Riot in Cell Block 11

Cinematic tough guy Don Siegel first exemplified himself as a director with vision with this razor sharp prison thriller, at once as a first-rate claustrophobic thriller but also as a critique of the inhumane conditions in US prison system at the time.

Anchorman 2: The Legend Continues

Considering the massive overkilled marketing push behind this film, the inspired mix of absurdest humour and sharp satire make Anchorman 2 a genuinely pleasant surprise. The almost 10 years between the first film and this one is worth the wait. While the character of lovable buffoon Ron Burgundy and his outlandish gags and set pieces are finely tuned, it’s the film’s sharp critique of the commodization of modern news which sets the film apart from other money-making franchise ventures, such as 'The Hangover'.

Agony and the Ecstasy

With Easter coming around, this also means the season of a historical epics – both in theatres and home video. Agony and the Ecstasy was one of the bigger films of its day, a 70mm showcase, telling the story of the Michelangelo and his tempestuous relationship with Pope Julius I who commissioned the surly artist to paint the ceiling of the Sistine Chapel. As usual with this kind of the film, the superb production value carries the weight over a dull story and hammy characterizations of historical figures.

The Wolf of Wall Street

What a pleasure to see at age 70 Martin Scorsese, into the latter stage of his career, deliver one more sprawling crime picture, in this case a film which acts like a capper to a trilogy including Goodfellas and Casino, three pictures connected by the director's blistering cinematic pace, it's fascinating viewpoint into three segments of high stakes crime and corruption and it's sympathetic portrait of three contemptible characters. Once again Scorsese succeeds.

George Washington

David Gordon Green’s dreamy feature debut renowned for its swath of Terrence Malick affectations feels even more warm and inviting fourteen years later. The consciously lazy narrative of a group of rural Texan kids, black and white, co-habitating happily, and growing up impervious to the pretty bleak squalor around them, is the functional foundation for Green’s lush tonal aesthetic. Essentially the film is made up of small moments of infectious and hypnotising beauty, moments and scenes which don’t always coalesce together fluidly, but collectively whet our palette through its nostalgic filter of childlike naivete.

12 Years a Slave

Steve McQueen’s already celebrated picture consciously manages to find a medium ground between the intimate and avant-garde roots of his earlier pics and the broad historical canvas of American slavery. As devastating it is to see slavery depicted on screen he never seems to match the level of visceral impact as his debut Hunger. Thus, however powerful and moving there’s a feeling he’s tamed himself for the sake of American and Hollywood acceptability.

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.