Macbeth (1971)

I suppose any great Shakespearean adaptation there should be distinct vision by the director. This quite true to Roman Polanki's adaptation of the Scottish play. The film marked the first film by the director since the brutal murder of his wife Sharon Tate by the Mason family. The influence of that event on the director's mind is palatable in the hopeless and particularly violent telling. Macbeth is already a dark tragedy however Polanski takes every step to amplify this particularly in the graphic nature of the blood letting, the MacDuff family massacre in particular takes its time to depicts the horrors of the scene. It goes beyond that even with an undercurrent of a circular process of decay. Macbeth is not the only traitor in this version changing the character Ross to a co-conspirator, turning the younger brother of the murdered king a future Macbeth. The side effects of the plot seem to age Macbeth and his wife into older people beyond their years as they slowly meet their demise. This film is clearly of a singular vision by Polanski though I wouldn't quite call it a great adaptation. The central nihilistic theme is fitting to this tragedy to be sure, however there are unneeded excesses in this vision. The vision in itself though still is compelling realization of an already compelling story.
4/5

Macbeth (2015)

Macbeth as one of Shakespeare's most popular plays has been adapted many times therefore it is responsibility of the filmmaker to bring something new with their own vision when bringing to the screen. On one hand technically this film is impressive from its production design, and especially a costume which are dynamic in creating this version of the film. The real alternative take though comes from Justin Kurzel at the helm attempting to do offering Macbeth less a story of a man being consumed by ambition but rather being consumed by his own dormant madness from the wounds of war and the losses in his life. This is interesting in its approach and effective in terms of the performances granted through this take from Michael Fassbender and Marion Cotillard as the Macbeths. There are brilliant individual sequences realized this approach such the addition of having Macbeth directly confronting the king's son after the murder, and the massacre of Macduff's family to which the Lady Macbeth participates in as this almost witch burning ceremony. As many outstanding choices the overall aesthetic decisions, and forceful hand by Kurzel do wear thin at times. In his Zach Snyder slow motion in the opening battle, or his purposeful choice to seemingly aggravate with his pacing, not every decision is effective nor do they even all meld together towards creating what seems to be the central purpose of this version. This adaptation in parts is incredible, however in others is tiresome. Kurzel only aims for the highest peaks as adaptation goes, and occasionally finds them, while at other moments falls off into a deep pit of lingering shots, mood music, and lifelessness.
3.5/5

Mad Max: Fury Road

Mad Max: Fury Road is probably the greatest action film ever made, but the question there is of course why. Well in terms of a film it is fascinating example of a when a director gets to go back to their own property, with real enthusiasm, and finally perhaps to get the film they always wanted to make in terms of budget and the allowances of current technology. Although one can wax nostalgic for Road Warrior, Fury Road is the superior film, but then again it is superior than perhaps all films in its genre. Fury Road in a way is pure cinema and is such an accomplishment in that sense. Now I mean pure cinema in the way so many silent films are but also in terms of being a story told in a way only possible in film. Fury Road is even a film that would not be possible in say television as its pacing is part of its splendor. The film runs like a Swiss watch, in utter perfect timing as it is one of the best edited film well ever. Every sequence flows so naturally and fluidly, and they even flow naturally and fluidly from one to the next. There are no pitfalls or bumps. The set pieces are all daring in their own ways, thrilling in their grandeur, yet intense as they need to be. There are no missteps. Fury Road though has actually led some to claim there is no story, the same people who probably complain about films with too much exposition as well, but there is the exact story the film needs. The plot is technically simple but the world is expansive and vivid that it works within it. The development of this apocalypse takes predecessors of the originals yet is wholly original in itself in its development of the various factions and cultures present. Nothing is left just to be, everything has a story within that the film makes vivid through the important though minor details and its minimalistic yet meaningful dialogue. The film does not forgo character at any point. This includes the central leads who all have their own arcs crafted so beautifully and with such emotion even though they only ever flow along with the film. The side characters though are never dismissed as the film provides ample understanding to each, even side henchman are surprisingly vivid in their realization. The film shows what film itself is capable of, and is masterpiece of cinema.
5/5

The Misfits

The Misfits is a notable film by the virtue of the casting alone. It contains the final performances of Marilyn Monroe, Clark Gable, and one of the final performances of Montgomery Clift. The film itself is a curious thing though. It's written by Arthur Miller, a writer who never minded to allow his themes to wag the dog of the story. Miller's work is often easier to describe in terms of what it means than what happens in the story. Here its message is worn on the title of the misfits as we spend time with a group of ill-fitting people, who are ill-fitting to society, who in the end round up mustangs who are ill-fitting horses. John Huston attempts to grant some reality to the theoretical through his direction, yet he never discourages the broader elements of the screenplay. The cast is strong enough to ensure some real humanity to the proceedings, and manages to be more than mere representations for the most part. There are certain moments that are genuinely moving particularly Eli Wallach's Guido discussing his losses, or Clift's cowboy making a distressing call home. They are moments not within the cohesive film which is a mess of attempted thematic gravitas overrides giving a compelling story to begin with. The film particularly falters as it becomes even more outrageous, partially because of how over the top the character of Rosalyn is written, and almost falls of the rails in sheer histrionics. It's a difficult piece that is of interest, but doesn't actually succeed in crafting a compelling narrative.
2.5/5

