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Newest Reviews: New Movies - Old Movies - Archives - Recap: 2000, 2001, 2002, 2003, 2004 , 2005, 2006, 2007
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2008 Screening Log - click for reviews, when applicable. Titles of short films listed in bold.
January 01. There Will Be Blood (Paul Thomas Anderson, 2007) 97 Charlie Wilson's War (Mike Nichols, 2007) 46 No End In Sight (Charles Ferguson, 2007) 39
02. Flanders (Bruno Dumont, 2006) 76 My Blueberry Nights (Wong Kar-Wai, 2007) 65
03. Song and Solitude (Nathaniel Dorsky, 2006) 86 Threnody (Nathaniel Dorsky, 2004) 66 The Visitation (Nathaniel Dorsky, 2002) 58
04. Robinson Crusoe on Mars (Byron Haskin, 1964) 52 The 3 Penny Opera (G. W. Pabst, 1931) 73
05. Czech Dream (Vit Klusak & Filip Remunda, 2004) 32
06. Koko: A Talking Gorilla (Barbet Schroeder, 1978) 55 Persepolis (Marjane Satrapi & Vincent Paronnaud, 2007) 38
07. Happiness (Hur Jin-ho, 2007) 46
08. Joshua (George Ratliff, 2007) 43
09. The Aerial (Esteban Sapir, 2007) 41
10. Second Breath (Jean-Pierre Melville, 1966) 82 Opium: Diary of a Madwoman (Janos Szasz, 2007) 27
11. Gertie (Winsor McCay, 1914) 77 Fantasmagorie (Emile Cohl, 1908) 72 The Tell-Tale Heart (Ted Parmelee, 1953) 88 There Will Be Blood (Paul Thomas Anderson, 2007) 95
12. If... (Lindsay Anderson, 1968) 66 Night on Bald Mountain (Alexander Alexeiff, 1933) 63 Bambi Meets Godzilla (Marv Newland, 1969) 1
13. Wooden Crosses (Raymond Bernard, 1932) 78 Rabbit (Run Wrake, 2005) 61 Peter & the Wolf (Suzie Templeton, 2006) 42 Madame Tutli-Putli (Chris Lavis & Maciek Szczerbowski, 2007) 71 The Big Story (1994, David Stoten & Tim Watts) 12
14. Alone in the Wilderness (Bob Swerer, 2004) 55 Mouse Wreckers (Chuck Jones, 1948) 68 The Sandman (Paul Berry, 1991) 59
15. Madame Tutli-Putli (Chris Lavis & Maciek Szczerbowski, 2007) 79 The Unfinished Dance (Henry Koster, 1947) 58 The Landlord (Hal Ashby, 1970) 78 A Colour Box (Len Lye, 1935) 65
16. Love and Other Disasters (Alek Keshishian, 2006) 31
17. The Subject Was Roses (Ulu Grosbard, 1968) 53
18. Cloverfield (Matt Reeves, 2008) 38
19. Nomads (John McTiernan, 1986) 36
20. The Haunted Palace (Roger Corman, 1963) 68 Ah, L'amour (Don Hertzfeldt, 1995) 53 Genre (Don Hertzfeldt, 1996) 44 Billy's Balloon (Don Hertzfeldt, 1998) 55 Rejected (Don Hertzfeldt, 2000) 69 Everything Will Be Ok (Don Hertzfeldt, 2006) 77
21. Asphalt (Joe May, 1929) 55
22. The Oak (Lucian Pintilie, 1992) 82
23. The Magnificent Ambersons (Orson Welles, 1942) 76
25. How to Become Myself (Jun Ichikawa, 2007) 40
26. The Pit (Lew Lehman, 1981) 36
29. The English Patient (Anthony Minghella, 1996) 78
30. Blind Mountain (Li Yang, 2007) 60
31. Bordertown (Gregory Nava, 2006) 34
February 1. Northwest Passage (King Vidor, 1940) 77
2. The Devil (Andrzej Zulawski, 1972) 57
3. Murder on the Orient Express (Sidney Lumet, 1974) 46 Meet the Spartans (Jason Friedberg & Aaron Seltzer, 2008) 10
5. Zorba the Greek (Mihalis Kakogiannis, 1964) 48
7. Murder Party (Jeremy Saulnier, 2007) 65
09. Cold Lands (Sebastien Lifshitz, 1999) 50 The Little Thief (Erick Zonca, 1999) 77 Strong Shoulders (Ursula Meier, 2003) 43 WarGames (John Badham, 1983) 34
10. Punishment Park (Peter Watkins, 1971) 69
11. The Silence of the Lambs (Jonathan Demme, 1991) 81
12. What Ever Happened to Baby Jane? (Robert Aldrich, 1962) 87
13. I Could Never Be Your Woman (Amy Heckerling, 2007) 32
14. Vertigo (Alfred Hitchcock, 1958) 100
15. The Duchess of Langeais (Jacques Rivette, 2007) 64 Boarding Gate (Olivier Assayas, 2007) 81
16. Why Did I Get Married? (Tyler Perry, 2007) 38 A Stem (Marco Dutra & Juliana Rojas, 2007) 67
