The Lives of Others, Donnersmarck

The Lives of Others by Florian Henckel von Donnersmarck    

Other films by Donnersmarck: The Tourist (2010)

 

Sublime (9.5/10)

This film is one of the greatest that’s ever made. I am surprised it hasn’t gotten the fair recognition it deserves. It uses all tools and mediums to have the film turn into an experiential art that tries to connect with every individual in an audience. The stories are intelligently told and their content was mesmerizing for any human soul. We find a connection to them and with them, as we feel that we are on the bird’s eye view of things, we can imagine that that’s how puny and insignificant our own lives is. The characters in the film were engineered into making themselves exist in their own way. How Donnersmarck did it in so limited time is beyond me.

The way the film was told, I think was very experimental as well. A good example may be the first scene, into which the audience was fooled into thinking the event that occurred was the actual present scene when in fact it is only a recollection driven by the audiotape in front of the Catpain’s class. This immediately pulled the interests of the viewers. And there are also important question tackled in each strong scene, only to make it stronger. The educational element that it gave dictated the role of the film. I very much loved the acting there as well, you get connected with the characters. I find Weisler’s personal character interesting although quite lonely as was pointed out in the film. I think he’s a great example of Albert Camus’ Mersault in The Stranger. We are only made to guess what he was thinking by judging his expressionless face. But beyond that what really is fascinating with this film is how each character has its own role to fit it, it’s existent and it has a reason for being there. And if you generalize the characters a little bit, you see that they have their own story that they shared, and you notice this in groups. You can then objectify the characters, then you generalize even more and you see the investigation Weisler was conducting and surveying but you can almost know that he feels he has the whole script of the event on the palm of his hands.

This film is very mysterious, suspenseful, thrilling and without all doubt, touching. I forgot to mention intelligent but that could fall under the artistic side of this film. It is quite special and possible my favourite film of all time.

Missing Pieces

Traffic (2000) by Steven Soderbergh  

Other films by Steven Soderbergh: Sex, Lies, and Videotape (1989), Ocean's Eleven (2001), Contagion  (2011)

I made my own controversies and prejudice on this film internally than anyone else I can imagine. It’s a very complicating and confusing notion to explain, but this movie must have been popular in my mind. I expected much but was even more surprised to find out after watching the film that Mr. Steven Soderbergh directed it. Obviously you can tell that the film was pseudo-epically directed, the plot was general and outstanding with research. It’s hard work. But then it did lack something that I believe is important with film, and that’s the avoidance of toning the overall theme to what the public must contemporarily admit to. Still, I admire how the film managed to depict the world of drugs, the outside layer at least and how important it must be addressed. The perspectives taken and the small ironies that we find in every separated story is magnificently written and nerve wrenchingly told.

COMMENTS

Directing: There’s a unique way of seeing this film being directed and I think that’s special. Told a whole lot and made us experience something new in such limited time. Has a feeling of low budget but to pack it all together has a near epic film is very well done.

The first bust with the coke in the truck could have been far more thrilling and exciting; like showing the perspectives of the loaders first instead of the cops. Or maybe Soderbergh wanted to deceive into thinking they’re not really cops but mobs.

The scene when Arnie visited Helena and was warning her about the wire has to belong in my favourite scenes list. That was intelligently crafted and amazingly acted. The music that time worked very well and the surprise that it brought to Helena was the same surprise given to the audience. Must also be a classic. I loved the transition and the seriousness given to it.

Helena’s prison conversation with her husband was beautifully acted and written. It must get the praise that it deserves. Simple yet captivating.

The way the scene when Claire got busted smoking meth by her highly profiled politician father was directed and edited was thrilling and very suspenseful. It felt real and convincing; one of my favourite scenes in the film. But not as good or as epic as the Food Assassination scene, it impressed me in all levels. The way it was directed and shot was magnificent; the acting was great, dialogue although forced and out of character was still good, but the way it was told and choreographed blew me away. It fooled me twice, intelligently done. Soderbergh has that power.