The Master

The Master stands as a pure Anderson film, as the only way to describe would as a Paul Thomas Anderson film. This is a purity of the style he had been fashioning over his previous films. Although there is perhaps a growing split with this film, and particularly the next film I'll be getting to, I fall firmly on the positive in terms of appreciating Anderson's unique vision. This film is a fascinating examination of a battle scarred war veteran Freddie Quell (Joaquin Phoenix), and his run in with a religious cult leader Lancaster Dodd (Philip Seymour Hoffman). Along with Dodd's wife Peggy (Amy Adams) the three seem to represent the Id, Super-Ego and Ego respectively. Nothing about the film's plot or even storyline exactly results as one might expect, or some might even want as the three have curious struggle of powers of sorts as the cult tries to help Freddie and Freddie tries to help the cult. The film is fascinating in this examination of this relationship, but this is never clinical as it might sound. It goes so much further in its depiction of the broken Freddie, and how this relates to Lancaster Dodd whose own relationship with the cult is not an obvious one. The film develops never as you quite think it will yet it never stops being intriguing and engaging through its portrayal of Freddie's difficult journey to discover some sort of peace in himself.
5/5

Magnolia

Magnolia is Paul Thomas Anderson's third feature film and has the daring of an expert in the field. Anderson once again utilizes a Robert Altmanesque structure, though this time even looser than Boogie Nights as there is no defined lead, and no story is explicitly more important than the other. There are connections though through the pivotal theme of impossible coincidence, which is stated in the brilliant opening scene about three strange stories that were said to be all a matter of chance. This sets up the final connection based around an occurrence that seems supernatural, but is natural though again is just a matter of chance, slim chance. That final element of the film was particularly divisive for the film when it came out it seems less so now. That is only the structure, an intriguing and compelling structure yet only the structure that enables for a variety of very human stories about various different though usually desperate people living through difficult moments in their lives. Anderson once again weaves through just about flawlessly a variety of tones within this idea and never allows the film to collapse despite taking some severe risks in regards to the tone. Now, unlike Boogie Nights, there is one story I find less compelling than the rest due to a overwrought performance however I don't think that single performance is enough to weigh down film more than just keeping the film from perfection. Anderson still tries to roll the Hard Eight and succeeds in the gamble. That success is another testament to his talent, but the gamble itself is the mark of a one of a kind filmmaker.
5/5

The Man in the Gray Flannel Suit

The Man in the Gray Flannel Suit is a potentially interesting story about a man in the fifties who struggles with his existence. The look of the film is interesting capturing the right refinement of the era, while conveying a certain claustrophobia towards it as well. The film also importantly never attempts to make its theme about the hollowness of the central's character feel too overt that it becomes problematic. The real problem with the film is Gregory Peck, unfortunately. The worse thing about this does not feel like a bad performance from him, he's just completely miscast. The simple problem is Peck just fits in too well, and wears that Flannel Suit perfectly. The apparent original choice for the role was Montgomery Clift, which would have been the right fit for the role. Peck just seems right at home, which is completely wrong for the character, and makes the whole film not really work as it should.
2.5/5

Memento

Memento in its initial concept seems like a novelty film, and with an initial viewing it can be enjoyed as such. That being you uncover a mystery by going from each scene in reverse rather than in normal chronological order. It works in that way as each scene remains compelling and the mystery remains fascinating while the approach never becomes repetitive. Christopher Nolan utilizes the concept brilliantly and succeeds in making a one of a kind film. However I don't think the film simply works based on the execution of the concept, which though notable, the film can be re-watched even after you know the secrets it holds. It's a far richer film than that. This is even found just in the almost suprising abudance of humor that so naturally utilized throughout the film, that proves Nolan is more capable of comedy than some give him credit for. There also is a powerful emotional core to the film realized through Guy Pearce's great performance that never loses the human element of what compels Leonard on the path which is not as simple as it might seem. Even in the progression of the mystery this is never lost, especially in Leonard's recounting of the story of a man with the same problem he has, though maybe that story isn't even quite as it seems. It's an amazing film since it never defines itself by the novelty but rather uses it to tell a great story.
5/5

