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Category Archives: Monthly Report

Monthly Report: March 2013

One year ago, I made my first Monthly Report post here on A Swede Talks Movies. I didn’t plan for this at the time, but the Monthly Report has become the real rock of this blog. Even as the amount of posts has decreased throughout the last year, the Monthly Report provides regularity and stability. I like that.

Mighty Aphrodite (Woody Allen, 1995)
The whole Greek theater angle was largely lost on me. The story itself is solid Woody Allen, with a couple of pure gold lines here and there and some effective and affecting performances. Not the best film I’ve seen from the director, as in the end it doesn’t really go anywhere, but it’s a fine enough watch.
3/5

Seeking a Friend for the End of the World (Lorene Scafaria, 2012)
For some reason, I was expecting something more comedic. I was also expecting something not as good as this ended up being. The whole coming apocalypse thing is shown with lots of fascinating details, but the real goodness here comes from the relationship building between Steve Carell and Keira Knightley. Superb chemistry, and I found myself genuinely moved by their story. It’s a healthy reminder of just how great Carell can be with the right material, and of how Knightley is capable of so much more than just looking good in a period dress. Perfect ending, too.
4/5

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The Raid: Redemption (Gareth Evans, 2011)
Badass to the highest degree.
5/5

Butch Cassidy and the Sundance Kid (George Roy Hill, 1969)
I haven’t explored the western genre enough to really say with any degree of certainty that it isn’t my thing, but what I can say is that there is little about the genre that makes me inclined to investigate it further. I liked this movie, though. The banter between Paul Newman and Robert Redford made for a lot of fun scenes, and the story of the two outlaws was compelling stuff. The extended music scenes felt a bit weird, though.
4/5

Shame (Steve McQueen, 2011)
Some movies manage to really get under my skin. It might take a little while, but once they get through, they’re free to work whatever brand of magic they’re capable of, and it’ll just stick with me in a certain way. This does not mean that they’re better movies than others; it just means that they manage to operate in a different manner than most. Shame is such a film, and it achieves it through spellbinding long takes, a tremendous lead performance by Michael Fassbender, and a take on addiction different from the norm in films. The previous McQueen-Fassbender collaboration, Hunger, was a movie I admired more than I liked. Shame, I admire and adore in equal measures.
5/5

Valhalla Rising (Nicolas Winding Refn, 2009)
The most boring movie I’ve seen in quite some time.
1/5

Barry Lyndon (Stanley Kubrick, 1975)
The lavish production of it all is what I found myself liking most about this film. The whole shebang looks great, from the costumes to the art direction to the environments. My main problem is Barry himself, who for most of the film is really quite boring. The story fortunately picks up a bit in the second half. All in all, though, this is one of my least favorite Kubrick films.
3/5

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Extremely Loud & Incredibly Close (Stephen Daldry, 2011)
Rough goings early on with this one, as I didn’t like the main character – more to do with the writing than Thomas Horn‘s performance – and found there to be too many shortcuts. Having the kid always carry around a tambourine that he shakes whenever he’s nervous is a lazy way to show his emotional state, for instance. That said, this film definitely managed to win me over as it went along. It unabashedly tugs on the heart-strings, and Daldry ultimately makes it work. Bonus points for fine performances by Max von Sydow and Sandra Bullock.
4/5

Set It Off (F. Gary Gray, 1996)
Very run-of-the-mill bank robbing movie, full of clichés and overwrought melodrama. Not very good.
2/5

Cleanflix (Andrew James & Joshua Ligairi, 2009)
A surprisingly compelling documentary on the business of edited movies, IE when companies buy and edit movies to remove content they deem unsuitable or immoral. Fair arguments are made for both sides of the argument, and while the process to me certainly seems legally wrong, the movie did make me pause to ponder the morality of it. This was more than I expected to do, so that was cool. What drags the movie down is the form, with lots of talking heads and floating text to provide narration. You watch it for what it has to say, not for the way in which it says it.
3/5

The Girl (Fredrik Edfelt, 2009)
Heartfelt and frank story about a 9-year-old girl (Blanca Engström) who has to spend a summer taking care of herself. The clash between childhood and adult life is potent here, and the movie does a good job in sweeping you along in its smooth pace. A Swedish film that rises a bit above the norm.
4/5

About Schmidt (Alexander Payne, 2002)
Jack Nicholson is great here. It’s the kind of performance that make you wish there were more strong meaty roles like this one for older actors out there. The rest of the film is good too, although I was a bit bothered with the over reliance on narration in various forms to tell the story of Warren’s state of mind.
3/5

