The Quiet Man
Directed by: John Ford
Year: 1952
I should say first that it’s a shame for such a gorgeous film it has yet to recieve a proper restoration. A film like this is one that earns your viewing devotion. Exploring his irish roots, Ford examines the difference between American and Irish cultures in regards to marriage, which love knows no such rules or boundaries. Thematically the characters are richly characterized in their pride, commitment, and obligations.
Batman: Year One
Directed by: Sam Liu & Lauren Montgomery
Year: 2011
Simply put, the best animated Batman film since Mask of the Phantasm. True to it’s source, it’s more of a Gordon-centric drama while Bruce’s evolution into the dark knight appropriately sits in the background building to establish the relationship between the cop and the outlaw vigilante. While extremely faithful to the material, there are expansions, largely in bringing the comic’s panels to visual life. With Bruce Timm’s involvement in an adaptation of The Dark Knight Returns next year, one can hope that this bodes well for how that will transition to screen.
Bridesmaids
Directed by: Paul Feig
Year: 2011
To be honest, I’m surprised at how much I really enjoyed this. Wiig truly does break out in her role with the character and the material given. Playing off the character’s insecurities, the film effortlessly goes from uproarious laughter to resonating on the viewer, no matter the gender.
Melancholia
Directed by: Lars von Trier
Year: 2011
I’m still trying to process all my (many) thoughts on it. But it’s fantastic, and no matter how many times I saw trailers and clips for this, I wasn’t prepared for the magnitude effect the film would have on me. I love how decadent the first half is, it’s deliciously melodramatic, and the disfunctional family & relationships was established well for the dreary turn the second half takes. The second half feels so much more claustraphobic, and the paranioa of the planet approaching culminates to a breathtaking final act. When Trier described the film as a “beautiful film about the end of the world” (paraphrasing if I don’t have the exact words), I was intrigued, and that’s an apt way to sum it up shortly. The film has a greater sense of terror than any other disaster film you could name, and unlike many, Trier lives up to what he sets up. This is a top-notch disaster film made elegantly, deeply characterized, and with none of the excess that others indulge on. This is a real film of it’s kind that others should take note from, even though they probably won’t.
