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Maleficent, film, 2014, dir. Robert Stromberg
In a word, magnificent. A pointed retelling—limited perhaps for being a Disney retelling, but full of story and brimming with intent, which gives it purpose even when events are predictable. The casting is phenomenal, Jolie especially; the CGI has weak moments but Maleficent's wings are superbly rendered and easily the most important effect. There's something of Robin McKinley in the tone: a surprisingly domestic drama, a story about women, character-motivated, whimsical, heartfelt. Maleficent lacks for some subtlety and has its flaws, but honestly I don't care; this has already become one of my Important Films, which I'll rewatch a hundred times and never take for granted.
Black Swan, film, 2010, dir. Darren Aronofsky
A difficult film to watch, fraught with gendered issues both intentional and accidental, heavy-handed but ultimately effective. The horror is likewise, but I make a biased audience: the film hits on some of my personal phobias. Aesthetically superb, artistic body horror and a brilliant soundtrack verging on the indulgent, which helps to balance how frequently joyless the film is to watch. I'm ambivalent about Black Swan—it's certainly an experience but it's a flawed one; Portman does much to salvage the film, but I wonder what it might have been with women writers/directors.
Thale, film, 2012, dir. Aleksander L. Nordaas
Underwhelming: too small and too simple, tells rather than shows, with a saccharine ending. There's something beneath that which has potential: the conflict between the magic of the thale and her gritty surroundings works, although the gendered issues (a women at the center of male attention/power/violence/caretaking) leaves something to be desired. Give this a miss, there's just not much here.
How to Train Your Dragon 2, film, 2014, dir. Dean DeBlois
Not flawless, but surprisingly close. Both the antagonist and scale overreach the film's needs, leaning away from the personal and into the predictable. But the core cast shines and the film doesn't succumb to sequelitis: it retains what made the first film successful, the humor and dragons in particular, without feeling like a pale imitation. A solid 4 of 5 and simply lovely to watch.
Epic, film, 2013, dir. Chris Wedge
Forgettable, but fine. I enjoyed the casting and some of the effects—the dark fairies's magic, in particular—are nicely realized, but the plot is utterly predictable and the humor is hit and miss. Tolerable, watchable, but little more than that and not recommended.
A Werewolf Boy/Wolf Boy, film, 2012, dir. Jo Sung-hee
Long, slow-paced, overacted and emotionally transparent, creating an absorbing hyper-reality which is lovely and surprisingly effective. The film is almost painfully adorable, more sweet than bitter for all its heart wrenching. I grew fond of this despite its rather obvious flaws—and it helps than in content I'd compare it to Kimi wa Pet; the pet/owner relationship serving as a tool to allow two people to bond is a pretty specific but utterly enjoyable trope.
Session 9, film, 2001, dir. Brad Anderson
A slow, sometimes laborious build-up with an exposition-heavy, redundant, twist-heavy denouement; an uneven effort on the whole, and it falls flat. The setting and initial pacing have promise, however problematic the asylum angle may be, and David Caruso is always lovely to listen to. But skip this one; it lacks both tension and punch.
In a word, magnificent. A pointed retelling—limited perhaps for being a Disney retelling, but full of story and brimming with intent, which gives it purpose even when events are predictable. The casting is phenomenal, Jolie especially; the CGI has weak moments but Maleficent's wings are superbly rendered and easily the most important effect. There's something of Robin McKinley in the tone: a surprisingly domestic drama, a story about women, character-motivated, whimsical, heartfelt. Maleficent lacks for some subtlety and has its flaws, but honestly I don't care; this has already become one of my Important Films, which I'll rewatch a hundred times and never take for granted.
Black Swan, film, 2010, dir. Darren Aronofsky
A difficult film to watch, fraught with gendered issues both intentional and accidental, heavy-handed but ultimately effective. The horror is likewise, but I make a biased audience: the film hits on some of my personal phobias. Aesthetically superb, artistic body horror and a brilliant soundtrack verging on the indulgent, which helps to balance how frequently joyless the film is to watch. I'm ambivalent about Black Swan—it's certainly an experience but it's a flawed one; Portman does much to salvage the film, but I wonder what it might have been with women writers/directors.
Thale, film, 2012, dir. Aleksander L. Nordaas
Underwhelming: too small and too simple, tells rather than shows, with a saccharine ending. There's something beneath that which has potential: the conflict between the magic of the thale and her gritty surroundings works, although the gendered issues (a women at the center of male attention/power/violence/caretaking) leaves something to be desired. Give this a miss, there's just not much here.
How to Train Your Dragon 2, film, 2014, dir. Dean DeBlois
Not flawless, but surprisingly close. Both the antagonist and scale overreach the film's needs, leaning away from the personal and into the predictable. But the core cast shines and the film doesn't succumb to sequelitis: it retains what made the first film successful, the humor and dragons in particular, without feeling like a pale imitation. A solid 4 of 5 and simply lovely to watch.
Epic, film, 2013, dir. Chris Wedge
Forgettable, but fine. I enjoyed the casting and some of the effects—the dark fairies's magic, in particular—are nicely realized, but the plot is utterly predictable and the humor is hit and miss. Tolerable, watchable, but little more than that and not recommended.
A Werewolf Boy/Wolf Boy, film, 2012, dir. Jo Sung-hee
Long, slow-paced, overacted and emotionally transparent, creating an absorbing hyper-reality which is lovely and surprisingly effective. The film is almost painfully adorable, more sweet than bitter for all its heart wrenching. I grew fond of this despite its rather obvious flaws—and it helps than in content I'd compare it to Kimi wa Pet; the pet/owner relationship serving as a tool to allow two people to bond is a pretty specific but utterly enjoyable trope.
Session 9, film, 2001, dir. Brad Anderson
A slow, sometimes laborious build-up with an exposition-heavy, redundant, twist-heavy denouement; an uneven effort on the whole, and it falls flat. The setting and initial pacing have promise, however problematic the asylum angle may be, and David Caruso is always lovely to listen to. But skip this one; it lacks both tension and punch.