[Movie]11-14 (2003)

11:14 (Greg Marcks, 2003)
A black comedy thriller of sorts, with a number of different plot threads that intersect with one another. I found the tone of humor to be an ill fit for the more gruesome parts of the story, but it’s nonetheless fun to see in what ways the various plots are connected.
3/5

Morning Glory (Roger Michell, 2010)
The story of a plucky young career woman getting a new job and having to deal with old cranky people in order to show what she can do is nothing new; Morning Glory’s writer Aline Brosh McKenna herself handled similar subject matter four years prior in The Devil Wears Prada. The formula still works here though, largely thanks to Energizer bunny Rachel McAdams and a Clint Eastwood-channeling Harrison Ford. The whole movie is imbued with an energy that many comedies are missing these days, in fact. Everything just clicks. Morning Glory doesn’t break new ground, but it offers for a very fun time regardless.
4/5

Trailer Park Boys: Countdown to Liquor Day (Mike Clattenburg, 2009)
Me and a friend were nursing hangovers and flipping through Netflix when we saw this film none of us had heard about before and decided to give it a go. We didn’t know that it was based on a TV show, and not the first film to be based on it either. Regardless, I enjoyed it. The material itself runs a bit thin at times, as there’s not enough to fully sustain its 102 minutes, but the characters are amusing and have an off-beat kind of dynamic with one another. I found myself wanting to see more of them, so…
3/5

Trailer Park Boys: The Movie (Mike Clattenburg, 2006)
…naturally, I checked out this one too. It’s roughly on par with Countdown to Liquor Day. A bit better paced and with a sharper plot, but it’s not quite as funny – possibly due to less focus on Bubbles (Mike Smith). Nonetheless, I don’t see how you could like one of the films and not the other.
3/5

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Intolerable Cruelty (Joel & Ethan Coen, 2003)
Oddly flat in content for a Coens film, but the humor is there and the cast has a good bit of fun with it all. The ending seemed weird to me, but then that’s par for the course when watching one of the brothers’ movies for the first time, so I’m not holding that against it too much.
3/5

The Substitute (Robert Mandel, 1996)
Pretty bad in most every way, from the clichéed story and poor action scenes to the cheesy acting. But it’s at least the kind of bad that you can laugh at if you watch it with some friends. If I can give Troll 2 a score of 3/5, I can give this one a 2.
2/5

Total # of new films seen: 18
Average score: 3.3 / 5
Best film of the month: Shame
Worst film of the month: Valhalla Rising

 
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Posted by on 2 April, 2013 in Monthly Report

 

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Monthly Report: February 2013

As expected due to work, February was a drastic step back in terms of movie quantity to me. 13 new films seen, compared to January’s 42. Such is life. This month offered an even mix of the good and the bad.

Videocracy (Erik Gandini, 2009)
What happens to a country when its president owns 90% of its TV channels? Videocracy takes a look at Italy during media mogul Silvio Berlusconi’s reign as its leader, where TV is – seemingly – all lurid junk and everyone’s obsessed with celebrity. The depiction of Italian television prompts quite a few eyebrow-raising “Is this for real?” reactions in the early goings, but beyond the surface level, there really isn’t much to this documentary. Why not explain how Berlusconi could rise to power? Is there really no alternative to what he’s offering? The film grows less and less focused as it goes on, and there’s no real attempt at analyzing anything. This subject deserves a better film.
2/5

The Phantom of the Opera (Joel Schumacher, 2004)
I love musicals, but this was some pretty dull stuff. Some of the tunes are good, but there’s little emotion in the singing – or in the acting, for that matter. Gerard Butler in particular is an ill fit to play the Phantom, not managing to inject him with either danger or magnetism. The plot just goes on and on and on, and by the end of it, I had completely stopped caring. Nice sets, though.
2/5

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Bridesmaids (Paul Feig, 2011)
Sometimes I hate writing these mini-reviews for comedies, because it feels like there’s not that much to say other than “it was funny” or “it was not that funny”. Well, this one was funny. Really damn funny. There’s also the much mentioned novelty factor of having a raunchy comedy like this centering around women, so that’s cool too. What really helps to push this one up to greatness levels is the emotional resonance it has regarding friendship, envy, adulthood, relationships and more. Tremendous. Kristen Wiig rules.
5/5