Plot: Grabbed a heavy weight of significance by exploring the world and war of drugs. Perspectives makes understanding and this film really tried its best taking the ones that would help experience such world and accept our own opinions after the learning. Soderbergh does well not making anything bias, but my only criticism is that some scenes were obviously toned as to another direction of emotion. Films should not force the audience their feelings.

The overdose feeling in visual and acting was well done. But the panic should have been better. It seemed like it’s “acting” instead of feeling ironically “real”. The dialogue needed work too. There should possibly be frightening silence. As if waiting for someone to have an immediate idea, any idea, what to do.  Music and audio should have been shaped here but it was practically absent of valuable use.

The magnified point of view of a politician sharing personal problems that interconnect with his daughter’s own torments was special and beautifully sad. The tension between them and the acting was overall great.

The way Soderbergh told Claire’s addiction story was very heartbreaking, it reminded me of Astrid in Janet Fitch’s White Oleander; lovely and innocent but tormented.

Characters/Acting: There are some winners and losers here. Don Cheadle had his great moments but also some lacking one, Del Toro was convincing and average. Chatherine Zeta Jones was marvellous. Topher was annoying and much to blame was the way his character was written. And I was very much impressed with Erika Christensen’s acting, she did more than well. Miguel Ferrer was impressive as well.

Score: Majority of the times it did not belong in the scene but there were moments it did more than I expect

One day of memories

Paris Je'Taime (2006)  

Probably discovered this special film researching on more of Alfonso Cuaron’s films and this one was a gave another good result of research; I found more filmmakers to admire. Beautifully crafted, told and directed.

I just love how the ending joined all small stories together and spoke of each of their beautiful lives and feelings.

COMMENTS

1.       Montmartre by Bruno Podalydes – The cinematography and the calm music introduces the environment and the subject of the first scene quite well. Even the event and the dialogue were interesting and appealing.

2.       Quais de Seine by Gurinder Chadha – I really enjoyed the cinematography and the characters were so admirable and adorable in their own unique way. The plot and conversation were interesting too.

3.       Le Marias by Gus Van Sant – “I figured that if I didn’t talk to you before disappearing, I would be missing out on something important... that’s beautiful isn’t it?”

4.       Tuileries by Joel and Ethan Coen – Interesting and special cinematography and a bit of comical.

5.       Loin du 16e by Walter Salles and Daniela Thomas – It has a very calming feel to it and I enjoyed the commute and the expression of the subject quite well with her experience of the events and the emotional attachment to them.

6.       Porte de Choisy ­by Christophe Doyle – Very unusual but artistically directed

7.       Bastille by Isabel Coixet – The internal narrative and the complementary help of the music gives it a feel of great poetry with honest emotive effect. “Behaving like a man in love, he once again became a man in love.”

8.       Place des Victoires by Nobuhiro Suwa – A very symbolic and dreamlike story that was drawn into a more peaceful and sentimental valued version of loss and coping.

9.       Tour Eiffel by Sylvain Chomet – Has a cartoon-like feel to it. In Paris,  even mimes find love.

10.    Parc Monceau by Alfonso Cuaron – Classic Cuaron with the long continuous take. It not only introduced the streets of Paris in its own true sense, but even the realistic events of a casual passerby.

11.    Quartier des Enfants Rouges by Olivier Schmitz – Very subtle reality and a really interesting meeting between two strangers conscious of their place yet not that fully awake.

12.    Pigalle  by Richard LaGravenese – Tremendous plot with an interesting dialogue and fantastic acting. Swet and special in its own way.

13.    Quartier de la Madeleine by Vincenzo Natali – Extremely spooky yet slightly funny.

14.    Place des fetes by Oliver Schmitz – A very touching and well told story. The short dialogue really told their emotions well, and the expressions on Sophie’s face sang the saddest song. Short but effective.

15.    Pere-Lachaise by Wes Craven – Cinematography was very good and the dialogue that added to it was special and interesting. Wuite the ending that you’ll love..

16.    Faubourg Saint-Denis by Tom Tykwer – An intense ride inside a heartbroken consciousness stuck between imagination and reality.

17.    Quartier Latin by Gerard Depardieu and Frederic Auburtin – As odd as it may seem the plot does feel utterly realistic and convincing. An overlooked reality that most people don’t notice about love.

