A Brief History of Time

The story and science of renowned astro-physicist Stephen Hawking was given the Errol Morris cinematic treatment in A Brief History of Time in 1991. Morris’ ability to probe deep into unique idiosyncratic characters is put to the ultimate test in Hawking, the wheelchair bound genius with no way of communicating other than his hand controlled clicker and computer-translated voice. And yet through his inert facade emerges perhaps the most enlightening character study he’s ever made.

Saturn 3

There’s very little to praise in Saturn 3, the much-maligned Razzy-nominated science-fiction film from 1980, which appears like a stain on Stanley Donen’s ('Singing in the Rain', 'Seven Brides for Seven Brothers') esteemed filmography. At the time, we could admire Donen’s desire to step into another genre, similar to Robert Wise’s success with 'Star Trek The Motion Picture' a year prior, but even with relaxed expectations today, the film never rises above a mere curiosity-piece for the talent involved.

Tess

Thomas Hardy’s tragic 19th century novel adapted as a luscious period film by Roman Polanski is a unique notch on his filmography rarely discussed or acknowledged. Made in 1979 after his escape to France, the film beautifully rounds out Polanski’s long and successful career as it remains one of the three pictures of his nominated for best picture and best director (along with Chinatown and The Pianist).

300 Spartans

With today’s eyes this version of the Battle of Thermopylae serves only ‘Sword and Sandal’ genre enthusiasts (although this one was Greek-made with Hollywood involvement) and curiosity seekers interested in the origins of Frank Miller’s cult graphic novel 300 and by association the monumentally successful Zach Snyder film. Otherwise it’s a dull historical actioner from start to finish.

Alan's Top Ten Films of All Time

Ok, Daily Film Dose is not daily any more. It’s not dead, in fact very much alive (in my head). I’ve been it for over 7 years and I’ve never posted an all-time favourite list. And so here it is, for what it’s worth. Ten films that stick to me so vividly and profoundly more than anything else I’ve ever seen.

How Green Was My Valley (1941) dir. John Ford

This film exemplifies everything that is great about John Ford, even more so than any of his revered Westerns. Ford's signature elegant style creates a romantic view of Welsh coal mining family living through turbulent times. Told from the point of view of young Roddy McDowell's character there's a filter of romanticized nostalgia which Ford embellishes with all his cinematic powers. Breathtaking recreation of the town is front and centre. Arguably one of the greatest locations and sets ever built. The coal mine perched atop a hill at the end of the town and the rows of houses which follow down the valley creates Parthenon-like compositional perfection. And those plumes of smoke which linger in distance so perfectly in the frame was all part of Ford’s obsessive design. The film's trump card though is the astonishingly emotional ending, as moving and powerful as anything in Ford's oeuvre and the history of cinema for that matter. To some the film is notable for being the one that bested Orson Welles and Citizen Kane for Best Picture and Best Director at the Academy Awards but How Green Was My Valley is better and I bet Welles would agree.

Raise the Titanic

Notable at the time for being an expensive flop, this audacious story of a covert CIA operation to quite literally raise the H.M.S. Titanic from the bottom of the North Atlantic in the hope of salvaging a rare mineral to be used in the production of an atomic nuclear defense system would seem like a Sisyphean task. But the Clive Cussler novel on which it was based was a best seller, a precursor of sorts to the Michael Crichton/Tom Clancy brand of techno-thriller of the '80s/'90s, and well, it's Hollywood.

The Long Day Closes

Though having only five dramatic feature films under his belt Terence Davies has been dubbed the greatest living British filmmaker. And there’s little argument here. The Long Day Closes, his second film exemplifies the dreamy beauty of his films, a symphony of cinematic elegance whose sole purpose is to bask in the beauty of his inspired marriage of imagery and sound.

Sundance 2014 - Day Four Wrap Up

Boyhood (dir. Richard Linklater)

A phenomenal achievement, shooting a film over 12 years charting the course of a child's life from from age 6 to 18. Unfortunately Linklater is not immune to the inherent problems with shooting kids, many awkward scenes early on threaten to douse the fire early but the film gains strength as goes along ultimately ending with the feeling of the film as greater than the sum of its parts. As customary to Richard Linklater the film is less about plot, drama or prefab conflict than the observing his main subject Mason (Ellar Coltrane) and giving the audience the cinematic equivalent to 'growing up'. As a dialogue driven movie it works best when the child actors Coltrane and Lorelei Linklater are older more mature and thus better actors. Thus there's a snowball effect which gains traction the longer we get to know the characters. It takes a long time get there, but it's a worthy journey to take.

