Anomalisa (2015)

Genre

Animation | Comedy | Drama

Directors

Charlie Kaufman | Duke Johnson

Country

USA

Voice Cast

David Thewlis, Jennifer Jason Leigh, Tom Noonan

Storyline

Crippled by the mundanity of his life, self-help author Michael Stone (David Thewlis) experiences something out of the ordinary.

Opinion

After the unfortunate distribution of "Synecdoche, New York", Charlie Kaufman and his unconventional works have found nothing but closed doors. That's why he, and his team, decided to raised the film's budget on Kickstarter so as to "produce this unique and beautiful film outside of the typical Hollywood studio system where we believe that you, the audience, would never be allowed to enjoy this brilliant work the way it was originally conceived". The goal was to make something pure, something beautiful, and that's' exactly what they did.

"Anomalisa" is a brilliant, very original, intriguing and thought-provoking dramedy on depression and loneliness that could have originated from the mind of Charlie Kaufman only.

The film is extremely simple, yet extremely complex and, in a short amount of time - 90 minutes only - it manages to provoke a thought about the dilemmas brought by midlife crisis in a society where individuality is completely nullified.

From the very first minutes the viewer begins to wonder why all the characters except the protagonist have the same voice and the same inflection, whether men, women or children. The story gives us the answer, as we face the story of a man in existential crisis that feels surrounded by a world made up of identical people. 

The name of the hotel at which Michael Stone is staying - Fregoli Hotel - is not random at all. In fact, the Fregoli delusion is a disorder in which a person has a delusional belief that different people are actually a single individual who changes appearance to persecute him. And that's the exact portrayal of the protagonist.

But then there's Lisa, the anomaly. She is something new, something different, something extraordinary, and her voice, so sweet and cuddly, represents a change in Michael's life, finally opening his eyes.

Technically speaking, Charlie Kaufman and Duke Johnson directed a sad story with a lot of sensitivity. The stop-motion animation is brilliantly done and deserves to be praised because obviously a lot of work and effort was put into it.

And lastly, all the characters are brought to life by excellent voice work from David Thewlis (Michael Stone), Jennifer Jason Leigh (Lisa) and Tom Noonan (everybody else).

Definitely a must-see for the Kaufman lovers. And don't let you trick by the animation, this is not a film for kids.

Our time is limited, we forget that. - Michael Stone

A Midsummer Night's Sex Comedy (1982)

Genre

Comedy

Director

Woody Allen

Country

USA

Cast

Woody Allen, Mia Farrow, José Ferrer, Julie Hagerty, Tony Roberts, Mary Steenburgen, Adam Redfield, Moishe Rosenfeld, Timothy Jenkins, Michael Higgins, Sol Frieder, Boris Zoubok, Thomas Barbour, Kate McGregor-Stewart

Storyline

Inventor Andrew Hobbs (Woody Allen) and his wife Adrian (Mary Steenburgen) invite two other couples for a weekend party at a romantic summer house in 1900s countryside.

Opinion

Ugh that title! This isn't something I usually complain about, but today I can't do otherwise because it probably is the biggest flaw of the film. It is supposed to define the movie but it actually says what the film is not - as well as being a bit awkward to say.

In fact, "A Midsummer Night's Sex Comedy" is an unengaging film with no real sex and no real comedy, only some flirts and some smiles. At least it got the 'midsummer night' part right.

The concept, which is basically a group of friends who lust over each other into the woods, could have been slightly interesting, but it gets a bit tedious after a while, and the dialogue, full of vitality at times, succumbs to Allen's weak jokes and characters lacking depth and substance. Also it's impossible to understand how is everybody lusting over Mia Farrow's character. There's really nothing special about her.

In this "comedy", it doesn't seem like Allen wants to send a message of some kind, he rather tries to transform a title into a film, but failing miserably, as mentioned earlier. And that's quite funny because both Shakespeare's "A Midsummer Night's Dream" and Bergman's "Smiles of a Summer Night", artworks upon which Allen has clearly taken inspiration from, did justice to their titles.

However, despite the many flaws, the film is slightly better than Allen's "Stardust Memories" because it at least has a plot, made of love triangles, between men whose sexual desire deviates from the women they love, and women who are only apparently moral as they admit their lusts as soon as the man makes the first step.

In opposition to the mediocre work as writer, Woody Allen does a good job both directing and acting. José Ferrer is great as Leopold, a cold, atheistic intellectual. Julie Hagerty does a very good job as Dulcy, the free-thinking nurse. Tony Roberts is great as Maxwell, a ladies' man doctor. Mary Steenburgen does a good job as Adrian, Allen's wife. Then there is Mia Farrow, she is awful. I'm not sure comedy is her thing, but the most annoying thing is that she tried to emulate Diane Keaton for the whole time. Okay, the role was written for her, but she should have brought herself to the screen not somebody else. 

Sex alleviates tension and love causes it. - Andrew

Joy (2015)

Genre

Drama

Director

David O. Russell

Country

USA

Cast

Jennifer Lawrence, Robert De Niro, Bradley Cooper, Édgar Ramírez, Diane Ladd, Virginia Madsen, Isabella Rossellini, Elisabeth Röhm, Dascha Polanco, Melissa Rivers, Donna Mills, Susan Lucci, Maurice Benard, Laura Wright, Alexander Cook, Jimmy Jean-Louis, Drena De Niro, Isabella Crovetti-Cramp, Madison Wolfe, Emily Nunez

Storyline

The story of Joy Mangano (Jennifer Lawrence), a divorced, young mother of two, who rose to become founder and matriarch of a powerful family business dynasty.