17. Elite Squad (Jose Padhilha, 2007) 33 Lars and the Real Girl (Craig Gillespie, 2007) 27
22. Murder on a Sunday Morning (Jean-Xavier de Lestrade, 2001) 36
23. The Birds (Alfred Hitchcock, 1963) 84
25. Chop Shop (Ramin Bahrani, 2007) 38
26. 30 Days of Night (David Slade, 2007) 30
27. Wild River (Elia Kazan, 1960) 76
29. The Rage (Robert Kurtzman, 2007) 55
March 1. A Secret (Claude Miller, 2007) 41 Anne of the Thousand Days (Charles Jarrott, 1969) 68
2. Radio Days (Woody Allen, 1987) 77
3. The Legend of Billie Jean (Matthew Robbins, 1985) 58
8. The Free Will (Matthias Glasner, 2006) 71
9. Snow Angels (David Gordon Green, 2007) 82
12. Donnie Darko (Richard Kelly, 2001) 68
14. Funny Games (Michael Haneke, 2007) 71
15. In Bruges (Martin McDonagh, 2008) 74
22. Population 436 (Michelle Maxwell MacLaren, 2006) 56
23. Nosferatu (F.W. Murnau, 1922) 91
24. Paranoid Park (Gus Van Sant, 2007) 67
28. Lost Highway (David Lynch, 1997) 73
29. The Girl Next Door (Gregory Wilson, 2007) 48
30. Stop-Loss (Kimberly Peirce, 2008) 68
31. Pleasant Days (Mundruczo Kornel, 2002)
42 April 1. Johanna (Mundruczo Kornel, 2005) 63
2. High Art (Lisa Cholodenko, 1998) 62
4. My Blueberry Nights (Wong Kar Wai, 2007) 65
5. The Ruins (Carter Smith, 2008) 77
6. Sunrise (F.W. Murnau, 1927) 80
7. Monty Python's The Meaning of Life (Terry Jones, 1983) 60
10. Masquerade (Bob Swaim, 1988) 67
12. Anything Else (Woody Allen, 2003) 67
24. [Rec] (Jaume Balaguero & Paco Plaza, 2007) 68
25. The Masseur (Brillante Mendoza, 2005) 44
26. The Consequences of Love (Paolo Sorrentino, 2004) 52
29. The Embalmer (Matteo Garrone, 2002) 66
30. Rolling Family (Pablo Trapero, 2004) 61
May 2. Iron Man (Jon Favreau, 2008) 37 [The glib, ironic tone that prevails here seems an ill fit with the insistence upon spectacle. The lumbering action scenes are remarkably devoid of any suspense. The entire movie seems standoffish, as if we should all be so in on its jokes that we don't actually need to be entertained.]
3. El Bonaerense (Pablo Trapero, 2002) 62 [Extremely sensitive, as far as polemics go, this seems an antidote of sorts to Padhilla's overbearing Elite Squad. Trapero never forces things into predictable generic forms, which gives the movie a loose, undefined quality that matches its subject's outsider perspective.]
4. Climates (Nuri Bilge Ceylan, 2006) 58 [Filmed with startling clarity, this film is almost delivered boldly enough that one can overlook the major shortcomings of its script and actors. The sound design seems like overkill.]
6. Honor of the Knights (Albert Serra, 2006) 71 [Definitely a movie that asks the contemplative viewer to project a bit of themselves upon it, Serra's film makes the most of its minimalist palette by acknowledging the essential absurdity of this kind of esoteric filmmaking with its choice of subject. Perhaps more an exercise in adjusting your rhythm as a viewer than anything, it pulls off this sort of deadpan comedic fatalism to a greater extent than Van Sant's Gerry.]
7. Wild Innocence (Philippe Garrel, 2001) 66 [There's something willfully naive about the film's attitude toward its emo protagonist, but I suppose the title and the ending acknowledge that. The question, then, becomes whether Garrel is indulging his protagonist or underlining his shortcomings. Is the irony tragic or a sign of hubris? I'm fairly certain it's the latter, but the director's willful channeling of New Wave concerns and skillful dovetailing of "fact" and fiction ensure that it scarcely matters either way.]
Updates will happen over here for the next few weeks.
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