18.    14e arronissement by Alexander Payne -  I can’t help but associate Paris and this particular short, and how it inspires life, with a friend. But of course things are different  and this one was reflective and realistic. “Sometimes I think that it would be nice to have someone with whom to share this life.” Wonderful narration and ending. Acting, just as magnificent.



Waking Up

American History X (1998) by Tony Kaye  

Other films by Tony Kaye: Snowblind (2004), Black Water Transit (2009), Detachment (2011)

 

 

First saw the film for my Philosophy of Religion class, I believe, but I remember that my attention wasn’t really focused that much on the content rather to the pleasure of just watching the film. This time around, it really had a good effect on me. The content really is heavy and grappling, but what makes it confusing is how it has yet and doesn’t leave an emotional attachment to me whatsoever. Maybe I can appreciate the content of the film but, due to my disposition, just can’t really help not connecting with it. The cinematography was above average and there were numerous scenes that make it stand out. Like the opening scene and when Derek was being arrested. Or the flashback shots of the beach. But majority of the time, you feel a sense of disclosure and claustrophobic reaction to the way the story was presented. You don’t get the feel of being inside a household because of the crowded angles of the scene, nor the feeling of being in a party because of the same reason. These are either a hit or miss from Tony Kaye.

COMMENTS

Directing:  A historical opening scene from Danny’s perspective. The slow-motion effect of the scene and the complementary music to back it up makes it a classic

The cinematography has an indie feel to it. However, some of the editing cuts were irrelevant to the whole scheme of things. The grocery scene was intense and the conversation about it over lunch was a good follow for it. Derek’s arguments lacked the foundational evidence for his premises though.

The rape scene was since and thrilling.

Even though I believe the cinematography overachieved, the film could have worked better if it were longer. If the whole 3-year sentence in prison was highlighted even more and not just restricted to when Derek was telling the story of events to his brother. I believe it would benefit the audience and its impact to our perspective if we were allowed to enter more of Derek’s experiences in prison; how his prejudice and biases were moved and shifted, and how the backbone of his passion, which was almost like a religion, changed in there. It might be nice to connect with our anti-hero if all it took to change his perspective was a small connection with the “enemy”

Plot: A neo-nazi who’s extreme views against immigrants, non-white races, and how it gravely affects his lifestyle and the white economy is sent into prison and the reality of the human condition. There he meets what he biased called his “people” and the “enemies” but later finds out that the best person you can truly trust and depend on might be the one you’ve been despising all along. His beliefs and dogmatic prejudiced stance changes and as soon as he is freed, decides to erase his popular culture with the white propaganda and delivers the same internal realizations to his brother, who idolizes him and is on his way to turn out like him as well.

We learn a whole deal about prejudices and racism in this film, not to mention astoundingly the psychological effects of authorities towards the sensitivities of people. It was discreetly told that Derek’s point of view was greatly influenced by his racist father, and when the latter died of murder from a group of black people, this influence grew even deeper. And he was extremely motivated to flourish his growing hatred of thoughts into action when he was viewed as the new spokesperson and leader of the white propaganda. Every person needs an outlet to share their deepest passions, Derek was at the wrong time and place.

“People look at me and see my brother.”

“Has anything you done made your life better?”

“Life is too short to be pissed off.”

Characters/Acting: Norton’s acting never ceases to amaze. Incredible. His monologues were so convincing and critical it seems like he believes the words he speaks himself. And Furlong wasn’t lagging behind as well.

Score: The score that complements the cinematography is astounding that it gives a classical touch to it.

Subtle and Unimaginative

Kramer vs Kramer (1979) by Robert Benton

Other films by Robert Benton: The Late Show (1977), Places in the Heart (1984), Nobody's Fool (1994)

Kramer vs Kramer has always been a household name when it comes to great moving films. It just added more expectations when I found out that Dustin Hoffman starred in it and delivered a great performance. To cut it short, I really expected a lot from the film, not much from its cinematography but more of its storytelling. Unfortunately my expectations weren’t really met and I felt very disappointed. The film had its small moments but it didn’t really leave behind something that I could treasure for quite a while, reminds me of the result I also felt for Scorsese’s Raging Bull.