Opinion

Jennifer Lawrence, Robert De Niro and Bradley Cooper starring in a film directed by David O. Russell, how original. Anyway, I had high expectations for this film given the story and the people who worked in it: what a disappointment!

Bland but with a strong performance from its lead, Jennifer Lawrence, "Joy" doesn't quite live up to its title.

The story, a feel-good American dream kind of story, is loosely based on the true story of inventor Joy Mangano, and had Oscar material written all over. Then the screenplay happened. A terrible, atrociously written screenplay, which choose to focus on the dysfunctional family rather than the inventions and career path of the main character. Joy's family indeed has an important role in her life, but it takes over on everything else, and it ends up overshadowing Joy's growth, as she learns about the world of business eventually losing her innocence.

The fairly tale narrated by the dead grandmother is ruled by chaos, and it's quite hard to understand how such a simple and straightforward story ended up in a film that doesn't exceed by much the level of a soap opera.

The editing certainly does not help. The scenes, that seems to be cut with by a brutal butcher, feel like they were put together randomly at the expense of the decisions and motivations of the protagonist: it's not very clear how a haircut is connected and have the same value of the invention of mop. Of course, there's a path behind it, but the messing editing really doesn't help.

The production design is that of a Christmas film, but maybe that's what David O. Russell wanted, it was released at Christmas after all. The same applies for the poor music choices. Maybe it was someone's iPod on shuffle, who knows.

And lastly the acting. Jennifer Lawrence gives an incredible performance, the best it could have been given the role. She carries the whole film, and she brings some energy to the character - and film - without which we would struggle to find something interesting in the film. Did she deserve to win the Golden Globe for Best Actress in a Musical/Comedy? And over Amy Schumer? I don't think so. Robert De Niro is a great actor, I'd never dare to say otherwise, but I'm really tired of seeing him doing the same role over and over again. Bradley Cooper's performance is quite weak, but the rest of the cast is no better, that's certainly not the case.

Thunderball (1965)

Genre

Action | Thriller

Director

Terence Young

Country

UK

Cast

Sean Connery, Adolfo Celi, Claudine Auger, Luciana Paluzzi, Rik Van Nutter, Bernard Lee, Martine Beswick, Guy Doleman, Molly Peters, Earl Cameron, Paul Stassino, Desmond Llewelyn, Roland Culver, Lois Maxwell, Philip Locke, George Pravda, Michael Brennan, Anthony Dawson

Storyline

In a bold and deadly scheme, the evil SPECTRE organization hijacks a NATO plane and seizes two atomic warheads, each capable of killing millions of innocent people. As the world is held hostage by the threat of a nuclear nightmare, James Bond (Sean Connery) jumps into action, racing against the clock as the trail leads him to tropical Nassau.

Opinion

My journey continues as I join the handsome James Bond on 'our' fourth mission to fight, once again, the evil SPECTRE organization.

"Thunderball" is an(other) excellent entry in the Bond saga, with non-stop action and a better plot than ever.

The strength of the film lies in the writing. The plot is interesting, more original and well thought out, and despite this is the fourth chapter, the great story gives the film a fresh look. It may seem quite familiar to those who watch more recent action thriller such as "Mission: Impossible" though.

The exotic landscapes, and the beautiful Bond girls that were only eye-candy in the previous films work perfectly with the plot, and make the film a truly enjoyable experience.

The characters are great and they all have a reason to exist, from the charismatic and evil Emilio Largo - not as intriguing as Goldfinger though - to the atypical Bond girl Domino, still very beautiful, but not brainless, to the other Bond girl, femme fatale Fiona Volpe.

After "Goldfinger" there were a lot of money available: they were used, and what a glorious way to use them! In fact the action is spectacular, especially in the underwater scenes, and the special effects are damn good for a film that has half a century of life - the crew was awarded with Best Special Effects Oscar for a reason.

The photography is overall great, but the underwater photography is on a whole different level. Also Ted Moore really did a wonderful job integrating the special effects.

Once again Sean Connery is at the top of his game and does an admirable job as the sophisticated, though super spy James Bond. Adolfo Celi makes a superb villain but he kinda loses his threat element as the film progresses. In the role of Domino, Claudine Auger is gorgeous and her acting skills are above average for the film, but Luciana Paluzzi steals the show as Fiona Volpe - probably because she is the first to stand up to Bond's charm.

I hope we didn't scare the fishes. - James Bond

Thursday Movie Picks: Movies Adapted from Movies of a Different Language

Hello and welcome to Thursday Movie Picks, a weekly series hosted by Wandering Through the Shelves where you share three movies to fit the theme of the week each Thursday.

This week's theme is foreign adaptations aka movies adapted from one language to another. It's not difficult to find such a film, but finding a great one is a whole different story. For that reason my picks for this week are one great and two bad.