2001: A Space Odyssey (Stanley Kubrick, 1968)
Certain movies you just keep hearing so much about that you start drawing incorrect conclusions about them. I actually expected to dislike this film. I had gotten the idea in my head that this was some dreadfully slow incomprehensible mumbo-jumbo. Which it isn’t. It’s a fascinating story, a true showcase of special effects and audio magic, and an experience quite of its own nature. I won’t pretend to entirely understand the meaning of the ending, but I believe it was Ingmar Bergman who said of his films that he didn’t care if you understood them, as long as they made you feel something. That definitely goes for this one. I wish I can see it on the big screen someday. That must be a trip.
4/5

North by Northwest (Alfred Hitchcock, 1959)
Another good Hitchcock thriller. I’ve come to expect no less from him. I enjoyed the humor in this one, as well as the overt chemistry between Cary Grant and Eva Marie Saint. That finale is quite masterful, too.
4/5

Ip Man 2 (Wilson Yip, 2010)
A worthy follow-up to the first Ip Man film. The fight scenes are as cool and crisp as ever, Donnie Yen in the lead is still immensely likeable, and the story is solid indeed. The climactic fight is pretty great, thanks to a novel premise and a bad guy who you just long to see get his comeupance. This one’s an easy thumbs up.
4/5

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Lifeboat (Alfred Hitchcock, 1944)
There’s some interesting notions going on in this film about the deterioration of civilized manners when man is under duress. The humor works for the most part too, but the story is ultimately a bit thin, and the pacing is uneven. I’d say all things considered, this is a good movie, but my least favorite Hitchcock so far.
3/5

Compliance (Craig Zobel, 2012)
It would be so very easy to dismiss the actions of the characters in this film as unbelievable, if not for the fact that this really did happen. Multiple times. With the film being, from what I’ve gathered, a very faithful recreation of one case of it. Mind-blowing, and crucial for the whole film to not buckle and collapse under the weight of the whole thing. There’s little wrong with the execution, and it’s a very compelling watch.
4/5

Safety Not Guaranteed (Colin Trevorrow, 2012)
“It could have been better” sounds like a negative thing to say about a film. I don’t think it necessarily is. Some mediocre movies are just as good as they could have ever hoped to be. There’s nothing there to make you think they could have been great. Time travel movie Safety Not Guaranteed, however, could definitely have been better. This is, in a way, a good thing, because it means there are great ideas and talent present here. If it had just been tighter and more focused thematically. If the sub-plot with Jake Johnson‘s asshole character had felt more relevant to the main story. If the tone of comedy had been more consistent throughout. If all these things had been, this could have been great. As it is, it’ll have to settle for good. It did make me want to learn to play the zither, though.
3/5

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Ruby Sparks (Jonathan Dayton & Valerie Faris, 2012)
A clever script and some thoughtfulness go a long way. An interesting and funny take on the idea of the perfect mate. Between this one and Little Miss Sunshine, it seems like Dayton and Faris are the ones who truly know how to get the best out of Paul Dano. He was great in LMS, and he’s great here too.
4/5

The House of the Devil (Ti West, 2009)
Cool little slow-burn horror film that emulates the look and feel of the genre of the 70s and 80s. The atmosphere and scares are mostly effective, but the climax can only be described as a letdown.
3/5

Morgan Pålsson – World Reporter (Fredrik Boklund, 2008)
A film about an incompetent reporter (Anders Jansson) who finds himself in the thick of a revolution in a north African country. This movie is a prime example of everything that’s wrong with Swedish comedy. Predictable jokes, one-dimensional characters, moronic plot, and not the tiniest hint of energy or an edge anywhere. Terrible.
1/5

Argo (Ben Affleck, 2012)
Not my pick for Best Picture of the year, but a fine movie it was nonetheless. It’s a fascinating story, and the tension is ramped up very effectively as it builds to its climax. While I prefer Gone Baby Gone and The Town, this is yet another impressive directorial effort by Ben Affleck, who seemingly can do no wrong these days.
4/5

Total # of new films seen: 13
Average score: 3.3 / 5
Best film of the month: Bridesmaids
Worst film of the month: Morgan Pålsson – World Reporter

 
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Posted by on 28 February, 2013 in Monthly Report

 

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Monthly Report: January 2013

