Posts Tagged ‘Naomi Watts’

Ezra’s Top Ten Favorite Movies Of 2013

Posted 01 Mar 2014 — by Ezra Stead
Category Film Reviews, Movies I Didn't Get, Movies I Got

By Ezra Stead

Behind the Candelabra is a delightfully decadent look at the life of Liberace, brilliantly played by Michael Douglas in one of his very best performances. Every year, I struggle with the relatively arbitrary process of ranking movies, so this year I’ve decided to do something a little different. Instead of a traditional Top Ten list, I’m grouping two thematically connected films together for each place on the list, resulting in a hopefully more interesting Top 20 list. I’ve also included a more traditional Top Ten below that, for all you “too long, didn’t read” folks. One final note before we get to the list: it should tell you a lot about my credibility as a film critic that I liked Jackass Presents: Bad Grandpa more than most of the Academy Award Best Picture nominees for 2013.

10. THE WICKER MAN: FINAL CUT / JURASSIC PARK 3-D – BEST RE-RELEASES. Obviously, this category doesn’t really count, as both of these films were originally released decades ago, but I can’t deny that each of them provided one of the most enjoyable experiences I had in a movie theater in 2013. This new cut of the original 1973 classic The Wicker Man adds some nuance and more musical numbers to an already great film. Most crucially, it opens with a scene of Sergeant Howie (Edward Woodward) praying in church, emphasizing his piousness from the very start, which enriches the events to follow. Jurassic Park, on the other hand, is quite simply my favorite movie (it has the most dinosaurs in it – I rest my case), and seeing it on a big screen again, in 3-D no less, made me fall in love with it all over again.  Read More

Mother and Child – A Not So Mellow Drama

Posted 31 Jul 2011 — by contributor
Category Film Reviews, Movies I Got

By Scott Martin

Mother and Child, USA / Spain, 2009

Written and Directed by Rodrigo Garcia Mother and Child is a lovely film. Difficult to take, and "melodramatic", but lovely nonetheless.

I’m always fascinated by multi-narrative character studies, films that take total strangers and loop them together based on a sole coincidence. Be it an unfortunate turn of events, or something mundane yet fortuitous, we’re all connected; that seems to be the mission statement of films like this. Here, the unfortunate events pile onto each other to become something fortuitous. It’s a film that centers its meditation on adoption, but it isn’t preaching; it’s merely telling a story about it. I appreciate that above most things in filmmakers. Focusing its lenses on three women (Annette Bening, Naomi Watts, and Kerry Washington), Mother and Child is the cure for the common Lifetime movie. It’s melodramatic, at times, but I’ve always considered melodrama to be a symptom of a bigger ailment, not the ailment itself. The events in this film are melodramatic, so how could the surrounding elements not be? It wouldn’t flow as a film, and it’s the ebb and flow of Rodrigo Garcia’s films that make them memorable. What I’ve always taken from his work, even if unaffected by his stories, is that he has excellent control over his atmosphere. Read More

Spoiler Alert! Some Thoughts On Twist Endings

By Ezra Stead

The Sixth Sense ruined twist endings for quite sometime after its 1999 release. Since M. Night Shyamalan’s much-ballyhooed 1999 feature The Sixth Sense, twist endings have gotten something of a bad rap, and usually with good reason. After all, in many cases they are a cheap way to add excitement to the climax of an otherwise dull story; sometimes they are a cop-out, negating all emotional involvement that may have been invested in a film up until that point; others seem to be the sole reason for a story’s existence, without which the whole thing crumbles. On the other hand, when they work, twist endings can make a good film great, and they occasionally even reward repeat viewings by revealing previously unseen layers that can only be recognized once the conclusion of the story is known.

As rightly reviled as are many recent examples of the technique, especially many of Shyamalan’s subsequent efforts, there are also many laudable examples to be found among some of history’s greatest cinematic achievements, old and new. Widely respected filmmakers from Alfred Hitchcock to David Fincher and Christopher Nolan have successfully employed the well-placed twist to wonderful effect, and even Orson Welles’s immortal classic Citizen Kane, considered by many to be the greatest American film ever made, concludes with what can only be deemed an elegant, emotionally rich twist ending. Read More

The Assassination Of Jesse James By The Coward Robert Ford

Posted 25 Mar 2011 — by Ezra Stead
Category Film Reviews, Movies I Got

By Ezra Stead

The Assassination of Jesse James by the Coward Robert Ford, USA / Canada, 2007

Written and Directed by Andrew Dominik

Based on the Novel by Ron Hansen

The Assassination Of Jesse James By The Coward Robert Ford was the best film of 2007. The Assassination of Jesse James by the Coward Robert Ford is probably the single most beautifully shot film of 2007. Every single frame is composed with a painter’s attention to detail, and the result is one of the most classically gorgeous works of cinematic art in recent years.

However, the incredible cinematography by legendary director of photography Roger Deakins (who also shot Barton Fink, The Shawshank Redemption and No Country For Old Men, to name just a few) is just the proverbial icing; the cake is Casey Affleck, in one of the finest screen performances I’ve ever seen. His Robert Ford is nothing short of masterful, a grinning ghoul that would give anyone “the willies,” as Frank James (Sam Shepard) puts it in one early scene, but at the same time a sad and very empathetic character, because he represents the almost shameful desire for fame and glory inside all of us. Affleck’s awkward mannerisms throughout the film are a joy to behold; it is a meticulously crafted performance that continues to haunt me long after viewing the film. Ford’s every motivation in the film is to serve his naive ambition, and there is a feeling throughout of something deeply wrong with the young man; he never shows a genuine connection with anyone outside of his hero-worship of Jesse James (Brad Pitt, in one of his best performances as well). Read More