The Departed (2006)

Adapted from the Japanese film "Infernal Affairs", it is the story of two different yet similar men: a young undercover cop who infiltrates the mob syndicate, and a young criminal who infiltrates the state police as an informer for the syndicate. The film is engaging, filled with action and suspense, and not only it lives up to the original, but it's slightly better thanks to more depth of the characters and better dialogue.

Dinner for Schmucks (2010)

Remake of the French comedy "Le dîner de cons", it follows a man invited by his superiors at a dinner celebrating the idiocy of their guests. For this reason he befriends an idiot because he would make the perfect guest. While the original is an hilarious and witty comedy help up by two great actors, this American version starring Paul Rudd and Steve Carrell is silly and not funny, a quite embarrassing film.

Oldboy (2013)

Adapted from the Korean film "Oldboy", it tells of a man kidnapped on the day of her daughter's birthday and imprisoned for 20 years. After his release, he will try anything possible to find the man who did this to him, but things don't go as planned. The brutal, disturbing yet sweet and moving story of vengeance has been transformed into a shallow and disappointing film by Spike Lee - I actually can't believe he did this. At least Josh Brolin did a pretty good job and Samuel L. Jackson was great.

So there they are. What three films would make your list? 

Schindler's List (1993)

Genre

Biography | Drama | History

Director

Steven Spielberg

Country

USA

Cast

Liam Neeson, Ben Kingsley, Ralph Fiennes, Caroline Goodall, Jonathan Sagall, Embeth Davidtz, Malgorzata Gebel, Mark Ivanir, Beatrice Macola, Andrzej Seweryn, Friedrich von Thun, Jerzy Nowak, Norbert Weisser, Anna Mucha, Piotr Polk, Rami Heuberger, Ezra Dagan, Hans-Jörg Assmann, Hans-Michael Rehberg, Daniel Del Ponte, Oliwia Dabrowska

Storyline

In Poland during World War II, German businessman Oskar Schindler (Liam Neeson) gradually becomes concerned for his Jewish workforce after witnessing their persecution by the Nazis.

Opinion

It's that day of the year when the horrors of the Holocaust are remembered, and among all the films on this topic, I couldn't do otherwise than to choose the best and most powerful film about the tragedy of Jewish people.

A devastating, magnificent and touching work of art, "Schindler's List" is the story of a courageous man trying to respond to the Nazi madness as well as a lesson to everybody.

Even though it is based on events that actually happened, the film could have easily been nothing more than just a historical drama. However, the film manages to stand out from the crowd thanks to the uniqueness of the story, but especially the way the story was told. It is the style of this work of art that gives the film that extra edge, and makes it capable of evoking profound emotions while not ruling out scenes that try in every way to bring the audience to tears.

For that very reason, the film offers a moment to reflect deeply about what one rich man - both of money and heart - can do to this world, a man who makes account of the evil that surrounds him and that belong to his world, and decides not to be a partner in crime, risking his own life.

Janusz Kaminski's black and white cinematography is spectacular. Some moments, such as the attack in the Krakow ghetto and some other moments in the camp, are extraordinarily captured, and when it comes to Auschwitz, a chimney is enough to portray that hell. Then there is purely scenic scene: a young girl who escapes the massacre of the ghetto but then seen dead among other corpses recognizable thanks to her red coat that clearly stands out in the black and white photography.

Liam Neeson gives the performance of his lifetime as Oskar Schindler, portrayed with irresistible charm and gradually changing as the film progresses. He is so incredible, you'll soon forget he is Neeson. Ralph Fiennes brilliantly portrays Amon Goeth, a true, heartless, sadistic monster - sadly this monster actually existed. Ben Kingsley also gives an excellent performance as Schindler's accountant, Itzhak Stern. 

Those accents though. I don't understand why Spielberg opted to have the character speak English with a German accent. A pathetic accent to be honest. 

"Whoever saves one life, saves the world entire."

Theeb (2014)

Original Title

ذيب 

Genre

Adventure | Drama

Director

Naji Abu Nowar

Country

Jordan | United Arab Emirates | Qatar | UK

Cast

Jacir Eid Al-Hwietat, Hussein Salameh Al-Sweilhiyeen, Hassan Mutlag Al-Maraiyeh, Jack Fox

Storyline

During World War I, a young Bedouin boy (Jacir Eid Al-Hwietat) experiences a greatly hastened coming of age as he embarks on a perilous desert journey to guide a British officer (Jack Fox) to his secret destination.

Opinion

As the night of the Oscar approaches, I'm trying to catch up on the films I've missed, and here I am, reviewing this beautiful little gem.

Feature length debut of Jordanian director Naji Abu Nowar, "Theeb" is a touching and thoughtful story of boyhood, manhood, survival and betrayal beautifully captured from start to finish.

We find ourselves in those same remote deserts that many years ago accommodated Lawrence of Arabia. Theeb's trip however is far less adventurous, and, unaware of the world and the men inhabiting it who do little good and a lot of bad, the young boy is forced to abandon childhood and he is catapulted into manhood.

With a simple, yet engaging and never boring story, and through the eyes of a boy, Naji Abu Nowar tells how war enters the nomadic life and upset the traditions, rules and balance of the people living in those lands.

Wolfgang Thaler's eloquent camerawork is fascinating and he captured the stunning scenery so beautifully that helps suggest emotional state. Not least is the extraordinary and hypnotic exotic musical score.