I have no idea how this happened. I thought December was very movie-intense at 30 new films seen. Well, in January, I saw 42. Plenty of good stuff was at hand, including two terrific Best Picture Oscar nominees that stuck in my head for days and required multiple trips to the cinema. I did quite a bit of last minute catching up on documentaries and foreign language films of 2012 for award nominating purposes, too. Gotta love Netflix. February will have more work on its plate for me, so I expect there to be less time for movies. Then again, you never know…

13 Assassins (Takashi Miike, 2010)
Fitting choice to open 2013 with, don’t you think? This is a more accessible and to me far more enjoyable film than what Miike tends to put forth. The first half is decent enough talky set-up; it’s nothing mind-blowing, but it does what it’s supposed to. The second half is the real gem here though, featuring some of the most badass samurai action I’ve ever seen. Just tremendous stuff, and a great way to kick off movie year 2013.
4/5

All Good Things (Andrew Jarecki, 2010)
I’m not sure why this film has to exist, or why anyone should have to see it. It’s not bad or anything; in fact, there are scenes that are quite impressive, especially the ones focusing on the central characters’ relationships towards each other, which are more complex than what one first suspects. The actors all put in solid efforts, too. It’s just that the story as a whole, despite being based on true events, doesn’t really feel like it’s anything special. There is some awkwardness to the way it jumps around in its timeline. It’s a watchable movie, but by no means a must-see.
3/5

ADVENTURES OF TINTIN, THE SECRET OF THE UNICORNThe Adventures of Tintin (Steven Spielberg, 2011)
Oh, this was a joy to watch. I grew up with the Tintin comics, so this had a lot of nostalgia value for me. It’s way more than just that, though. It’s a hilarious movie, with Captain Haddock providing the lion’s share of laughs, but pretty much all the humor is right on the mark. The animation is teriffic and offers such beauty that it made me wish I had seen it in theater. The action is cool and imaginative, with the astounding “long take” chase scene being just the crown jewel of a big old pile of gold. What I found most impressive was how well Spielberg utilizes the animation format, smartly employing angles, shots and effects in cool ways that would have been tricky to pull off in live action. All in all, this is a teriffic film. The 2015 sequel can’t get here soon enough.
5/5

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Posted by on 31 January, 2013 in Monthly Report

 

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Monthly Report: December 2012

In the middle of the christmas hoopla, I found a surprisingly large amount of time for movies. At 30 films seen, December is probably my most intense month of the year cinematically speaking. Surprising indeed. There was a lot of good stuff, and little that was outright bad, so it’s a good slew of movies to close out the year with.

American Reunion (Jon Hurwitz & Hayden Schlossberg, 2012)
Well, it’s better than the last four straight-to-DVD American Pie films. Not that that’s saying much. The nostalgia factor is what makes American Reunion work, in two ways. First, by having the audience remember the first parts of the series, and then by having a fondness for the old times be a centerpiece of the plot as well. It’s a good thing this is handled effectively, because the actual humor is often derivative, and while there are certainly some laughs to be had here, they don’t always hit the mark. If this is the end of the series, it’s a respectable way to close the doors, at least. Except there’s reportedly another film being planned, so I guess not. God damn it.
3/5

The Grey (Joe Carnahan, 2011)
What a terrific survival film. All the visceral elements were extraordinarily well done. I felt the plane crash. I felt the snow. I felt the cold water. And then there’s the wolves, who are as menacing as any movie monster I’ve seen in recent memory (except maybe the shark in Jaws.) Add in the spiritual elements of the story, and you have one great awesome package of a film. I mean, hell, it made me spontaneously applaud in my couch. That never happens.
5/5

Silent Night (Steven C. Miller, 2012)
Malcolm McDowell is really funny here in an Alan Rickman Sheriff of Nottingham way, where it seems like he’s not even part of the same movie as everyone else. Unfortunately, the rest of the film is weak humdrum slasher stuff. Skip this one.
2/5

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Harry Brown (Daniel Barber, 2009)
Gran Torino‘s story in Attack the Block‘s setting, only with the violence ramped way up and with Michael Caine in the lead. This is certainly to oversimplify things, obviously, but it should give you some idea of what the film’s about. While the subject of a retiree turning vigilante is a field ripe for social commentary, there’s nothing done along these lines. No, this is a bloody revenge thriller through and through, and as such, it works really well. Caine is great, and it’s a treat to see him in a lead role these days.
4/5

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Posted by on 2 January, 2013 in Monthly Report

 

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Monthly Report: November 2012

Color me shocked that I almost tied last month’s movie tally this month. October felt very movie-heavy. November, by comparison, just kind of drifted by, but I apparently watched a lot of stuff regardless. Not that I’m complaining. I got some good watching done, knocking off a couple more from my 2011 Must-See list, as well as some classics that I should have watched a long time ago. Yeah, November was a good month indeed.

