The Grand Budapest Hotel [Marathon Review]

“To him who has often told the tales of others, many tales will be told.”

            In Wes Anderson’s most recent film, the auteur finally best himself after the phenomenal Rushmore. The Grand Budapest Hotel is the second Wes Anderson film I watched in theaters, and after exiting the theaters with my brothers, I was the only one who was continually mentioning how spectacular the film was hours after we had watched it. Every single element of this masterpiece is far more than satisfying, and Anderson exceeds all expectations. It is both an absolutely epic film, and an incredible experience.

            Wes Anderson’s style reaches its highest, most developed point in his career here. Every individual shot is delicately engineered and brilliantly executed. I have come to the conclusion that this film is indeed, more detailed than Fantastic Mr. Fox, and each shot is packed to the brim with Wesiness, and more symmetry and lateral whip-pans are present than ever before. The film demonstrates massive blocking, overwhelming choreography, and an intensely beautiful color scheme. The three aspect rations that the film sports, used for its three separate time periods show how much control Wes has over this particular film. He also uses the 3:4 ratio like no one has before. After Moonrise Kingdom’s brief foray into relative normality, Wes Anderson has returned to his quick witted, creative self.

            Wes Anderson makes references here to his other films. He has several shots on trains, and the setup of those shots may remind one of The Darjeeling Limited. He uses shots on motorcycles in the same fashion as he did in Fantastic Mr. Fox, with one characters head poking out from behind the driver. In addition, he uses several miniatures in the film, brilliantly and beautifully. The Grand Budapest Hotel is also Wes Anderson’s most violent and suspenseful film yet. Several characters are brutally murdered. One is beheaded, fingers are chopped off, and in the climax of the film there’s a gigantic shootout.

            Add to all of this, the score. Alexandre Desplat’s third soundtrack for Wes Anderson is without a doubt his best yet. It is magnificently energetic, adding just the right tone to each and every scene, at least those touches that Wes could not provide himself. The score works on several themes, most of which are very fast. They’re used exceptionally well in the film, most notably in a chase scene and the climax. The film has an odd lack of any compiled soundtrack, but Desplat compensates for that with ease, causing the film to feel even more original.

            The cast is absolutely amazing. This is debatably the best he’s had yet. We are presented with an enormous number of cameos, and we have some rather large actors playing some rather miniscule roles. Among this crew is Owen Wilson, Bill Murray (of course), Bob Balaban, Wallace Wolodarsky, and Waris Ahluwalia. All of those actors have had a role in at least one of Anderson’s previous films. Some of the children from Moonrise Kingdom even make appearances. The main cast is also superb. Ralph Fiennes is extraordinary, and says every line with grace and candor, in the precise and delicate way they should be said. Tony Revolori displays a similar expertise, and will likely be returning in future Anderson movies. Willem Dafoe expertly plays a chilling assassin, known professionally as a ‘private inquiry agent’. Oscar-winning actress Tilda Swinton is hardly recognizable in pounds of makeup, as the dowager countess Madame Celine Villeneuve Desgoffe und Taxis. And Adrien Brody plays a wildly cursing, temperamental and money-driven count with murderous intentions.

            This story is filled with many moving parts and highly influential characters. All the characters have different intentions, which makes the plot all the more exciting and suspenseful. A.J. Henckels is trying to enforce the law, but has a friendship with Gustave H., the very man he’s trying to capture. Dmitri, the son of Madame D., is working only for selfish gains and seems willing to cut down anyone in his path (at least via J.G. Jopling, the murderer). And Agatha, Zero’s beloved fiancé, has a devotion to Zero of course, but also wishes to remain morally right, as she states, “I don’t trade in stolen property.”

