp nature of Argento's oeuvre) hacking away through Turin's ranks of pretty gals. After one model gets kidnapped by the yellowed killer for a slow, drawn out death (very slow at that) Detective Brody and the model's sister Seigner team up to crack the case. What mostly insues is cutting room scraps mistaken for a film, including Brody putting another nail in the coffin of his career post-'The Pianist' with a lackluster performance. Seigner puts proof into my theory that she should only act in her native tongue while Argento labouriously goes through the motions. Put the virturso camera movements from the likes of Argento's 1987 "Opera" or the stylishness displayed in his '70's work against "Giallo" and it appears the Italian master should just hang it up now.

Black Dynamite (2009-USA) Dir. Scott Sanders
Starring: Michael Jai White

***1/2

A little longer than it needs to be for its premise of a Blaxploitation spoof, but still a stone cold funky groove. Bacchus called it right after its Sundance premiere, sure to be a big hit for the marginalized Jai White, cut from "Kill Bill", killed off early in "The Dark Knight" and buried under makeup and costume in "Spawn". Here he displays brilliant comedic timing, and the batcrazy climax has to be seen without spoilers.

The Raven (1963-USA) Dir. Roger Corman
Starring: Vincent Price, Boris Karloff, Jack Nicholson and Peter Lorre.

**1/2

The Holy Trio of Ham and Cheese and more Ham is Price, Karloff and Lorre matching
wits in an overhauled version of Edgar Allen Poe's "The Raven". Written by the great Richard Matheson and directed by Corman, "The Raven" skips over the terror and veers
straight into comedy as Vincent Price plays a sorcerer who comes out of retirement to help the cursed Peter Lorre (in a bird's costume). Meanwhile in the shadows of a forbidden castle, Boris Karloff pulls the strings of a nonsenscal plot against them that also ensnares Price's daughter and Lorre's son played by a young Jack Nicholson. The entertainment comes mostly from the three veterans' playfulness and a great final magic duel that George Lucas may have nicked for his "Return of the Jedi's" finale.

The Wild Angels (1966-USA) Dir. Roger Corman
Starring Peter Fonda, Bruce Dern and Nancy Sinatra

**

The mold cast for Dennis Hopper's future smash-hit "Easy Rider" and the great "Vanishing Point", Corman's "The Wild Angels" roars on the screen with the 'assistance of the L.A. branch of the Hell's Angels'. Peter Fonda is the head of a biker gang that goes hunting in the desert for a stolen bike with distasterous results. Mostly a repetitive cycle of chases, fights and partying, "The Wild Angels" stands as a better, earlier, nihilistic version of the overrated "Easy Rider", Watch for the great backwards dolly-shot through a dive that may have given Scorsese ideas for "Mean Streets'" classic bar shot. While Corman makes great use of the grand Panavision format its a B-movie rosetta stone for American film before its last golden age.

The St.Valentine's Day Massacre (1967-USA) Dir. Roger Corman
Starring: Jason Robards, George Segal and Ralph Meeker

***1/2

An excellent, forgotten gangster film anchored by Robards's performance as the original Scarface, and the surprise of the festival for me. Approaching the Chicago massacre from a journalist's persepective, Corman successfully recreates the crimewave mentality of the Prohibition era with Robards's Al Capone pitted against Ralph Meeker's Bugsy Moran. Bullet-fast narration sets the tone as the film rolls towards its bloody end, with George Segal handing in his best work as a henchman, and a few great staccato gunfights. In an interview it was revealed that Orson Welles was once tipped to play Capone with Robards as Moran, but the studio shuffled the deck with the underwhelming Meeker. Regardless, its a joy to watch Capone chew on the scenery.

Read More...

Saturday, July 4, 2009

Moon


Moon (2009) dir, Duncan Jones
Starring: Sam Rockwell

***1/2

Like the film’s undisguised influencers, 2001: A Space Odyssey, Solaris, THX 1138, Blade Runner Duncan Jones’ Moon uses the genre of science fiction to examine the humanity deep inside us all. It's a marvelous film which unfolds from the point of view of its single character. If you haven't seen it, I advise reading this review after, because, although it's always best with any film to go in without any pre-conceptions, in this case, its especially important. But just in case, I've kept this review as spoiler-free as possible.

Sam Rockwell gives a marvellous performance as Sam, who for three years has been stationed on the Moon farming helium and sending it back to the earth for energy. He's been working diligently in solitary for three years, with his only companion his HAL-like computer Gerty (voiced by Kevin Spacey). His contract is almost ending and he greatly looks forward to reuniting with his wife and son. Three years in soltary is enough to make anyone bonkers and by the end Sam is a wreck, teetering on a psychological breakdown. After an accident with one of his lunar buggies, Sam comes face to face with a hidden secret about his mission eventually revealing an emotionally shattering truth about his own existence.

Director Duncan Jones' enthusiasm for humanity brings great warmth to the film's cold and detached environment. As told to us by the opening sequence, the helium mined on the Moon has been a saviour of the environment on earth. Once Sam starts questioning his mission there’s opportunity for him to weigh the altruistic nature of his mission - the importance of one man to humanity as a whole. Jones never lets Sam acknowledge this perspective. And it’s consistent with his point of view – the individual perspective, the importance of individualizing Sam as his own being, not a robot, or an indentured slave to humanity.

By using the visual language of the film’s genre predecessors Jones doesn’t need to off the moon for context. If you think really carefully, a few logical holes appear, and some narrative conveniences. But since we know how communications work in the movie version of space, or the motivations of nefarious corporations in science fiction films, this is all we need to suspend our disbelief.

The octagonal architecture of the base is lifted directly from 2001, same with the industrial clunkiness of the machinery straight out of the Alien franchise. Fit these visual cues into Andrew Niccol’s triumph of the human spirit in Gattaca and George Lucas’s dehumanized hero in THX 1138, and you have a wonderful homage to the best of these films. And of course there's Gerty, the computer which operates with the same monotone false companionship as HAL. Jones uses this familiarity to his advantage generating a blanket of tension just by his mere presence.

Clint Mansell, delivers his best score since Requiem for a Dream, a lovely piano-based theme which runs throughout the film evoking interminable sadness and melancholy. Mansell never threatens to go over the top, because for Sam, his personal discoveries are existentially monumental and earth-shattering.

Sam Rockwell has always been a hit and miss actor for me, often chewing scenery with his physical ticks and mumbling manner of speech. But hands down Moon is his best role, an intense and focused performance, which allows him to use his unique mannerisms for the betterment of the character and the film.

There are many people who hate this type of science fiction, and admittedly a film like this wears its heart on its sleeve, a metaphorical romanticism of the soul. Those naysayers be damned, Moon is a wonderfully optimistic and glorious piece of cinema. Enjoy.

Read More...