COMMENTS

Directing: The cinematography felt a little absent. The introduction was okay and actually interesting, but there were numerous scenes that felt really off in editing and transition. The bike scene had a very shaky held on the camera, and the small conversations scenes felt just like a television soap opera.

The leaving scene felt so realistic and you can almost sense the awkward shock as if it is happening to you. That long one shot take of the father and son usual morning routine was really interesting and well done.

During the accident scene with the doctor and the stitches, it would have been really sweeter if Ted distracted his son with a story or by asking some child personal questions and Billy would answer honestly to each of them without noticing the procedure to have passed.

Plot: Simple and normal plot which is actually a heavy drama that may characterize most modern families today. Although the film greatly focused on how a single father with a fulltime work balances his life caring for a young boy, it didn’t manage to grasp critically the perspective of the child and even the mother. The film told the story but didn’t really show it. Something the directing and scriptwriting could have greatly improved on.

Characters/Acting: Hoffman and Streep’s acting were complementary and convincing. The former did magnificent to be honest, especially during the first morning after Streep left him.

Score: Nothing special, maybe below average at most.

Time destroys all things

Irreversible (2002) by Gasper Noe

Other films by Gasper Noe: Carne (1991), I Stand Alone (1998), Enter the Void (2009), 7 Days in Havana (2012)

First time I’ve heard of the film was from my good friend, Zandrei, who is also a very keen viewer of films. What highlighted the movie’s theme for me at that time was the intense rape scene that people kept talking about; how utterly realistic he (and most people later on) said it was. From then on, I tried watching it, with fear behind my eyes and tension lurking in the shadows of my mind. It probably took me almost a year to finally watch the film, and in between, I’ve actually acquainted myself of Gasper Noe’s style of directing. I’ve seen some scenes of the film and noticed how he practices with long continuous takes and dialogue, then I’ve watched the early scenes of his other film, Enter the Void, which also felt like a mind trip with its realistic narration and viewing. In simple words, Noe’s technique really intrigued me enough to identify him as a great artistic director even before having finished watching a film of his.

Once I was done watching Irreversible, I’m not sure if I was a little disappointed because of how high my expectations were, or if the film really did just lacked the emotional attachment that I thought it would carry with it and then later transfer to the viewer. The content, style, cinematography, was better than amazing, but maybe it just lacked the proper timing that it needed to allow the audience to fully grasp each scene and take it as if an experience inside one’s own consciousness. A little tweaking may be needed, or to be safer, a slight adjustment on the viewer’s end. Maybe the criticism are true, maybe the film focused too much on the violence that it managed to strip away the emotional pact that it would’ve made. Instead of feeling mere sadness, you feel anger and vengeance. But that’s not, for me, the complete story and lesson of the life in the film.

COMMENTS

Directing: The camera work is just incredible and experimental as it tries to mend itself as an observer, like a fly or a wandering eye. The long continuous one takes just felt natural you almost don’t notice it; as if you are part of an ordinary yet unusual experience, even if it sounds ironic.

Gasper Noe’s a creative artist, still, and it’s very noticeable. The way the camera moves, the cinematography introduces each scene and performs the movement of progress with his angles, not to mention the added subtle content and reality that gives his film its own beating heart.

Plot: A shocking and heartbreaking night told in reverse. If you know these people, if you are one of them, imagine waking up the next day with the memory of waking up the day before.

There are a lot of parallelisms in the film: the tunnel of red dream, the bottle to the face, the spitting and short sensual scene, “I wanna fuck your ass.”, “the future is written.” –when they are all slowly realized, it could just break your heart knowing what’s to happen next. If we, or wait—a person, you, know the future, it must really hurt. It must really hurt to know what’s going to happen next.

The way the story is told is in reverse and it’s astonishing how the film reveals something shocking and significant in each scene. It is just very depressing how the lives of the main characters actually started very appealing, joyous and wonderful, yet end in such a gloomy and dark way. All moved by a trivial decision. In life, there are extreme risks I guess, even in the simplest intension and choice.

Characters/Acting: In-fucking-credible performance to all. And here’s the hierarchy: Bellucci, Cassel, Dupontel, and  Prestia. Even the other minor characters performed very convincingly, it felt so real.