Nowar's decision to use non-actors in his debut was a bold move that eventually turned out to be absolutely spot-on. Jacir Eid Al-Hwietat portrays young Theeb wonderfully, and provides a sorrowfully expressive lead, and the affection for each other conveyed by him and Hussein Salameh Al-Sweilhiyeen (real-life cousin) is so intense that quickly wins you over. Hassan Mutlag Al-Maraiyeh does a fine job and he's menacing just enough as the ruthless Stranger.

If the wolves offer friendship, do not count on success. They will not stand beside you when you are facing death.

Mad Max: Fury Road (2015)

Genre

Action | Sci-Fi

Director

George Miller

Country

Australia | USA

Cast

Tom Hardy, Charlize Theron, Nicholas Hoult, Hugh Keays-Byrne, Rosie Huntington-Whiteley, Riley Keough, Zoë Kravitz, Abbey Lee, Courtney Eaton, Josh Helman, Nathan Jones, John Howard, Richard Carter, Angus Sampson, iOTA, Quentin Kenihan, Jennifer Hagan, Jon Iles, Melissa Jaffer, Megan Gale, Gillian Jones, Joy Smithers, Melita Jurisic

Storyline

In the stark desert wasteland populated by a broken humanity driven with survival and the unending ravage for gasoline, a loner named Max (Tom Hardy) finds himself unwantedly caught in the middle of a chase while aiding the heroine Furiosa (Charlize Theron), and her female companions, she struggles to return to her homeland and escape the clutches of a ruthless dessert gang leader, Immortan Joe (Hugh Keays-Byrne).

Opinion

Following a series of ups and downs, the Mad Max Trilogy ended in the worst possible of ways with "Beyond Thunderdome", a film starring Mel Gibson that somehow ends up on the set of "Hook". Ever since, George Miller had plenty of time to think. I imagine him brainstorming, trying to restore Max's name and dignity; and here he is, thirty years later, with a brand new film that will blow you away.

A ferocious, glorious, gripping, thrilling, and absolutely insane film, "Mad Max: Fury Road" is a masterpiece that goes far beyond the action genre.

As mentioned earlier, George Miller had plenty of time and he used it beautifully: not only he identified the weak points of his narrative, but he also realized that action without substance doesn't have any purpose. Miller renewed his post-apocalyptic universe and was able to express this complex and chaotic world to perfection through his people: every single face has a story to tell that is worth listening to.

You will be immediately catapulted into a mad world, where it is not recommended to let your guard down, between a sandstorm and an attack led by the War Boys. Adrenaline doesn't lower for a single moment, leaving you on the edge of the seat for the whole running time.

To a great story frantically paced is added a minimal use of CGI on behalf of the spectacular Australian landscapes and real stunts. The result is a mix of explosions, jumps and fights so real that no computer will ever be able to replicate. Also, the way the sick action sequences were filmed not only is revolutionary but is so fantastic there are no words to describe it.

But the real innovation is the presence of women. They are the real characters, and for once they break free from the 'objects to be saved and owned' label that our male-dominated society imposes, and they fight for their freedom. Among these stands out Furiosa, the heroine of the story with a dark past behind her.

Then of course there's Mad Max, no longer in the disguise of Mel Gibson, still a man haunted by his past, so tormented to force himself to an even greater exile than the rest of humanity has to deal with. To balance the whole there is Immortan Joe, a terrible tyrant and self-proclaimed god followed by the War Boys, warriors willing to sacrifice their lives to earn Joe's admiration.

As for the acting, Tom Hardy's talent for portraying strong, silent characters shines again in a subtle performance. Thanks to his impetuous and animalistic attitude, and a glance filled with madness, he really does a great job. However, the stand out is Charlize Theron who delivers an emotionally perfect and Oscar worthy performance as Furiosa. 

Yes, it deserves every single nomination. 

Hope is a mistake. If you can't fix what's broken, you'll, uh... you'll go insane. - Max Rockatansky

Boy & the World (2013)

Original Title

O Menino e o Mundo

Genre

Animation | Adventure

Director

Alê Abreu

Country

Brazil

Voice Cast

Vinicius Garcia, Lu Horta, Marco Aurélio Campos, Felipe Zilse, Alê Abreu

Storyline

Cuca (Vinicius Garcia) is a boy who lives in a distant world, in a small village in the interior of his mythical country. One day, he sees his father leaving in search of work, embarking on a train towards to an unknown capital. The weeks that follow are of anguish and confusing memories. Until then, one night, a breath of wind breaks into the bedroom window and takes the boy to a distant and magical place.

Opinion

In times when 3D animation is trending, Brazilian Alê Abreu outperforms most of the animation flicks with a film that may seem childish at first glance, but I assure you it is not.

Featuring a touching story of a small boy trying to reunite his family, "Boy & the World" is a well-made, poetic film that has more heart than the majority of movies for kids.

The colorful animation, which indeed stands out from the crowd, is perhaps the best part of the film: the drawings, made with endless imagination and that go from pastels to wax crayons, oil painting, to collage - like a kid would do -, create such spectacular images that make words superfluous. The most important is the way these elements were put together. Abreu doesn't try to find aesthetic perfection, instead he tries to make the whole film touch the viewer's emotional strings.