            Oddly very few relationships are explored, but are instead rooted in the past and offscreen events. Among these sorts of relationships are the relationship between Madame D. and Gustave H., the relationship between Henckels and Gustave H., and the relationship between Zero and Agatha. This gives much support to part of the focus of the film, the idea of storytelling. In storytelling, not all is revealed. We don’t know much about these relationships because either Zero doesn’t know, or he’s not willing to speak of it (as is the case with his relationship with Agatha). The one truly supported relationship in the story is of course the one we should know well and the one Zero would reminisce about most: his relationship with the concierge, Gustave H., who instead of remaining his employer, becomes a true friend, and a sort of brother.

            Wes Anderson defines the word auteur in almost all of his films, but especially in this one. Composed of many exciting and grand scenes, this film is a captivating, fun journey. Everything visual, from the decoration of all of the locations (especially the Grand Budapest), to the elaborate and eye-catching wardrobe is beautiful, and demonstrates great control from Wes Anderson. The Grand Budapest Hotel examines the beauty of storytelling with its story within a story within a story.

The Place Beyond the Pines [Film Review]

★★★★

Rewatched as a new part of my movie collection.

     The Place Beyond the Pines, directed by Derek Cianfrance, is engaging, exciting, especially emotional, and quite the ride. Divided into three parts, each with different characters connected to one story, we're able to see a lot occur during the course of a decade and a half. The consequences of actions are a theme that's very well explored in the film, as we see their effect through a generation. 

     It's often hard for me to describe how great my favorite films are, and thus it's hard for me to review this film. It's really a lot more of an experience than it is simply a technically a good film, though it is a technically good film. I'll stop here though I haven't said much at all, but I definitely recommend this film to everyone. 

12 [Film Review]

✭✭✭

     Making a remake of any classic is always a risky move. No matter what, the remake will be judged based on the standards set by the old film. Some people (myself not included) believe that the remake has to have some new idea, some new point to make. I don't believe so, I believe that it can often simply be a modern refreshment of the same story. 

     Though all films are meant to be judged individually and without opinions based on what the film is based on, I'm going to be reviewing this by many of the ideas of the original, 12 Angry Men, at least in some ways.

     Nikita Mikhalkov's 12 manages to retain the emotion and ideas of the original, but it also is far weaker than Sidney Lumet's masterpiece, due to some minor changes. Among these are the fact that in this story, there is no death penalty. That raised the stakes in the original, and thus lowers the stakes here. All the characters are debating in the end is if the defendant should go to jail or not, a far lesser penalty than death.

     Also, throughout the film there are intrusions, interruptions showing flashbacks and some of the outside world. But part of what made 12 Angry Men so intense was the fact that after the very brief intro, once we get into the small room, we never leave. We don't get any glimpses of the outside world. This serves to raise the pressure, as does the fact that it's the hottest day of the year in that film. We also don't see or know really anything about the defendant's past, and thus all we can really rely on is what the jury knows. That's something that's lacking here.

     But on the positive side, the film is incredibly entertaining. The cinematography is remarkable, and rather entertaining by itself with some incredible long shots portraying conversations and monologues that are equally entertaining. The stories told by the characters are often emotional and are always relevant to the case at hand in some way or another (and if they aren't immediately relevant, that's addressed by other characters). 

     So really, though 12 lacks a lot of what 12 Angry Men had, its still a decent remake, visually splendid, emotionally heavy and entertaining for all of it's one-hundred and fifty-nine minute run time. The performances are powerful and often, angry, in the same spirit as its basis. 

Moonrise Kingdom [Marathon Review]

“I can’t argue against anything you’re saying. But then again, I don’t have to. Because you’re twelve years old.”

            Because of Wes Anderson’s distinctive style, many have tried to imitate it, often in comedic ways. They make videos of normal activities or films or even film credits, and describe them as ‘In the style of Wes Anderson’. People comment on these videos, and describe them as perfectly imitating the style. The problem I have with this is that Wes Anderson’s style is so distinct, that it’s near impossible to imitate. And that’s a problem I also have with this film in a way: it feels like an imitation. It doesn’t feel fully Wesian. A big part of Anderson’s style is the quirks and the odd, comedic dialogue. All this film seems to really have down about the style is the camera moves (and in some scenes it doesn’t even have that). So, for me, this, not Bottle Rocket, is the least Andersony of Wes Anderson’s films. It’s difficult for me to fully describe what makes this my least favorite of Wes Anderson’s films, yet still a masterpiece of some kind, but that’s what I’ll aim to do here.