Score: Absent just how it should be. Yet, I have to give credit to the fantastic audio that carried us throughout the city.

Mesmerizing

 The King's Speech by Tom Hooper

Other films by Tom Hooper: Red Dust (2004), The Damned United (2009), Les Miserables (2012)

I didn’t really here about the film until I found out that it won the Academy Award for best picture against the likes of Inception and The Social Network. It also won Best Screenplay and Actor. Even with such recognition, I didn’t bother getting too excited with its concept. I knew Firth is a tremendous and powerful actor but what the film just expressed in its screening was very much impressive. The conflict, on an objective point of view may seem quite trivial since there are far worse illness, disaster, troubles, etc around the world than a mere speech impediment. However, individually, if you see King George VI torment and notice the heavy weight of his predicament through the film’s cinematography, storytelling and great acting, you then meet the gravity of the situation. King George VI’s health as a ruler and as a King extends to the health of the country’s people.

The storytelling is really something to admire because it showcased most emotions and passion in different levels at such a high class act. There was sentimentality, spirit, inspiration, anxiety, fear, tension, friendship, rivalry, disappointment, hope, humour, etc, that made the film more than likeable at any angle. It really is a great film that deserved its respect. This is me not being biased.

COMMENTS

Directing: The cinematography amazingly makes the ambient of an old age setting seem not just beautiful and modern, but thrilling and suspenseful in its own usual way. It wasn’t just a frightening experience to talk publicly in front of people, but to carry such a grand responsibility, name and reputation makes the event more nerve wrecking. Also, to be conscious of what people may be thinking at that moment of cruel time when he Firth was having his anxious experience just when he was starting his reading; a long way to go.

The first session was inspiring and just right in balancing the time span of the scene and the magnitude of the music. It’s amazing how two classics were inserted in a potential classic scene.

The directing doesn’t force the emotional impact of each scene, just like the moment King George VI heard his first recorded force and how sincerely impressive it was. The reading training was somewhat comedic as it truly must have been, but also a bit intense just how it should be.

I found the lighting and the continuous ongoing shots during the scenes where King George was arguing with King Edward VIII and Lionel. They were full of content, the dialogue made you empathize with his anxiety. The movement of the camera kept the tension higher than it would have been if shot otherwise. The second argument with Lionel was far better, surprisingly.

Plot: The plot may seem quite trivial since any ordinary person may have such speech impediment as well, yet to actually be in a predicament carrying a heavy weight from the public makes it even more significant to focus on.

George’s personal openness and how Lionel unleashed the confessions were so heartwarming especially how Firth was somewhat forced to sing his hurtful sentiments and memories. That scene was very intimate on George’s part since his psychological well-being was slowly being picked apart.

The film has its serious drama, content, it’s occasional humor and inspirational feel to it. Seems like a total package.

Characters/Acting: 15 minutes in and you can immediately notice the amazing performance by Colin Firth without overdoing it, nor forcing the character to be one which is too extraordinary. And how can I forget Geoffrey Rush’s creative consistency in carrying his role. Helen was wonderful and convincing as usual. Guy Pierce, having seen his other films, has just opened my mind on how great of an actor he actually is.

Score: The score was magnificent as it supported and complemented the cinematography and the mood of the film very well. Like I said earlier, the film is the total package and even the score itself deserves such great praise and recognition.

Sorrow is nothing but worn out joy

 Old Joy (2005)by Kelly Reichardt
Other films by Kelly Reichardt: River of Grass (1994), Wendy and Lucy (2008), Meek's Cutoff (2010)

What brought me to this film was Will Oldham’s impressive acting and charisma in John Sayles’ Matewan. Then I found good reviews about this film and especially enjoyed the short synopsis that I read about it. Overall, the content was really thoughtful and frightening in its own way. It’s amazing how realistic the film seems to be and how each of the depth of the main characters can easily be my own personal core. We often see films; let it be comedy, drama, coming of age, academic, etc, which uses the same kind of plot yet only with the younger version of the characters in this film. How about the same concept only 20 years after? Things like that would occur, what I wish to experience now, I bet and hope to wish to do so as well in the far future. But of course, the sad and honest truth about it is that the experience will never be the same. Just like how Kurt felt, even freedom has its limitation, since to be free is to be isolated, and to be isolated comes, after a long while, is loneliness.

