Not much of a post sorry, just decided to upload this to inform you that the blog's return on June 12th is still going ahead as planned.
I cannot apologise enough for the woeful output over the last month and hope that the middle of June sees the blog rising to new heights, with the introduction of a video format.
Dearest apologies
Jack D. Phillips
Friday 22 May 2015
Tuesday 12 May 2015
Strength.
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Top Left-Bottom Right:
12 Angry Men (1957)
Texas Chainsaw Massacre (1973)
Seven Samurai (1954)
Ran (1985)
Jackie Brown (1997)
Terminator 2: Judgement Day (1991)
Serpico (1973)
Hard Boiled (1992)
Star Wars (1977)
Attack on Titan (2013)
127 Hours (2010)
Alien (1979)
The Thing (1982)
The Wrestler (2009)
On the Waterfront (1954)
Oldboy (2003)
Apocalypse Now (1979)
Bronson (2008)
Brokeback Mountain (2005)
Dragonball Z (1989-1996)
Yojimbo (1961)
Sleeping Beauty (1959)
The Godfather (1972)
Drive (2011)
The Dark Knight (2008)
Fargo (1996)
Night of the Living Dead (1968)
Mulan (1998)
The Elephant Man (1980)
Digimon Tamers (2001-2002)
Fight Club (1999)
Frankenstein (1931)
Raging Bull (1980)
Samurai Champloo (2004-2005)
Rashomon (1950)
Spiderman 2 (2004)
Monday 11 May 2015
Stray Dog (1949)
A dynamic and
tightly controlled
noire and a strong
continuation on the
ideas set up in Drunken Angel.
Considered by many to be one of Kurosawa's greatest noires, and a prime specimen of post-war Japanese cinema, this film is one of the most respected films in Kurosawa's entire
filmography. So the what are my thoughts on one of Kurosawa's most beloved early works?
continuation on the
ideas set up in Drunken Angel.
Considered by many to be one of Kurosawa's greatest noires, and a prime specimen of post-war Japanese cinema, this film is one of the most respected films in Kurosawa's entire
filmography. So the what are my thoughts on one of Kurosawa's most beloved early works?
To begin, the two lead performances from Tishiro Mifune and Takashi Shimura are truly fantastic. Mifune is in my eyes one of the all time greatest actors and he does not disappoint here. His stature and facial expressions steal every single scene he is in, and his energy and passion is emitted in every line of dialogue. This role is notable for being on one his more restrained and respectable, focusing on his youthful innocence rather than his feral energy, and he sells the youth and drive of his character very well indeed. Shimura is also fantastic as the wise, yet loose, older policeman who acts as Mifune's mentor throughout the film. Shimura's charm and charisma is on full display in this film and he balances both experience and intuitive genius perfectly in this film. Overall, I would say that this film features one of the best character dynamics in any Kurosaw film, and marks the point in his career where the director perfected his ability to etch out distinct, realistic and memorable characters in his films.
Beyond the two lead performances, the aspect of the film which impressed me the most was it's editing and pacing. At key points in the film the narrative gives way to montages showing the poverty stricken, post-war world the film inhabits. These montages held my interest remarkably well and are some of the film's most memorable sequences, and stand as a key example of how to bring an environment to life in a cinematic manner. Furthermore, these scenes reminded me of a similarly atmospheric and potent sequence from Ghost in the Shell, a film which I am sure took inspiration from these captivating moments of captured reality.
Beyond these montages, the film is edited in a remarkably modern fashion. I have watched modern crime-noires which were edited in a far more shoddy fashion than this film, and it really stands as a testament to Kurosawa's ability as an editor (this man really was a jack of all trades wasn't he?). The film's tension grows at exactly the perfect pace, in synchrony with the weight on the shoulders of Mifune's character. This film stands as a primary example of how to intertwine character development with the film's core narrative, in a way that can only be described as alive.
Finally, the film is perhaps best remembered for it's climax. A raw sequence of pain and astonishingly restrained violence, forming one of the all-time great endings to a crime film. This ending is what makes the film truly great, and acts as a crescendo to the perfectly built tension and character.
In conclusion, I respect this film and would say it more than earns it's place as one of Kuroswa's greats. However, I feel I must agree with Kurosawa himself, who never really thought highly of this film. It is hard to describe what the issue is, however when compared to his previous masterpiece, Drunken Angel, this film cannot help but feel a little artificial in my eyes, serving it's genre more than forming it's own distinct identity. This film pushed the technical boundaries of the noire genre in a real way, and cemented Kurosawa's mastery, however I respect it more than love it. This is a great film, but not one of Kurosawa's many masterpieces in my eyes.