            Moonrise Kingdom certainly has some charm, visible from the very opening. It starts powerfully, and continues on tenderly. But there’s really something valuable to Wes Anderson’s films that’s missing here. It feels like an independent or foreign film, with some Wes Anderson inspiration. I used to believe that it was quirky but not stylistic, but it’s really quite the opposite. The imaginative, creative quirks that energized his previous films (especially The Life Aquatic) are absent here. It has some laughs and oddities, but when one tries to think of the film that would bridge a gap between Fantastic Mr. Fox and The Grand Budapest Hotel, this film does not fit. In fact, it would seem more logical for one to come directly after the other than have this film in between. A minor cause of this could be the fact that it’s the first Anderson film without a Rolling Stones song.

            As for my opinion that it is still a masterpiece, it is now even more difficult to describe in the context of what I’ve already written. I’ll begin by expanding on the style but focusing on the positives. Like I said, it’s stylistic to be sure, but there are very few quirks to be found. The camera style is heavily evident and often traditionally Andersonian, with a large use of symmetry, lateral whip-pans and close-up inserts of handwritten letters. Among the few quirks to be found, are a character named Social Services, an enormously tall treehouse, and binoculars that are a magical power. These do contribute to it, but the style is where we truly feel the most absence.

            Another element that thrives is the soundtrack. The film opens brilliantly with Benjamin Britten’s ‘Young Person’s Guide to the Orchestra’. It continues with a score from Alexandre Desplat, his second contribution to Anderson’s filmography. It’s far more classical and symphonic than his previous score, delicate yet playful. I noted earlier, also, the missing element of a Rolling Stones song. It could be said that Desplat makes up for that.

            The cast has a large number of child actors, including the main two: Kara Hayward and Jared Gilman. They are absolutely excellent and are among the finest child actors I've seen in a film. Edward Norton and Tilda Swinton are also great additions to the Wes Anderson cast that carries on into The Grand Budapest Hotel. We also have some tremendous cameos from Jason Schwartzman and Eric Chase Anderson in the film.

Also this film is absolutely filled, like never before, with heavily depressed characters all around. It seems like in this film, children act like adults and adults act like children, a theme that echoes Rushmore. Sam Shakusky seems to miss his biological parents a lot, especially his mother, as he keeps a pin that she gave him. He's very misunderstood by his foster parents. Suzy is also misunderstood, but seems oddly unaffected by the wreckage of her parents' marriage. This is possibly because she wishes to be an orphan. When the two, Sam and Suzy, finally 'elope', it gives them both freedom and escape. They're able to relate to each other in many ways, and that is where their genuine love springs up. But the other primary relationship in the film only seems to be collapsing: that of Suzy's parents, the Bishops. The reason for their disconnection never seems to be explained, and is somewhat perplexing. One would at first blame it on Mrs. Bishop's affair with Captain Sharp, the 'sad, dumb police man', but it seems as if that would be more of an effect than a cause.

Scout Master Ward, on the other hand, seems to be forming a relationship with an unnamed lady on the side. The relationship is seen subtly developing in the background of several scenes throughout the film, starting with the offer of a cigarette, and being confirmed at the end with a picture of her on Ward's desk. Hardly any dialogue is exchanged between the two, but it's an entertaining and encouraging sub-plot.