COMMENTS

Directing: I simply like the slow and gentle cinematography of nature, the sound was magnificent and the angles really showed a feeling of belongingness and wholeness with the whole scheme of things attached to the film.

The perspective pointed at Mark was an intimate theatre of his personality; yoga, spontaneous backpacking, and even the slight withdrawal of personal freedom due to a committed relationship.

The cinematography was nice and decent. It had the effect of indie yet the silent dampness of life. The audio gave the feeling of magnified consciousness of the senses.

I sincerely enjoyed the natural bathtub scene. It really made me feel as if I was having one myself with the surrounding sound of nature filling up the spaces in the air.

Plot: The plot, to be honest, makes me a little gloomy. The viewer can easily put himself in each other the main character’s position and even imagine the younger versions of the characters being the joyful and lively people that they used to be. But time takes away youth and youth takes away with it the freelancing joy that we have experienced. It’s hard to accept something like that. Although it’s not the same kind of content for everyone, Kurt could have easily had better and freer friends just like him and experience youth again on a nature hike, and Mark could actually enjoy the successful and sentimental life that he has a new, but that kind of thought is very limited, the plot of the film is such a huge possibility and is such a very realistic projection of real life.

The dialogue felt real and specific, it makes you think about your life without much inner thought and reflection, especially from a different perspective; like other ordinary people like Kurt and Mark. The topic of conversation was special and interesting in its own personal way.

Characters/Acting: Oldham this time did not impress me all that much, it seemed like he was being a little too much of himself as it supposed. And Daniel London seemed a little too ordinary as well. Not much room for astounding acting actually in the script since they were entitled to perform normal people with average characteristics and mannerisms.

Score: Liked the background music very much. It was soothing and relaxing, at the same time it also allowed you to think widely with the film.

Swet Thriller

A History of Violence (2005) by David Cronenberg  

Other films by David Cronenberg: The Fly (1986), eXistenZ (1999), Eastern Promises (2007), A Dangerous Method (2011)

 

 

My first (conscious) David Cronenberg film and it did more than just impressed me, I’m more than willing exploring his films now and actually near on discovering a new favourite director in the process. Next to my lists are: Eastern Promises, The Fly, A Dangerous Method. I’ve actually scene eXitenz and it did as well impressed me a lot but I wasn’t too aware of him at that time, nor was I actively making reviews. Cronenberg’s style here was amazing: the story telling and impact on its characters were just as equal and striking as it did for the audience, the individual scenes that make up the whole fitted together very well that each of them became its own story without affecting or damaging the plot, it may actually make it more personal the way it helped the audience explore the individual miseries and consciousness the characters experienced.

COMMENTS

Directing: Amazing cinematography and action scenes which were quick yet deadly in its own characteristic way. I can count at least four scenes in the film that I may keep on watching for a very long time in my life.

The opening scene and it’s calm and slow mood and how it was done by a continuous 4-miniute take was very fitting to the scene that followed. The audience were set into Billy’s perspective the whole time and then brought into Leland’s previous experience in a very creative way by being asked to visit the scene he just left, without our knowledge of what occurred in there. To our surprise, it was something highly frightening. It was magnified even more when the little girl was revealed. The scene was just amazing yet cold and silent.

The second scene helped contrast evil from good. I think it introduced the identity of the family really well, then slowly the scenes that followed opened our eyes to what they were actually like or experiencing in their individual lives.

The dialogues experienced by the characters in their own daily moments were interesting and special in its own way. It made you empathize with the normal experiences of ordinary people.

“I remember the moment you were in love with me. I saw it in your eyes.” – How innocent and revealing this is.

I admire Cronenberg’s creative and artistic skill of exploring the different perspectives of his characters, the way they all have their own life to deal with and how he had made the audience acquainted with their personalities in just little quality time.

The attempted robbery scene in the diner was thrilling and mesmerizing, we find out shortly the reason why the actions made by Tom were a little too shocking to believe in. Great acting and directing.