Along with its sublime and ipnotic score, the film has a different, artistic way to express everything, from landscapes to people, war to nature, and feelings. 

"Boy & the World" is not just a kids film. It actually is suitable for all ages because everyone can find some food for thought. In fact, while the children will enjoy the adventure of the little boy, everyone else, mostly young-adults and adults, will reflect on the working world, human rights, ecology and poverty.

Don't let you trick by the language: the film is almost dialogue-free and the few dialogues are in backwards Portuguese, meaning you don't need to understand that.

Stardust Memories (1980)

Genre

Comedy | Drama

Director

Woody Allen

Country

USA

Cast

Woody Allen, Charlotte Rampling, Jessica Harper, Marie-Christine Barrault, Tony Roberts, Daniel Stern, Amy Wright, Helen Hanft, John Rothman, Gabrielle Strasun

Storyline

While attending a retrospective of his work, Sandy Bates (Woody Allen), a successful filmmaker, recalls his life and his loves: the inspirations for his films.

Opinion

Many of Woody Allen's films have been introspective and autobiographical, but "Stardust Memories" takes it to the next level. Unfortunately, despite its many laughs and jokes, the film is mostly tedious and unengaging.

After many comedies and some dramas, Woody Allen questions the meaning of life and the path his career is taking. In order to do that, he copied Fellini's "8½" straightaway. Indeed, the film completely lacks originality. The beginning - a claustrophobic Allen trapped in a railroad car (Mastroianni was trapped in a car instead) -, the black and white photography, some shots - a procession in the background while other characters pop up  in the foreground. If it wasn't for the huge quality difference, one might say it's the same film.

Also, this time no effort is made to pretend that the character is anybody but Allen himself - a filmmaker first adored for his earlier funny movies, then appreciated for his deeper pictures. This wouldn't be a problem if he did not call buffoons those who like his early comedies better than his deeper films.

Like I mentioned before there are many laughs, but they produce nothing but wry smiles and rarely - more like never - they are laughing out loud funny.

The three main actresses, Charlotte Rampling, Jessica Harper and Marie-Christine Barrault, all give good performances but their characters aren't entirely convincing. 

If all Allen's later films were like this one, it'd be natural to say "I like his earlier, funnier films better". 

Steve Jobs (2015)

Genre

Biography | Drama

Director

Danny Boyle

Country

USA

Cast

Michael Fassbender, Kate Winslet, Seth Rogen, Jeff Daniels, Katherine Waterston, Michael Stuhlbarg, Makenzie Moss, Ripley Sobo, Perla Haney-Jardine, Sarah Snook, Adam Shapiro, John Ortiz, Stan Roth

Storyline

Set backstage at three iconic product launches and ending in 1998 with the unveiling of the iMac, Steve Jobs (Michael Fassbender) takes us behind the scenes of the digital revolution to paint an intimate portrait of the brilliant man at its epicenter.

Opinion

When "Jobs" came out back in 2013, I avoided it like the plague mostly because of Ashton Kutcher. But being the huge fan of Apple and Steve Jobs I am, I couldn't hold my excitement for this new biopic, written by Academy Award winner Aaron Sorkin ("The Social Network"), directed by Academy Award winner Danny Boyle ("Slumdog Millionaire"), and starring my favourite actor, Michael Fassbender. Still, according to fanboys, I was supposed to hate this film. Well, I'm sorry to disappoint them, but I loved it. 

An intelligent, interesting, well-acted character study that avoids being a full-life biopic, "Steve Jobs" is exactly what someone would expect from a collaboration between Boyle and Sorkin.

Although it's not his best, Aaron Sorkin's screenplay captured the essence of a genius, a visionary, examining this man's nature through the interacting with relatives, friends and colleagues during three stressful moments of his life. 

The whole film takes place before each launch - it's some sort of behind the scenes - and it's pure genius. Instead of bore us to death with a story everyone already knows about professional success and personal unsuccess, Sorkin decided to tell a story about success on the human front, a success achieved with difficulty, not before going through years of professional failures as well as public humiliations.

Sorkin's script is filled with brilliant dialogue, and, with the help of Danny Boyle's elegant and beautiful stylistic direction, manages to fill two whole hours with people arguing in empty room and avoids to be tedious. To be honest, time flew by!

And last but not least the outstanding acting. An almost unrecognizable Michael Fassbender gives a magnificent performance and provides a marvelous portrayal of Steve Jobs. He captures every single shade of Jobs - his stubbornness, his arrogance, his incompatibility with the rest of the world, everything. I am not sure when was the last time I've seen an actor disappear in their character so wonderfully. Kate Winslet is outstanding as Joanna Hoffman, Job's assistant, she nails the accent, and her chemistry with Fassbender is great. I didn't see this coming but Seth Rogen surprised me the most, doing a great job as Steve Wozniak. He should stick to this kind of roles. Jeff Daniels also gives a solid performance. 

Memorable quotes

Steve Wozniak: What do you do? You're not an engineer. You're not a designer. You can't put a hammer to a nail. I built the circuit board! The graphical interface was stolen! So how come ten times in a day I read Steve Jobs is a genius? What do you do?