By Jack D. Phillips
A Zoom Film Review
Beyond the two lead performances, the aspect of the film which impressed me the most was it's editing and pacing. At key points in the film the narrative gives way to montages showing the poverty stricken, post-war world the film inhabits. These montages held my interest remarkably well and are some of the film's most memorable sequences, and stand as a key example of how to bring an environment to life in a cinematic manner. Furthermore, these scenes reminded me of a similarly atmospheric and potent sequence from Ghost in the Shell, a film which I am sure took inspiration from these captivating moments of captured reality.
Beyond these montages, the film is edited in a remarkably modern fashion. I have watched modern crime-noires which were edited in a far more shoddy fashion than this film, and it really stands as a testament to Kurosawa's ability as an editor (this man really was a jack of all trades wasn't he?). The film's tension grows at exactly the perfect pace, in synchrony with the weight on the shoulders of Mifune's character. This film stands as a primary example of how to intertwine character development with the film's core narrative, in a way that can only be described as alive.
Finally, the film is perhaps best remembered for it's climax. A raw sequence of pain and astonishingly restrained violence, forming one of the all-time great endings to a crime film. This ending is what makes the film truly great, and acts as a crescendo to the perfectly built tension and character.
In conclusion, I respect this film and would say it more than earns it's place as one of Kuroswa's greats. However, I feel I must agree with Kurosawa himself, who never really thought highly of this film. It is hard to describe what the issue is, however when compared to his previous masterpiece, Drunken Angel, this film cannot help but feel a little artificial in my eyes, serving it's genre more than forming it's own distinct identity. This film pushed the technical boundaries of the noire genre in a real way, and cemented Kurosawa's mastery, however I respect it more than love it. This is a great film, but not one of Kurosawa's many masterpieces in my eyes.
By Jack D. Phillips
A Zoom Film Review
Terror.
Top Left-Bottom Right:
Attack on Titan (2013)
Les Diaboliques (1955)
The Babadook (2014)
The Shining (1980)
A Field in England (2013)
The Wolfman (1941)
Nosferatu (1922)
Sinister (2012)
Apocalypse Now (1979)
2001: A Space Odyssey (1968)
Alien (1979)
American Psycho (2000)
A Nightmare on Elm Street (1984)
Creepshow (1982)
Bronson (2008)
Dracula (1931)
The Birds (1963)
The Cabinet of Dr. Caligari (1920)
Chinatown (1974)
A Clockwork Orange (1971)
The Conversation (1973)
Dead Man's Shoes (2004)
Dragonball Z (1989-1996)
Donnie Darko (2001)
Stoker (2013)
Snow White and the Seven Dwarfs (1937)
Pinnocchio (1940)
Boogie Nights (1997)
Schindler's List (1993)
Through a Glass Darkly (1961)
Digimon Tamers (2001-2002)
There Will be Blood (2007)
Under the Skin (2013)
The Silence of the Lambs (1991)
Sexy Beast (2000)
Don't Look Now (1973)
Psycho (1960)
Sympathy for Mr. Vengeance (2002)
Zodiac (2007)
Rear Window (1955)
Halloween (1979)
Reservoir Dogs (1992)
Nightcrawler (2014)
Raging Bull (1980)
By Jack D. Phillips
Friday 8 May 2015
Dreams.
Top Left-Bottom Right:
Ivan's Childhood (1962)
Dougal and the Blue Cat (1972)
Nocturne (1980)
Enter the Void (2009)
The Big Lebowski (1998)
2001: A Space Odyssey (1968)
The Cabinet of Dr. Caligari (1920)
Birdman (2014)
The Elephant Man (1980)
Digimon Tamers (2001-2002)
The Shining (1980)
American Beauty (1999)
Cowboy Bebop (1998-1999)
Vertigo (1958)
Leaving Las Vegas (1995)
The Red Shoes (1948)
Watership Down (1978)
Under the Skin (2013)
Sexy Beast (2000)
An American Werewolf in London (1981)
Citizen Kane (1941)
Spiderman (1994)
Shutter Island (2010)
Total Recall (1990)
Un Chien Andalou (1929)
The Wizard of Oz (1939)
Pi (1998)
Raising Arizona (1987)
127 Hours (2007)
Manhattan (1979)
The Nightmare on Elm Street (1984)
Bronson (2008)
A Clockwork Orange (1971)
By Jack D. Phillips
Monday 4 May 2015
Childhood.