Neds (Peter Mullan, 2010)
Set in Glasgow in the 1970s, Neds follows a boy during his growing-up phase, from promising smart kid to trouble-making delinquent. The transition is presented in an engaging fashion and, for the most part, shows a believable trajectory. Some well-timed humor makes for a welcome addition in the early goings as well. The problem is that it all gets a repetitive, with the second half of the film treading water rather than breaking new ground. Some more time could have been spent fine-tuning it in the cutting room. It’s a slightly better film than Mullan’s previous effort The Magdalene Sisters, though.
3/5

Rampart (Oren Moverman, 2011)
Hard-hitting character study of one rotten L.A. cop, expertly portrayed by a rarely-better Woody Harrelson. He and Oren Moverman make for one hell of a team, judging by this and their previous collaboration The Messenger. Moverman does great work here, utilizing colors and camera angles in striking ways that really make the film come alive. And this is only his second film. I’m eagerly anticipating what he’ll come up with next.
4/5

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Young Adult (Jason Reitman, 2011)
I’m a major fan of Jason Reitman. That Young Adult is probably his weakest film to date has more to do with the awesomeness of Thank You For Smoking, Juno, and Up in the Air, than with any supposed lack of quality in this latest effort. Because Young Adult is really good. It’s a brisk and fun look at an interesting woman – Charlize Theron‘s Mavis – who’s possibly be the best-written character Diablo Cody has provided cinema with. The film might not tell a story we haven’t heard before, and it could have done with a bit more narrative muscle, but, in the end, this is Jason Reitman. And Jason Reitman makes damn fine films.
4/5

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Posted by on 1 December, 2012 in Monthly Report

 

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Monthly Report: October 2012

Hot diggity damn, what a movie month October turned out to be! With 28 new movies seen, it’s handily the most densely packed month since I started this series of blog posts. Netflix launching in Sweden certainly helped a bit, but it’s also a simple case of film once again rising above other pastimes of mine, as it tends to do sooner or later. Summer was a down-period; now I’m back into the swing of things again.

But it’s not just quantity that makes October a great month for film. The vast majority of what I watched these last 31 days has been good. Only three films failed to make my passing grade of 3/5, which is pretty impressive. It got to the point where I started second-guessing myself: “Can I really give another movie a positive mark? Shouldn’t I give out a low score to show some kind of… I don’t know.” In the end, I feel like I’ve been fair to every movie I’ve seen. Except the Bergman one, but we’ll get to that soon enough.

The Magdalene Sisters (Peter Mullan, 2002)
Structurally, this is familiar prison/asylum/escape stuff. It’s competently made for sure, and certainly not boring. That said, it doesn’t bring anything new to the table plot-wise. It is notable, however, for bringing cruelties performed by certain members of the Catholic church to the public consciousness. Young women were sent off to asylums to become, in effect, slave laborers indefinitely. Why? Because they sinned. They flirted with boys, or had children out of wedlock, or were raped. While being based on a true story is never a free pass for a movie to be considered important or anything, it does lend this one a certain weight it might not otherwise have had.
3/5

Conan O’Brien Can’t Stop (Rodman Flender, 2011)
A bit repetitive at times, and not a very revelatory look at Conan O’Brien, but it – and its subject – has enough energy and drive to make for a fun watch. I haven’t seen any of O’Brien’s work other than the occassional clip here and there online, and I’m not sure I learned much about him here other than what the title reveals.
3/5

Faster (George Tillman Jr., 2010)
I’m sure I wasn’t the only one who went into this one expecting a straight-forward frantic action flick. That’s not what Faster is. It’s a revenge thriller with only sporadic scenes of gunplay and driving antics. For what it is, it works quite well. I was particularly fond of the attempts at characterization of the main players, with all three getting some unexpected depth added to them. The ending kind of flies in the face of what led up to it though, which is a bit of a shame. Still, this is a decent movie, and I’m actually vaguely curious now to see what else the director has made.
3/5

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Posted by on 1 November, 2012 in Monthly Report

 

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Monthly Report: September 2012