Damn sex scene on the staircase could possibly win an award not just on itself, but how it was brought up to that point. It was secretly hot and sensual, capped by violence with just the use of casual tension and personal actions.

Plot: The writing of this film deserves a nomination. I think it’s incredible how the plot could be seen as something simple from one angle, yet magnified on when and where the story was then revived. Or how complicating the situation actually is, and is made relevant by the point in sequence of how the film told the story. Anyone could have told the story from the start, but the suspense would have been limited. In a way, the story itself became as shocking to the audience as it would have been to the people involved in the story.

I just admire how the underdog stands up to the bully. In a way you can sense the family is starting to get corrupted by the overturning event that occurred in the diner. Violence is contagious, even when you don’t force it; it becomes the simplest and even right action to do.

Characters/Acting:  Mortensen’s acting and metamorphosis after the shoot out with the mob on his law was amazing and compelling. Ashton Holmes impresses me so much as well, he reminds me of a possibly better Jesse Eisenberg, but I might be premature on saying that. The overall acting by the cast, Maria Bello, Ed Harris, even the short scenes by William Hurt, McHattie and Byrk were convincing and special.

Score: The background score during the passive scenes didn’t do well for me, but the ones that were in the very suspenseful scenes created great tension.

A Vegas Story

Casino by Martin Scorsese

Other films by Martin Scorsese: Goodfellas (1990), The Departed (2006), Shutter Island (2010)

A Vegas Story (7.5/10)

I’d like to say I got what I expected of the film: Martin Scorsese’s epic mind in a physical medium portrayed by the classic duo of Robert De Niro and Jo Pesci. Although the suspense, content and structure of the story were moderately interesting in a identifying way, I was a little disappointed of the way the story was told. The narration itself could have been eliminated and substituted by scenes that would instead show the story instead of telling it. The graphic scenes, I wished were done with greater freedom as well, but since Scorsese and the cast were under a Hollywood producer, who wishes to gain money more than aesthetic experience, they were stuck in an angle that is limited to what was shown. Just a price to pay, still this wasn’t my type of film, however I enjoyed very much the ideas intrigued by it, and how the lives of the characters were convincing enough for me to slightly know them.

COMMENTS

Directing: Still won’t top The Departed in my opinion, but the way Scorsese direct the significant scenes were just top notch. He never fails to impress when it comes to individual scenes but as a whole, the film needs fixing on its coherency and storytelling. For a 3-hour film, the time was enough for it.

The educating narration in the start really introduced the content with high clarity. You start to learn that a Casino is just like a bank, and then you ask yourself why it is legal. What does that tell about people?

Nicky’s narration sounds a bit fishy told in a crime and tempting way. Also, knowing the spoiler at the end makes his narrating part turn into a loophole.

The classic long choreographed scenes were convincing. Nicky’s pen stabbing scenes were frightening, twisted, and ironically realistic. Scorsese really impressed with the “who’s watching who?” scene.

The choreography was incredibly creative and unique. Scorsese deserves his high reputation of being one the greatest film directors of all time but the narration becomes a little naggy. The torture scene, without the music, may have made it a top classic scene. In-fucking-credible.

The cameo of the plane scene was funny and witty. The leaving scene between Sam and Ginger was just astonishingly acted and incredibly directed; makes the whole event very realistic. One of the classics.

The tension between Ginger and Nicky was thrilling, especially since Nicky and Sam are loyal best friends that would kill for each other. Makes you expect something huge to follow from it between the both of them.

There’s very good content in the film that makes it extremely interesting. But the way the story telling was proceeded could definitely have been done better.

Shocking scene what they did to Nicky. A more experimental directing would have done that scene for 30 minutes, Rater R, giving everyone the honest, frightening, and visually painful truth.

Plot: It’s about the Gangster’s life, power, greed, friendship, betrayal, drugs, and destruction. All situated in the beating heart of Las Vegas.

Characters/Acting:  The acting is just classic A+, I’m convinced Scorsese has it in his characteristic to always study and be careful with the roles of the characters in his film.

Score: The timing of the music and its role in the film was off and uninteresting.