Steve Jobs: Musicians play their instruments. I play the orchestra.

Goldfinger (1964)

Genre

Action | Thriller

Director

Guy Hamilton

Country

UK

Cast

Sean Connery, Honor Blackman, Gert Fröbe, Shirley Eaton, Harold Sakata Tania Mallet, Bernard Lee, Cec Linder, Martin Benson, Desmond Llewelyn, Lois Maxwell, Austin Willis, Michael Mellinger, Burt Kwouk, Richard Vernon, Margaret Nolan, Gerry Duggan

Storyline

James Bond (Sean Connery) is back and finds himself investigating Auric Goldfinger (Gert Fröbe), a gold dealer planning to raid Fort Knox and obliterate the world economy.

Opinion

Third chapter of the saga following James Bond's adventures, and less serious than its predecessors, "Goldfinger" is a tremendous spy film that entertains on every level.

The film offers a quite original, and engaging story that - thanks to Guy Hamilton's solid direction - finds the perfect balance between action, suspense, humour and cynicism. Despite the story being great, the character are even better. While Mr. Goldfinger is a rather convincing villain, his right hand man Oddjob is mesmerizing, and, accompliced by his deadly hat, he gives Bond a really hard time. Truly memorable is the unrealistic name of the Bond Girl, Pussy Galore. How can someone forget that!

The 007 formula still works, but the gadgets begins to be a little unrealistic and exaggerated. The Aston Martin DB5 is indeed superb, and I dare anyone to say otherwise, but I liked the super-equipped briefcase better.

Like the other entries in the series so far, this film also has several memorable scenes: from the iconic sequence with James Bond wearing a suit under the wetsuit, to the gold match between James and Mr. Goldfinger, to the famous torture scene, to the fight between Bond and Oddjob.

Charming and ironic as usual, in his third go around as James Bond, Sean Connery keeps on doing a great job. Weird to say it but German actor Gert Fröbe was the perfect casting for Goldfinger, even though he barely spoke English and his voice was dubbed. Honor Blackman does a good job as Pussy Galore, who despite her name is probably the most intriguing of all Bond girl as she's not the typical Bond girl. It's a shame she didn't get more screen time.

Memorable Quotes

James Bond: Do you expect me to talk?

Auric Goldfinger: No, Mr. Bond, I expect you to die!

Thursday Movie Picks: Airplane Movies

Welcome to Thursday Movie Picks, a weekly series hosted by Wandering Through the Shelves where you share three movies to fit the theme of the week each Thursday.

This week's theme, as you might have guessed from the title, is Airplane Movies. It was quite a challenge, but I eventually came up with three titles, that also happen to be the only three airplane films I've seen. 

Red Eye (2005)

A fast-paced, solid thriller with great performances, it follows a woman (Rachel McAdams) who hates flying on a night flight to Miami. The fear of flying will be the least of her problems when she is kidnapped by a handsome and charming man (Cillian Murphy). I was rooting for the villain but that's okay since he's Cillian, right?

United 93 (2006)

On a whole different level compared to the other entries, this devastating drama is a real-time account of the events occurred on the United Flight 93, one of the planes hijacked by terrorists on September 11, 2001. This is the story of those people who sacrificed their lives to save who knows how many people. An essential viewing.

Non-Stop (2014)

In this action-packed thriller, Liam Neeson is an U.S. Air Marshall assigned to a flight from New York to London. Shit gets real when he receives a series of text messages that put the passengers at risk unless $150 million is transferred to an offshore account.

Mr. & Mrs. Smith (1941)

Genre

Comedy | Romance

Director

Alfred Hitchcock

Country

USA

Cast

Carole Lombard, Robert Montgomery, Gene Raymond, Jack Carson, Philip Merivale, Lucile Watson, William Tracy, Charles Halton, Esther Dale, Emma Dunn, Betty Compson

Storyline

David Smith (Robert Montgomery) makes the mistake of telling his wife Annie (Carole Lombard) that if he had to do it all over again, he might not have married her. Later that day, an official from the town where they got married calls to see Mr. Smith, and explains that all couples married between 1936 and 1939 in the county were not legally married. David decides to have fun with this fact, but unknown to him, the county official calls to see Annie too, and disaster results.

Opinion

Two weeks ago I said "Rebecca" was the less Hitchcock of Hitchcock's film. I've just been proved wrong. 

Obviously lacking suspense, "Mr. & Mrs. Smith" is a domestic-romantic, screwball comedy also lacking fun. In a nutshell, it's just a film.

Hitchcock said that the only reason he did this picture was to do a favour to Carole Lombard, and that he didn't even understand the characters written by Norman Krasna. I think there was a reason he didn't make romantic comedies, he wasn't all that good at it.

The plot doesn't really seem to make any sense, which is exactly what some would expect from a screwball comedy. Depending on the main characters acting like idiots, the plot might have worked if this was an half hour episode of a sitcom and not stretched to a one and a half hour film. It wouldn't have been a great episode anyway, because it lacks comedy.

The characters are frustrating rather than funny, and neither husband nor wife is very likeable. However, you care if they get over their mindedness and get back together, because the only idea of these two people escaping each other, free to inflict their awfulness on some other unlucky person is devastating as this film.