Unfortunately, it seems through all these comments I've only made points for and against the film, and never had them confront each other. So I will here. Though the quirks are rather lacking and the style doesn't seem fully developed, the emotional importance and moral message of the film, which seems to be that love can be found even by children, some of which today think thoughts as deep as the children in this film, and can be resolved, makes up for the films lacking areas. The characters are what really make this film. Roman Coppola and Wes Anderson have made a script about a childhood romance that is, on the surface, Anderson's most depressing work but is on a deeper level, greatly inspiring. Though the road to the end of the film is dark and depressing and suicide is likely contemplated by more than only the two main characters, everything ends happily. Beautiful relationships have developed, and the adults and children have learned a lesson. Rather stereotypical sounding for a Wes Anderson film, but the delivery is just different enough for it to be unique.

The Red Shoes [Film Review]

★★★★

     This is really one of the unseen greats. Sure, it's well-watched and loved among devoted film fans, cinephiles like myself and what not (though this is the first time I've seen it). But if you look at IMDb's page for the film, it has a high rating but has not made it onto the Top 250 films because of how few people have seen it. This is hugely unfortunate, because it is really an incredible and absorbing work of art, with absolutely magnificent acting, music, and writing. 

     Moira Shearer and Anton Walbrook, easily the two best performers of the film, bring the film a lot of life and energy. Moira Shearer's dancing... indescribably perfect. She must have put as much focus and devotion into the role as her character in the film. And Anton Walbrook is powerful and says each line with attitude and clarity. 

     Both the original music and the music used from other plays are stupendous. The original music gives reason to the phrase Lermontov repeats, "It's all about the music."(or something like that). In the famous, long, beautiful dance scene, the music carries on excellently through several tremendous parts and sequences, with several tones and moods. 

     The screenplay is very energetic and intelligent. It's far more lively than most screenplays of its time, and the intelligence that went into it is very evident with loads of brilliant conversations. Just about every bit of dialogue is thought provoking in some way.  

     This film was almost certainly an inspiration for Darren Aronofsky's The Black Swan. From it's dark tone to its focus on devotion and absorption in performance, one can easily draw comparisons between the two. Though this is far better, and has the 'classic' label going for it (honestly, I don't care what you say, that label affects everyone who watches a film with the label). The fact is, this film is absolutely incredible. There's not much I can say on it that hasn't been said (frankly, there's really not much more I can say, I'm not that talented when it comes to writing about older films. They evade me more often). But it really is a poetic, artistic, and entertaining pleasure to watch, with all its performances and energy. It's surprising to me when I find an old film that truly entertains. 

Fantastic Mr. Fox [Marathon Review]

“I understand what you’re saying, and your comments are valuable… but I’m gonna ignore your advice.”

            I have seen two of Wes Anderson’s films in the theater. The first of them is the first film I ever saw of Anderson’s, which is this film. As my naïve, inexperienced, younger self, I didn’t like it because of its differences from Roald Dahl’s beloved book. Honestly, looking back, I realize I had no idea what I was talking about. Wes Anderson’s additions and changes to the classic are superb and incredible as well as highly creative. He adds exactly the right tone to the characters, fleshing them all out fully and giving them life.

            When one thinks of stop-motion animation in relevance with Wes Anderson, they could likely realize that it fits his style as well as the train in The Darjeeling Limited. Because of the individual focus on every single frame, Anderson is able to pack loads of glorious detail into the film. Wes Anderson is able to control the camera’s every move with this format, as well as his character’s movements. Basically, stop motion animation is perfect for Wes Anderson in every way, and is in heavy contest with The Grand Budapest Hotel when it comes to the amount of control Wes Anderson shows over the medium. One can only hope that he will make a return to animation someday.

            Characters in this film often do what has been done subtly in some other Anderson films: breaking the fourth wall. Some characters glance at the camera in desperate moments of panic. Kylie answers a question asked by one of the three fearsome farmers, despite the fact that they’re far aboveground. After this, Ash pops up out of nowhere, seemingly points at us, the audience, and asks, “What’s that?” Wes Anderson’s film is really not your ordinary animated film.