Sundance 2014 - Day Three Wrap Up

Skeleton Twins (dir. Craig Johnson)

This high wattage comedy asserts Kristen Wiig and Bill Hader as a contemporary classic comic duo. The spark of comic timing from the classic SNL material is evident. May/Nichols might not be the right comparison but their careers have no sign of slowing down. Wiig and Hader as depressed adults both of whom stunted emotionally and who come together in their home town to mutually reconcile their demons might sound like conciuosly casting against type but director Johnson effectively moves the story between brooding drama involving suicide attempts and broad improv comedy and uproarious set pieces. Adding up the ample doses of 80's nostalgia, hilarious comic set pieces and the multi-pronged plotting Johnson packs a lot fit into its brisk 90min running time, but by hitting all the structural beats in their right places more than smoothes over any loose ends. 

Sundance 2014 - Day Two Wrap-Up

Captivated: The Trials of Pamela Smart (dir. Jeremiah Zagar)

Appropriately titled Jeremiah Zagar brings us back into the salacious case of Pamela Smart whose 1990 murder of her husband and three teenage killers convicted inspired massive pre-OJ media coverage as well as the Gus Van Zant film To Die For. Emulating the style and tone of Errol Morris' Thin Blue Line, Zagar crafts a masterful twisty story from the various narratives at play in this case. At core Zagar lasers in on the effect of the media on our collective opinions on the case as well as the jury which convicted her. Less partisan than Thin Blue Line and Paradise Lost, the triumph of Captivated is the open mystery surrounding all details of the case, and let down a tad by an excessive running times which unnecessarily hits the nail on the head. Captivated is a production of HBO Documentary Films will air later this year.

Sundance 2014 - Day One Wrap-Up

The Kristen Stewart starrer Camp X-Ray highlights a light load on this first day. Also included below are capsules for two other fine films Liar's Dice and The Overnighters.

Camp X-Ray (dir . Peter Sattler)

How can a naive female private Guantanamo Bay guard find common ground with a suspected Al Quaida terrorist? Hollywood can make that happen. Well maybe this isn't a Hollywood picture but Peter Sattler vision steers the film in a Hollywood direction without losing its indie cred.  Payman Maadi (A Separation) and Kristen Stewart square off admirably and make equal adversaries and partners. Sattler moves naturally from tension, humour, and genuine heartwarming fraternal emotion ultimately arriving at a controversy free prison film about the most controversial prison in the world. Sattler might just get slapped on the wrist for not taking enough of a stance on the injustices or immorality of detaining these prisoners, but he's able to make a prison film accessible and commercial which aids in any kind of cause. Handsome cinematography, intelligent and expertly crafted dialogue are juicey material for Maadi and Stewart. The fact is, a naive wide eyed but introspective soldier is the ideal role for Stewart's staid acting style. And Maadi riding two lauded Asghar Farhardi roles is a natural playing an intellectual but manipulative Muslim prisoner. Unique musical accompaniment and handsome cinematography create an impressive total package.

Thief

Some filmmakers take years to hone their style and aesthetic tastes. Others announce their vision right out of the gate. Such is the case with Thief, which instantly established Michael Mann’s unique, unmistakable viewpoint on the world and which features one of James Caan’s best roles as a professional thief who yearns to establish a legitimate domestic life with a wife and child, but who instinctively gets pulled back into the world of crime.

Public Enemies

Nobody plays cops and robbers better than Michael Mann, and in 2009 his then highly-anticipated Dillinger picture allowed the director to venture back to the golden era of sensationalized crime — the Depression Era of John Dillinger, Pretty Boy Floyd, Baby Face Nelson et al. But after the disaster of Miami Vice, it was  a double-shot of disappointment. While Mann set the same unique tone of stone cold procedural action mixed with elegant melodramatic melancholy, it was the technical elements in the early days of HD that let him down.

King Kong

Arguably the spectacle of all spectacle films, an enormous achievement of special effects, drama and romance. Merian C. Cooper's story of an ambitious filmmaker looking to capture on-location cinema reality in a remote lost world-type island whose crew encounters a giant vicious ape who has a soft spot for young blondes not only showed us a huge monster battling dinosaurs and climbing the skyscrapers of New York City, but an undeniably sincere romance of beast to woman, and the heartbreaking tragedy of human folly.