Oh the acting. The leads are completely uncharismatic. What's going on with Carole Lombard? Her character changes in almost every scene! One moment she is sweet, the next one she is the most mean human being. Her performance is so bad, it's doubly sad to think she died within a year of this film's release and that this was the last film of hers she lived to see. I'm not sure Robert Montgomery was the right guy to play Mr. Smith. He is rather boring than funny.

Room (2015)

Genre

Drama

Director

Lenny Abrahamson

Country

Canada | Ireland

Cast

Brie Larson, Jacob Tremblay, Joan Allen, William H. Macy, Sean Bridgers, Tom McCamus, Amanda Brugel, Joe Pingue, Megan Park, Cas Anvar, Wendy Crewson

Storyline

Like any good mother, Ma (Brie Larson) dedicates herself to keeping Jack (Jacob Tremblay) happy and safe. Their life, however, is anything but typical, as they are trapped and confined to a windowless space that Ma has named Room. Ma has created a whole universe for Jack within Room, but as Jack's curiosity about their situation grows, and Ma's resilience reaches its breaking point, they enact a risky plan to escape, ultimately bringing them face-to-face with what may turn out to be the scariest thing yet: the real world.

Opinion

This is one of the films I've been waiting for the most for two reasons: Lenny Abrahamson directed it, and it has been highly acclaimed. I guess it's not going to be easy to say something that hasn't already been said, but I'll try.

Filled with love, hurt and determination to live, "Room" is one of those films that get under your skin and take your breath away, and does not just tell a story, but makes you reflect on the ugliness of mankind. 

I haven't read the book upon the film is based on yet, but having the novelist, Emma Donoghue, to write the screenplay was a smart choice, because nobody but her could have done justice to such a heartbreaking, yet heartwarming story.

The film consists of two apparently separated parts. The first part, somewhat claustrophobic, is set in a shabby room, where there are the whole lives of Jack and his mother. Nothing but extraordinary, this part tells the boundless love between a mother and her son, a deep bond made even deeper by the ugly circumstances. The second part is the after. It tells the psychological effect of the imprisonment, and shows the protagonist, Ma, with her fears, her neurosis and the difficulty to deal with the real world, which is even more scary than room.

The van scene, without any doubt one of the most emotional in recent films, is so strong, and filled with tension, hope and fear to make you hold your breath. The credits go to the point of view, Jack's, unaware both of evil and good, the spectacular direction and a screenplay that hardly could have been better.

"Room" is hard to watch at some points, especially because the horrors have happened in real life, but some other points, the funny, lighthearted ones, balance the film, and take part in the making one of the best films of the year.

As for the acting, only one word can describe it: astonishing. Brie Larson gives the performance of her lifetime, showing so many layers of Ma that it's impossible not to care about her, or about her son, and adds so much emotional depth to her character as she superbly shows the psychological damage of those seven long years held captive. Needless to say she proves she can do dramatic roles. Stealing the show, however, is 9-year-old Jacob Tremblay, who couldn't have played the role of Jack any better. He brought so much depth and emotions in the character that leaves you speechless. It's hard to believe he didn't get an Oscar nomination.

Now that you are done reading, I suggest you watch this film. It is unsettling, of course it is, but it is equally powerful. 

You're gonna love it. - What? - The world.

Mad Max Beyond Thunderdome (1985)

Genre

Action | Sci-Fi

Directors

George Miller | George Ogilvie

Country

Australia

Cast

Mel Gibson, Tina Turner, Bruce Spence, Adam Cockburn, Frank Thring, Angelo Rossitto, Paul Larsson, Angry Anderson, Robert Grubb, Helen Buday, Tom Jennings, Edwin Hodgeman, Rod Zuanic

Storyline

Robbed of his possessions whilst traveling through the Australian outback, Max (Mel Gibson) stumbles upon Bartertown, a trading post for all manner of criminals and governed by Aunt Entity (Tina Turner) and Master Blaster (Angelo Rossitto). Forced to fight on behalf of Aunt Entity, he is later banished and finds a group of abandoned children to rebel against the town's queen.

Opinion

Following a bad start, and a good recovery, this final instalment of the Mad Max Trilogy seems to return to its roots, not sure why. Maybe George Miller didn't put his whole heart into it because of the loss of his friend and producer Byron Kennedy, to whom the film is dedicated, or maybe Hollywood stepped in and did what Hollywood do better, ruin things.

Too messy and dragged to be an enjoyable experience, "Mad Max Beyond Thunderdome" is quite hard to sit through.

Apart from the misleading opening with Bruce Spence who made me believe the film would have followed the events of "The Road Warrior", the start is great. The thunderdome concept -- Two men enter, one man leaves -- is interesting, and from the title someone would expect to see Mad Max fighting in the thunderdome, maybe in some sort of tournament. That is exactly what happens, in the first 20 minutes or so. But it's just one fight, one killing and it's all over. Then there is the middle of the film. It is dreadfully boring as we see Mad Max stumbling across a colony of young people, and the film's genre seems to be shifting from science fiction to children's fantasy. Eventually stuff happens -- I am not sure what because I lost my attention several times -- and the film returns to the good, old Mad Max, with a decent chase sequence through a desert Australia.

Another disappointment is the killing sequences. They used to be quite immediate and macabre, now they are over long and choreographed, lacks blood and nastiness. 