Top Left-Bottom Right:
Dragon Ball Z Budokai (2002)
Willy Wonka and the Chocolate Factory (1971)
King Kong (2005)
Edward Scissorhands (1990)
Terminator 2: Judgement Day (1991)
The Butterfly Effect (2004)
The Lord of the Rings: Fellowship of the Ring (2001)
Pinocchio (1940)
Watership Down (1978)
Spirited Away (2001)
Spiderman 2 (2004)
Gremlins (1984)
Back to the Future (1985)
Blackadder II (1986)
Digimon Tamers (2001-2002)
Dragonball Z (1989-1996)
Avatar the last Airbender (2005-2008)
It's a Wonderful Life (1946)
Beauty and the Beast (1991)
Spongebob Squarepants (1999-)
The Simpsons (1989-)
The Goonies (1985)
Short Circuit 2 (1988)
Harry Potter and the Philosopher's Stone (2001)
Fawlty Towers (1975-1979)
The Jungle Book (1967)
The Lion King (1994)
Mary Poppins (1964)
Thomas the Tank Engine (1984-)
Kingdom Hearts II (2005)
Yugioh: Duel Monster! (2000-2004)
Rayman 3: Hoodlum Havoc (2003)
Shrek (2001)
Peter Jackson's King Kong (2005)
The Incredibles (2004)
The Iron Giant (1999)
Harry Potter and the Prisoner of Azkaban (2004)
By Jack D. Phillips
Film Collages
Due to the previously described issues with content production over the next few weeks, I have decided to begin creating collages comprised of film stills centred around a specific theme. These collages are easier and more relaxing to create than full reviews, and so allow me to provide some form of consistent content without hindering my revision. I'm sorry if you do not find this sufficient, but it's the best I can offer.
The theme of the first collage is childhood and is comprised of the most important images of my childhood and features stills from film, television and even some video games.
By Jack D. Phillips
The theme of the first collage is childhood and is comprised of the most important images of my childhood and features stills from film, television and even some video games.
By Jack D. Phillips
Sunday 3 May 2015
Inside Number 9: Episode 12: Seance Time
A creepy finale
to the season.
One of the most
daring episodes of
the series thus far.
Season two of the show has certainly been wrought with ups and downs. Some of the absolute best episodes of the series, mixed in with some fairly disappointing messes. So where does the season finale stand on the spectrum? Honestly, I think this episode can be seen as a microcosm for the season on the whole. A lot of amazing and daring good points, mixed with some groan-worthy low points.
The most fascinating element of this episode is it's atmosphere. The tone and growing feeling of gnawing tension throughout the episode is top-notch and is up there with some of the best episodes of the series. Inside No. 9 has managed to capture a sense of palpable dread in all it's greatest episodes and it is this tone that I want to become the most remembered aspect of the entire show. Seance Time is notable for it's exceptional early twist, which throws it's audience off in ways that no other episode of the show has up to this point. This twist, along with the great set-design and the all-around great performances are what create the magical atmosphere of this episode, and I love every second of it.
Despite the quality of this atmosphere however, and all the elements which contribute to form it, there are some glaring issues with this episode in my eyes. For a start, much like La Couchette and The Trial of Elizabeth Gadge, this episode suffers from misplaced comic relief. This comedic material serves to undermine the atmosphere in my eyes at points and does not server the episodes narrative in any substantial way, other than to hammer in some fairly one-note social commentary. If one compares the comedy here to the comedy in Nana's Party it becomes easy to see how much more substantial and integral to the atmosphere of the later episode the comedy is by comparison. Here, the comedy detracts for the most part rather than benefit, which is a shame.
Despite this however, we are still given one of Shearsmith's best performances of the entire season and a genuinely impress tone and atmosphere. On the whole I did enjoy this episode and, much like the season on the whole, find it more than worthwhile to dig through the flaws to find the duo's masterful achievement in televised horror which lies beneath.
By Jack D. Philips
A Zoom Film Review
Inside Number 9: Episode 12
The most fascinating element of this episode is it's atmosphere. The tone and growing feeling of gnawing tension throughout the episode is top-notch and is up there with some of the best episodes of the series. Inside No. 9 has managed to capture a sense of palpable dread in all it's greatest episodes and it is this tone that I want to become the most remembered aspect of the entire show. Seance Time is notable for it's exceptional early twist, which throws it's audience off in ways that no other episode of the show has up to this point. This twist, along with the great set-design and the all-around great performances are what create the magical atmosphere of this episode, and I love every second of it.
Despite the quality of this atmosphere however, and all the elements which contribute to form it, there are some glaring issues with this episode in my eyes. For a start, much like La Couchette and The Trial of Elizabeth Gadge, this episode suffers from misplaced comic relief. This comedic material serves to undermine the atmosphere in my eyes at points and does not server the episodes narrative in any substantial way, other than to hammer in some fairly one-note social commentary. If one compares the comedy here to the comedy in Nana's Party it becomes easy to see how much more substantial and integral to the atmosphere of the later episode the comedy is by comparison. Here, the comedy detracts for the most part rather than benefit, which is a shame.
Despite this however, we are still given one of Shearsmith's best performances of the entire season and a genuinely impress tone and atmosphere. On the whole I did enjoy this episode and, much like the season on the whole, find it more than worthwhile to dig through the flaws to find the duo's masterful achievement in televised horror which lies beneath.
By Jack D. Philips
A Zoom Film Review
Inside Number 9: Episode 12
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