Tag Archives: Jay Roach

Monthly Report: May + June 2013

I didn’t do a Monthly Report last month. The reason why is that the number of new movies I saw in May was a less-than-impressive 1, and making a blog post on just that seemed silly. Fortunately, June proved a bit more fruitful. My movie interest is perking up again, it would seem. It’s just a shame that these two months didn’t have more really great films to offer than they did, but what can you do.

Breakdown (Jonathan Mostow, 1997)
Solid thriller, albeit with no real stand-out quality. Nothing worth going out of your way to check out.

Cosmopolis (David Cronenberg, 2012)


End of Watch (David Ayer, 2012)
The story is barely there. Just two cops doing their thing, presented partially found footage style that adds little to the proceedings. What makes the movie work is the convincing performances by Jake Gyllenhaal and Michael Peña, as well as the many brief yet poignant insights into what it’s like to be a police. The movie manages to take familiar situations and tropes and show them in a way that make the implications of them really sink in for the first time. If that makes sense. This one’s worth checking out.

Kung Fu Dunk (Yen-ping Chu, 2008)
I was hoping for something similar to Shaolin Soccer. This one kind of was, only not as good. One problem was that the martial arts stuff felt shoehorned in and not played to full comedic effect. Even worse was the way too mushy and overly long ending. The early goings of the film did offer some giggles, but not enough to outweigh the bad.

Descent (Talia Lugacy, 2007)
Not to be confused with spelunking horror film The Descent. This is one of those movies that’s more interesting to think about afterwards than it is to actually watch. In its effort to keep the effects of rape “real”, it internalizes everything to too high a degree. The result is a viewing experience that keeps the viewer at too much of a distance. There are some interesting directorial choices here, and Rosario Dawson‘s performance is a strong one – that her character’s motives are kept somewhat in the dark seems to be the director’s choice – but once you realize what the movie is going for, you realize that it’s not enough to sustain its running time.

For a Good Time, Call… (Jamie Travis, 2012)
Not all chick flicks are bad. This one kind of is though, or at the very least “meh.” It’s generally a bad sign that when the end credits start rolling, you realize that nothing has really happened. Nothing has changed, there has been no real character growth, and there have been no laughs either – although some of the cameos are smirk-worthy. This film is also proof that dirty language alone is not enough to spice up a film.


Incendies (Denis Villeneuve, 2010)
A movie very much about its story. It’s full of intrigue and is told well – dual timelines can be tricky, but are pulled off without a hitch here – and I found myself more and more hooked as it went along. Sprinkled in are scenes of stark emotions and shocking violence, almost like interpunctuation. Check this one out if you’re in the mood for a tale with plenty of unexpected turns.

Hit and Run (David Palmer & Dax Shepard, 2012)
I really liked the dialogue here. The conversations and arguements, particularly the ones between Shepard and Kristen Bell – fiances in real life – had a way of drifting from the personal to the general that I dug like hell. Like, they’d start talking about who’s right, then it becomes about what’s right, then they take themselves out of it completely and try to see everything from the outside looking in. It’s hard to describe properly, but it stood out to me as something movies rarely do. The fact that it’s the same kind of conversations I often end up in myself might have something to do with my fondness for it here. Anyway, the rest of the film was cool too, with a story that hasn’t been done to death and fun characters. Could have done with tighter action scenes, perhaps.

The Dictator (Larry Charles, 2012)
Nowhere near as good as Borat or Bruno. Felt more like an excuse for Sacha Baron Cohen to try out a new accent for 80 minutes. I did like the helicopter scene and the climax, though.

A Beautiful Mind (Ron Howard, 2001)
I’m not convinced the movie need to go on for as long as it did; the ending did drag a bit. Overall, though, this was a fascinating story, helped along by two great performances by Russell Crowe (never better) and Jennifer Connelly.

Never Let Me Go (Mark Romanek, 2010)
This was fine. The acting is decent enough – I was particularly impressed by Andrew Garfield – and the story is a cool and unique one. I would highly recommend reading the novel by Kazuo Ishiguro instead, though. That one is superb.


Kiss Me (Alexandra-Therese Keining, 2011)
Not as good as that other Swedish movie about lesbians, but still fairly decent. As much of an infidelity drama as a gay romance, this one struggles a bit with an occasionally flat story – remove the homosexuality and marvel at how humdrum the whole thing would seem – but the two leads (Ruth Vega Fernandez and Liv Mjönes) have good enough chemistry and put in strong enough performances to carry the film to a passing grade.

eXistenZ (David Cronenberg, 1999)
I don’t get it.