It’s Kind of a Funny Story (Anna Boden & Ryan Fleck, 2010)
A film like this is never going to achieve “greatness” as such. It’s too light, too fluff, too simple, and features its fair share of mental ward clichées. That said, taken for what it is, it’s still very enjoyable. The subject of depression is handled tactfully, and the film treats its characters with respect while still finding the comedy in them. Zach Galifianakis is impressive in his substantial supporting part, showing some unexpected depth in his acting, and he quietly steals the show here. I’m not sure if this film has enough substance to stay in my mind for all that long, but now in its immediate aftermath, I find myself very fond of it.
4/5

Dark Shadows (Tim Burton, 2012)
Very, very, very… okay. This is one of those typical Tim Burton films one will no doubt think of the next time one throws around the term “typical Tim Burton film”. I do wonder what my feelings of it had been had I never seen a Burton movie before. As it is, it’s hard not to feel that this is a somewhat lazy effort that brings little new to the table, but at the same time, it’s still a pretty good time. It’s a fun story that offers its share of laughters, so it earns a passing grade. But man, wouldn’t it be cool if Burton tried another Ed Wood or Big Fish or something next time? This tune we know by now.
3/5

Men in Black III (Barry Sonnenfeld, 2012)
Mostly pointless, and not particularly funny.
2/5

About a Boy (Chris & Paul Weitz, 2002)
Having recently read the Nick Hornby novel upon which this film is based, I went into the movie with the following mindset: “Ugh, I’m never reading a book before watching the film again. I’m sure this one will be okay-ish, but I’ll just be annoyed at everything that’s left out or changed. I already know I won’t like it better than the novel.” While that last sentence might hold true, the film About a Boy came damn close. The story has a good flow to it, and the tone and humor of the novel is kept intact. The plot is kept mostly the same, but the climax is brand new and works like a charm, carefully walking that balance between feel-good and overbearing mush. The two lead actors are key. Nicholas Hoult does a better job than most child actors, and Hugh Grant puts in what might be the best performance I’ve seen from him. Rock-solid movie.
4/5

Goodfellas (Martin Scorsese, 1990)
About time I got around to knocking this one off my List of Shame. It’s always a tad awkward to watch one of these films that have been heavily canonized as one of the all-time greats. It’s hard not to end up going “Yeah, this was very good, but it wasn’t that great.” I did really like this one. It’s a fascinating look at the rise and fall of a gangster, and it’s the fall in particular that really grabbed me. What was most surprising was how fast the minutes went by. It certainly didn’t feel as long as it was. So yeah. This was very good. But… it wasn’t that great.
4/5

The Spanish Prisoner (David Mamet, 1997)
A thriller that starts out feeling very Mamet, but as it moves along it becomes quite Hitchcock, to the point where it seems remarkable that it was made as recently as 1997. The movie is clever and has twists and turns a-plenty, and is thus the kind of film that seems destined for a future rewatch filled with “Oh I see what you did there!” reactions from me. Very fun.
4/5

Monsters (Gareth Edwards, 2010)
I appreciate the concept of a monster movie where the action and monsters are kept to a minimum and mostly as an off-screen threat, thus putting the focus on the human characters and ther interactions with one another. However, for this to fully work, the characters have to be somewhat interesting. The ones in Monsters aren’t, really. This causes some lulls where the film gets close to losing my attention. Still, it’s not too bad, and the climax is very well-handled.
3/5

Watching the Detectives (Paul Soter, 2007)
A romantic comedy about a film fanatic (Cillian Murphy) whose life is shaken up by a care-free prankster (Lucy Liu). With the viewpoint character being into movies, there’s a fair amount of film referencing going on, which is always fun. It’s arguably the strongest point in the movie’s favor. The plot is fairly standard romcom stuff. I would wager that how much one enjoys this film is largely related to how one responds to Liu’s character. I feel that she goes a bit too far in her antics to be entirely likeable. Another issue is the ending, which arrives a bit too soon and leaves you without any real conclusion. Fortunately, the two leads have good enough chemistry with one another to make this a decent watch, though perhaps not an all that memorable one.
3/5

Moonrise Kingdom (Wes Anderson, 2012)
A beautifully shot film that tells a sweet, if light, story. I liked this one, but for each film of his I see, my suspicion that I’ll never fall head over heels in love with Wes Anderson’s work grows ever stronger.
3/5

Total # of new films seen: 9
Average score: 3.3 / 5
Best film of the month: Goodfellas
Worst film of the month: Men in Black III

 
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Posted by on 1 October, 2012 in Monthly Report

 

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