            Wes Anderson also has a new composer in this film. Alexandre Desplat, who has scored such films as Terrence Malick’s Tree of Life and Tom Hooper’s The King’s Speech, now contributes his incredible skills to construct a tremendous soundtrack. He gives the film a lot of energy, with quickness and rambunctiousness. But along with this original score, we have an excellent compiled soundtrack as well. Incredibly diverse, the soundtrack contains songs from Burl Ives, The Beach Boys, Georges Delerue, and of course, The Rolling Stones. In the film is also a musical number played by a character named Petey, which all the characters, though far away from each other, dance to.

            The main character of the film, Mr. Fox (the fantastic), is far from a role model. He steals, he’s enormously prideful, and deceitful towards his family. Mrs. Fox doesn’t do a great job of putting up with this, but she is loving wife to her husband. I disagree when people act as if Mr. Fox should be offended when Felicity confesses that she never should have married him, though. I believe that that is simply a revelation on her part. For her well-being, it wasn’t a wise decision. But she does indeed love him. Their son, Ash, however, feels very unappreciated and is basically the opposite of Schwartzman’s character in The Darjeeling Limited. Whereas Jack Whitman hated being included in family issues, Ash yearns to be, but is surrounded by such impressive, well-known people that his own talents are overlooked. For this reason, he dislikes his incredibly talented, spotlight-stealer cousin, Kristofferson. Ash’s father is more impressed by this skilled and athletic fox than he is with his own son. But Kristofferson is in quite the predicament, with his uncle suffering from not single, but double pneumonia. Not only that, but he’s thrown into a house where he’s led into crime, family issues, and a horribly timed midlife crisis.

            The vocal actors are made up, unsurprisingly, of Anderson’s usual cast, excluding the main two actors. George Clooney, in what I believe is his fourth performance as a thief (the other three being the Ocean’s series), seems to enjoy this type of character. As Mr. Fox, he’s loud and proud best seen in the feast scene, as he obnoxiously interrupts Badger, the lawyer. Meryl Streep shows herself to be capable of filling all sorts of roles. Eric Chase Anderson, who has had cameos in Wes Anderson’s other films, finally has his first primary role, does a surprisingly great job. Wes Anderson himself indeed has his biggest cameo ever, as the Weasel real-estate agent.

            Finally, Wes Anderson’s style is at its most detailed yet. For example, an insert of a newspaper, upon further inspection, is seen to contain excerpts from Roald Dahl’s original children’s book. Another sign of this incredible detail is the scene depicting a sport called ‘Whackbat’. We hear a quick, concise description from Owen Wilson, of how the insanely complex game is played, while we watch the game being played with quickly drawn lines, ‘x’s and ‘o’s, showing something like a football play. And the film is in great contest with The Life Aquatic and The Grand Budapest Hotel for the most highly defined color scheme. Also, Wes uses grand originality, like his use of the word ‘cuss’ in place of all cuss words.
           This wicked game of revenge is actually, surprisingly, one of Wes Anderson’s most delightful films. It’s filled with some truly heartfelt scenes, one of which takes place near the end of the film, a conversation between Ash and his father which nearly draws tears. The film is incredibly uplifting and stupendously enjoyable. Anderson humanizes foxes in this film, but still allows them to retain some of their base, important, ‘wild animal craziness’.

Marathon has been postponed...

My family and I recently experienced a power outage lasting about two days. Thus, the marathon is now postponed. That's great. :/

New dates: July 31-August 2

Here We Go!

Hey there, all! Upon the recommendation of some of my friends on the wonderful film reviewing site, Letterboxd, I have decided to set up a blog! So I'll be posting, sometimes, some more detailed reviews here than I do on that site.

Oh, and by the way, in case you know me from Letterboxd... the picture above is the actual... me. No, my name isn't Dominic Cobb (that's from Inception) and I'm not actually Tom Cruise in Magnolia. That's just for appearances (call me vain).

I look forward to writing reviews on here, as well as some side posts which will range to simple updates on my life and television episode reviews.