A Man For All Seasons

A Man For All Seasons is a triumph of an adaptation of play. It takes just enough without adding too much nor trying to over compensate for the material. It certainly has some visual splendor in the visuals particularly in the costumes. It however is well aware of the strength of the material itself allowing the words to have their places front and center, most well realized by Paul Scofield's brilliant performance, though the rest of the cast uniformly strong particularly John Hurt as the duplicitous Richard Rich. The writing itself is terrific in realizing the complexity of the story while still following through in the technically more straight forward element of one man refusing to compromise his beliefs. It creates the right cinematic feel through the right flourishes, I particularly like when everyone can here King Henry's bluster In his private conversation with Thomas. It finds just the right blend in that all the power of the play is retained, yet properly amplified by what is offered by the medium of film.
5/5

Mulan

Mulan again is animated well as one would expect, but this is one where I think it works well in a single aspect of the film though is lacking in almost all other areas. Mulan and her time posing as man in the army camp is all great. The interactions between her and the men do work well. This is another one with a direct comic relief in Eddie Murphy's dragon, but I say he works in the part. They also decide though to give him his own comic relief the cricket, and in fact the horse, who he frequently interacts with is also comic relief. Now outside of it though the actually conflict feels oddly poorly drawn, not literally, with the occasionally cut away to a one note villain, and also Mulan's original motivation, to protect her father, seems oddly muted since her relationship with her family seems strangely meaningless by the end of the film. The musical side on this one seems particularly limited with only one memorable song, though that song is very memorable. Strange for a Disney film is that it works best in terms of its action, and the dynamic in the army. The elements outside of that are not exactly stunning, but the good parts certainly are good enough.
4/5

My Fair Lady

My Fair Lady has the advantage of a few good songs, a Stanley Holloway, the fact that Pygmalion is good, but not much else. George Cukor's direction is very tired here almost embracing the idea of making the film look as stagy as it possibly can. This is unfortunate as there are many films in his past filmography that were set on sound stages but certainly did not look like it. Rex Harrison's singsong style and Leslie Howard impression wear thin very quickly. Audrey Hepburn is rather curious in that her innate charm almost allows her to get away with a terrible performance, only almost though. It's an extremely slow film that loses most of its energy by the second act and comes basically to a halt long before the ending.
2/5

Master and Commander

Master and Commander is one of the greatest sea faring films of all time. It is a beautiful looking film in every respect, and it goes even further than that as give you such a sense of place within the sea. It's such great film as it's set during a war but that's only part of story. It's fantastic in terms of so effectively creating the environment of the ship not only in terms of the roles of each person, but also their personalities. There is a real rich history felt in the relationship particularly in the central one between the Captain and the doctor. Though it has a wavering focus it never feels vague, each aspect of the story is well realized and adds up to make a great film.
5/5

Moby Dick (1956)

Moby Dick is somewhat curious film as John Huston takes a very stylistic approach to the material. In that he barely adapts the dialogue from the book, and equally keeps sequences with an otherworldly feel to them. That's not the wrong approach considering the often symbolic and poetic nature of the material. There is one sinking flaw in all of this is Gregory Peck's performance as Ahab that struggles with the dialogue and fails to make Ahab feel that force of nature he needs to be. It's a gaping hole that hurts the whole film as he just seems ill at ease, now the rest of the cast is more or less decent, but Ahab's the pivotal character. However even with that problem there are striking visual sequences, I love the shot of the darkness in the doorway to Ahab's cabin, and the final climax is still rather powerful even with Peck.
4/5

Modern Times

Modern Times is an example of what seems like pure cinema. The story is simple enough as a man and a woman try and fail to find some sort of success. That seems like nothing but it is more than enough to create such a fascinating series sequences that depict this attempt. Chaplin was brilliant performer and a great director with this being an exceptional example of both of these strengths. He underlies it with a subtext of the mechanization of society as a message you understand, and feel the power but he never allows it to override the film. He equally makes it a hilarious comedy, a splendid love story, just a marvelous film. The music and every image make for an experience that is truly wonderful.
5/5

McCabe & Mrs Miller

McCabe & Mrs Miller is a rather fascinating experiment of sorts by Robert Altman, as he does his usual large cast of colorful characters whose stories intertwine in one way or another, yet here there technically is a more direct moving plot involving McCabe trying to keep his property despite threats from a powerful mining company. It needs to be said that it's a downright beautiful film as the production design and cinematography are both outstanding. As one would expect from Altman it certainly gives its time to the characters and actually makes the plot developments surprisingly emotional particularly in the film's last act when things turn violent. It's one of Altman's best, perhaps his best, and also features some of the best work by Warren Beatty and Julie Christie.
5/5

The Man From Laramie

The weakest Mann/Stewart western I've seen though its still pretty good. Stewart just makes for a compelling lead, and Mann manages to be very good at creating the hard bitten world of his west. The main fault in the film is the way the villain realizes itself as the interactions between the characters are far more interesting, and the conclusion is unfortunately realized by a certain simplification.
4/5