Benefiting of the budget are the settings, more impressive and detailed than ever, and the special effects, which proves explosions worthy of Hollywood.

Mel Gibson somehow manages to do a good job, but unfortunately seems to be the only one working as hard as he can to make the film work. Tina Turner does a decent job as Aunt Entity, but she should probably stick to music.

When Marnie Was There (2014)

Original Title

思い出のマーニー Omoide no Mānī

Genre

Animation | Drama

Director

Hiromasa Yonebayashi

Country

Japan

Voice Cast

Sara Takatsuki, Kasumi Arimura, Hana Sugisaki, Hitomi Kuroki, Ryoko Moriyama, Nanako Matsushima, Susumu Terajima, Toshie Negishi, Kazuko Yoshiyuki, Ken Yasuda, Yo Oizumi, Takuma Otoo, Hiroyuki Morisaki

Storyline

Upon being sent to live with relatives in the countryside, an emotionally distant young girl (Sara Takatsuki) becomes obsessed with an abandoned mansion and meets an unlikely friend in Marnie (Kasumi Arimura), a young girl with flowing blonde hair who lives there; a girl who may or may not be real.

Opinion

Upon getting an Oscar nomination for best animated picture, which, to be honest, really surprised me, I thought watching it was the right thing to do. Being this the first film from Studio Ghibli I've seen, I didn't know what to expect. My first reaction? I was astonished by every single aspect of it.

"When Marnie Was There" is a beautifully animated, and wonderfully crafted and told story about isolation and friendship with a tremendous emotional impact.

Dramatic and heartbreaking, the story has plenty of suspenseful moments that will make you want to watch the film till the end, and its unique storytelling makes this film unforgettable.

The first part of the film is quite shocking due to its realism in telling a story of depression and inability to interact with their own kind. In the second part is staged a friendship between two girls; this relationship that grows between them has all the characteristics of a romance, but those strong emotional bonds are eventually explained in the end, with an extraordinary psychological analysis, truly outstanding for an animated film.

What makes the story good, despite the lack of a real plot, is the characters. These latter, driven by deep if not self-destructive emotions, feel so real it's disturbing, and since the story is character-driven, every single character has a purpose, even if they appear for just brief moments.

While they both are independent yet fragile young girls, the two main characters, Anna and Marnie -- physically resembling Heidi and Clara from "Heidi, Girl of the Alps" -- are one the opposite of the other but they also are complementary as the yin and yang, and therefore they are attracted to each other in a world that does not accept them. Director Hiromasa Yonebayashi did a wonderfully job in showing us their similarities and especially their differences.

All the previously mentioned combined with the stunning animation, the bright colors, the music and the oil-painting-looking and breathtaking landscapes makes the film really worth the time, and the nomination. 

Manhattan (1979)

Genre

Comedy | Drama | Romance

Director

Woody Allen

Country

USA

Cast

Woody Allen, Diane Keaton, Michael Murphy, Mariel Hemingway, Meryl Streep, Anne Byrne, Michael O'Donoghue, Wallace Shawn, Karen Ludwig

Storyline

The life of Isaac Davis (Woody Allen), a divorced writer of TV shows dating a 17-year-old girl (Mariel Hemingway), is further complicated when he meets Mary (Diane Keaton), the mistress of his married best friend Yale (Michael Murphy).

Opinion

Woody Allen once said, "I'm never happy with my films when I finish them. Just about always. And in the case of Manhattan I was so disappointed that I didn't want to open it. I wanted to ask United Artists not to release it. I wanted to offer them to make one free movie, if they would just throw it away." Isn't life odd? The film that has disappointed Allen so much is one of his most beloved and successful films, acclaimed both by critics and audience.

Beautiful, delightful and humorous, "Manhattan" is one of the best romantic comedies ever made as well as a stunning ode to New York City.

Woody Allen made another masterpiece whose main theme is the crisis of the intellectual and his inadequacy to the society he lives in, the problems of ineptitude and the inability of the protagonist to managed his own inner, sentimental life. Isaac, a writer always looking for inspiration, doesn't seem to find the opening words for his book and spends entire days taking notes, at the mercy of love and of a city he loves so much but seems unable to live in.

What makes "Manhattan" such a great film is also its complex, neurotic and verbose characters, who all just want to love and to be loved in return. Because of its characters, it is a film everyone can identify with: if on the one hand there is the inept, Isaac, on the other hand there is the winner, Yale, who is able to live in the world that surrounds him, that's why he is a winner.

As mentioned before, the film is also a spectacular ode to New York. In fact, the gorgeous black and white cinematography by Gordon Willis manages on several occasions to make the Big Apple look like the most fascinating city in the whole world, beauty even more enhanced by the first minutes of the film, when the city wakes up to the tune of George Gershwin's "Rhapsody in Blue".

As for the acting, it might be the best of any Allen film. Woody Allen does great with his usual stand-up persona and allowing the character of Isaac to be more than just neurotic and narcissistic. Michael Murphy also does a great job as Yale, able to command our sympathy for the most unlikable character in the film. Diane Keaton gives one of her best performances as the intellectual and whimsical Mary. 

My analyst warned me, but you were so beautiful I got another analyst. - Isaac Davis