As we head into the fall season of 2017, September gave us a
very promising start as to where things were heading. Granted we do have to
suffer through how lowest common denominator blockbusters have been replaced by
lowest common denominator awards bait but on the whole the level of quality is
still consistently good and has delivered some truly fantastic films in the
process. We got to see artists pushing their unique visions through in some of
the most remarkable films of the year in an uncompromising and viscerally bold
way.
That being said there was still the colossal disappointment that
was ‘Kingsman: The Golden Circle’. Normally I try to avoid singling out certain
films in this intro, but Matthew Vaughn’s spy sequel promised so much more than
it delivered. It was truly a sequel that seemed to misunderstand what made the
original so great and will only appeal to those who loved it for the most
surface level reasons. But enough with that as there are still three truly
great films to address.
3: First the
Killed My Father
In what is undoubtedly Angelina Jolie’s best directorial
outing yet, ‘First they Killed My Father paints a harrowing and intimately
staged depiction of history that feels is both emotionally shattering but also brilliantly
made. Jolie uses her protagonist to great effect not just in the way she is
placed within the narrative, but the entire frame uses her as a symbol of
innocence from which to contrast the horror of the war around her. As well as
that, Jolie’s use of perspective fully immerses the viewer within this era of
history, making it feel like an entity all of its own. It’s this intimate mind
set that permeates every aspect of the movie, even its very structure which
unfolds more like a survival story than a historical drama, namely because for
those involved that’s exactly what it was.
2: Wind River
With this movie Taylor Sheridan proved that as well as being
a masterful writer he also has great potential as a director. It really is
staggering to think that ‘Wind River’ is only Sheridan’s second directorial
outing as the movie seems to carry a sense of age and experience that is rarely
found in early efforts. It weaves its plot and themes together so intricately that
they feel essential to one another as Sheridan makes the landscape around his
characters feel like a real entity. The movie also delivers two terrific performances
from Jeremy Renner and Elizabeth Olson. It’s a movie that is focussed more on
introspection and dread than conveying any cheap thrills, but that doesn’t stop
Sheridan delivering some viscerally haunting moments that will linger with the
viewer long after the credits roll.
1: Mother!
There are few films in recent memory that seem to have left
a bigger impact upon those who have seen it than Darren Aaronofsky’s latest
film ‘Mother!’. Love it or hate it, it’s a movie that has provoked a lot of
discussion and a lot of encouragement to dig beneath the surface. I’ve seen
several varying interpretations of the movie, from a biblical allegory to it
being a statement on the environment, from a comment on an abusive relationship
or meditating upon the struggles of an artist. Each new theory holds equal
weight to me and all serve to deepen my respect for what Aronofsky has created.
‘Mother!’ is also a testament to Aronofsky’s talent behind the camera in how
well it evokes a sense of unease from anyone that watches it. It’s disturbing
on both an existential and visceral level, feeling like the closest thing one
could possible come to filming a pure nightmare.
And the worst…
Tulip Fever
At this time of year nothing brings me greater displeasure
than the sheer blandness of historical period pieces like ‘Tulip Fever’. Even
the movie couldn’t live up to its own promises of eroticism as it stumbles
through a narrative it itself feels unconcerned with. None of the characters
feel well developed or fleshed out, leaving it impossible for me to become
invested in their plight. Even a cast as talented as the one found here can't make this feel interesting. There is no style or substance to be found within its
drab, middle of the road display that in all honesty I’m struggling to remember
anything about.
No comments:
Post a Comment