Carnage (Roman Polanski, 2011)
Just four talented actors doing what they do best, with Christoph Waltz and John C. Reilly in particular providing stand-out turns. The end felt a bit abrupt, but then it always seemed to be headed that way, so it’s not a huge drawback.

Seven Psychopaths (Martin McDonagh, 2012)
Cool and clever film through which I was never sure what was going to happen next. Strong cast too. After In Bruges and this one, McDonagh is certainly a director to keep a close eye on.

The Campaign (Jay Roach, 2012)
Not the most subtle of satires I’ve seen, to say the least. There are some funny scenes here and there, but a lot of the humor just feels forced and hamfisted. I’m a fan of both Will Ferrell and Zach Galifianakis, but neither manages to do much with what they’re given here. The ending is really damn weak, too.

Total # of new films seen: 16
Average score: 2.9 / 5
Best film of the months: Seven Psychopaths
Worst film of the months: Cosmopolis


Posted by on 1 July, 2013 in Monthly Report


Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

My Top 10 Favorite Movies of 1997

Here we go with another list of my favorite films of a given year. This time we’re in 1997. The year when we found out that the Terminator movies weren’t accurate predictions of the future as Skynet didn’t take over on August 29. The year when “MMMBop” reigned supreme on the pop charts. The year when James Cameron released a little film that would go on to obliterate the cash registers at the box office. The year when Lady Di met an unfortunate end. And, of course, plenty of good movies.

As usual, this list only counts movies with a stated release year of 1997 according to IMDB.

Honorable mentions: Boogie Nights, The Fifth Element, Life is Beautiful, Suicide Kings, Titanic

10 – CUBE (Vincenzo Natali)

“No more talking. No more guessing. Don’t even think about nothing that’s not right in front of you. That’s the real challenge. You’ve got to save yourselves from yourselves.”

A group of people wake up in a maze consisting of cube-shaped rooms. Some of the rooms contain deadly traps. There. That’s an effective two-sentence summary of Cube’s premise. While there are scenes of gruesome deaths, the focus lies primarily on the characters and how they cope with each other as they try to figure out where they are, why they’re there, and how they can get out. With claustrophic tension to spare, this Canadian thriller is not one to miss.

9 – PERFECT BLUE (Satoshi Kon)

“You bad girl! You have to follow the script!”

Perfect Blue is a must-see for anyone who liked Darren Aronofsky‘s Black Swan as they deal with similar themes: uncertainty of what’s real, pressure to succeed, and the psychological effects of sex. Here we follow a young famous pop artist who decides to switch gears and become an actress, only to find herself stalked by an all-seeing obsessed fan who thinks her a traitor. At only 80 minutes, Perfect Blue is a very condensed psychological thriller that packs a heavy punch.

Read the rest of this entry »


Posted by on 19 April, 2012 in Lists, Top 10 of a year


Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Monthly Report: March 2012

This is the start of what might turn out to be a recurring feature on this blog. Many of my fellow movie bloggers do something similar. The concept is simple: I talk briefly about all the films I saw for the first time this month. Mini-reviews, if you will.

The Abyss (James Cameron, 1989)
The Special Edition, for the record. Yet another impressive outing for Cameron, with the underwater setting providing most of the film’s memorable moments. The claustrophobic atmosphere is palpable, putting us right down there with the crew of oil-drillers on the ocean floor as they try to determine what caused a submarine to crash. It’s a great action film overall, though the ending feels a tad drawn-out and anticlimactic.

The Artist (Michel Hazanavicius, 2011)
Considering my extremely limited experience with old silent cinema, I’m probably not the intended demographic for this nostalgia-trip. I’m sure there’s a lot of allusions and homages in this one that I didn’t fully catch. Fortunately, this one can survive regardless based on its charm alone. The story isn’t anything special by itself – though intrensically linked with its style – but it’s a pleasant watch with what should in a fair world be two star-making performances from Jean Dujardin and Berenice Bejo.

Persona (Ingmar Bergman, 1966)
I was a bit wary of this film when I sat down to watch it. I had heard it could be a bit “difficult” and “strange”, and my previous experience with Bergman (Through a Glass Darkly) hadn’t quite knocked me over. Well, this one did, and with gusto. Wonderfully acted and thematically rich, but more than anything else, this may well be the most beautifully shot black & white film I’ve seen so far. I’m finally starting to see what Ebert is on about when he keeps praising B&W over color. Persona might well turn out to be the most significant movie-watching I do this entire year.

Read the rest of this entry »


Posted by on 2 April, 2012 in Monthly Report


Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,