A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later.
Let me tell you something you already know. The world ain’t all sunshine and rainbows. It is a very mean and nasty place and it will beat you to your knees and keep you there permanently if you let it. You, me, or nobody is gonna hit as hard as life. But it ain’t how hard you hit; it’s about how hard you can get hit, and keep moving forward. How much you can take, and keep moving forward. That’s how winning is done. Now, if you know what you’re worth, then go out and get what you’re worth. But you gotta be willing to take the hit, and not pointing fingers saying you ain’t where you are because of him, or her, or anybody. Cowards do that and that ain’t you. You’re better than that!
Film is incredibly democratic and accessible, it’s probably the best option if you actually want to change the world, not just re-decorate it.
Top 10 Films of 2010
Film Journal #93 - Gaspar Noé’s “Enter the Void” (2009)
An experience more than movie. The first and third person POV design of every shot makes for a visual style that is dramatically original and often captivating. Although, too often did the stilted dialogue and detached acting style prevent me from investing emotionally in these characters or the story. Still, there’s no denying Gaspar Noé is a visionary filmmaker. I’m curious to see what the man comes up with next.
Film Journal #94 - Patrick Lussier’s “Drive Angry 3D” (2011)
A solid B picture with some surprisingly exciting and innovative uses of 3D technology. Drags during some moments, but William Fichtner is a pure joy to watch. I mean, if you watched the trailer and it appealed to you, you’ll probably enjoy the movie. God bless Nicolas Cage.
Film Journal #95 - Icíar Bollaín’s “También la Lluvia” (2010)
An interesting look at the colonization of indigenous populations in the Americas. The film draws compelling parallels between the colonization of the past and the kind occurring in the present. The movie’s film within a film structure doesn’t always work and the filmmaker does not address the labor used in the making of this movie itself. Interesting and compelling, but probably will be seen as heavy-handed by many.
Film Journal #96 - Gore Verbinski’s “Rango” (2011)
An odd, fun and visually stunning animated film. “Rango” is a surrealist Spaghetti Western with Johnny Depp turning in his best performance since the original “Pirates of the Caribbean,” or even “Finding Neverland.” The movie’s peculiar sense of humor is reminiscent of Nickelodeon’s best 90s cartoons. Hans Zimmer’s score riffs on the classic compostions of Ennio Morricone in all the best ways. Quite possibly the best big-budget, non-Pixar, animated film since “King-Fu Panda.” In fact, it’s even better than “Kung-Fu Panda.”