Happy New Year! (Year End Update)

Happy New Year everybody!

I hope you all enjoyed the holidays and 2014 on the whole. I have a variety of complex and ambitious projects in mind fr the blog in 2015, the first full year of this blogs existence. I'm going to lay down a list of the new content I wish to explore in 2015, therefore both myself and the audience can go back to see how many I actually accomplish by the years end ( I have also enclosed the likelihood of these being achieved in my eyes as of the years start):

- Introduction of video reviews rather than text based. (Fairly Unlikely)

- Mystery cinematic history project. (Almost Certain)

- Halloween Horror 2015. (Almost Certain)

- 100+ film Reviews. (Uncertain)

- 15+ film Lists. (Uncertain)

- Second Student film. (Fairly Likely)

- Complete Akira Kurosawa film retrospective. (Fairly Unlikely)

- Complete Paul Thomas Anderson film retrospective. (Fairly Likely)

- My Top 25 favourite films of all time list. (Almost Certain)

- Coverage of at least 1 UK film festival. (Uncertain)

So there we are, my goal in 2015 is to increase the quality of the blog and provide as many of these goals as possible. I hope you all enjoy the new year.


By Jack D. Phillips

HAPPY NEW YEAR CINEMA LOVERS!

Tokyo Godfathers (2003)

One of the most complete

 Christmas films ever made.

Funny, emotional, exciting 

and totally charming.

Christmas films have a tendency to be artificial or commercial in nature. This does not necessarily make them bad films, nor should that statement be taken as a condemnation of the genre. However it is undeniable that Christmas films are often confined to a strict formula, not allowed to do anything too daring or new. Tokyo Godfathers does do something new, many things new in fact. It is one of the most complete holiday films I have ever seen, not a single element feels rushed, poorly thought out, or included to conform to a formula. Satoshi Kon went above and beyond all preconceptions for the genre, providing an outstanding comedic-adventure which captures the essence of the season.

The characters of this film are beyond lovable, and stand as perhaps the strongest set of lead characters I have ever seen in a comedy. Gin, Miyuki and Hana are outstandingly well written and voice acted. Each get moments to shine are are beautifully developed throughout the film, becoming far more than their deceptively simple character archetypes at the film's start. Honestly I adored every one of these characters and was totally entranced by their dilemmas and struggles. Some of the best written characters I have seen in possibly any film.

The film is also a triumph in writing. One of the best screenplays I have come across recently, perfectly balanced and paced in every way. I have already mentioned the wonderfully written characters, but the world itself is so wonderfully portrayed in it's own right. Personally, I would recommend that anyone interested in screenwriting watch and dissect this film for it's wonderful effect. It truly is one of the all time great screenplays.

I realise you are probably growing tired of this review as there is little but glowing praise all around, and vague details because I do not want to spoil anything that happens in this masterpiece. Sadly that isn't going to change, because the animation is an achievement on the level of Studio Ghilbli and Makoto Shinkai. The detail, the movement and the colour palette blows my mind. Kon's understanding of movement and emotion is staggering. The atmosphere, character and personality of the animation deserves to be held amongst the greats.

I adore this film, perhaps the greatest Chritsmas film I have ever seen, and one of the best animated films that I have ever seen. More than worthy of the #1 I gave it on my unseen Christmas film list, and  a triumph in so many ways.

By Jack D. Phillips

A Zoom Film Review

Big Eyes (2014)

Burton so nearly wins back my 

appreciation with this film, 

however it falls flat on it's face

 and embarrasses itself in it's last Act.

It is such a shame how weak a director Tim Burton has become over the last 10 years or so. His ideas are stale and repetitive, his visual carries no surprise or intrigue anymore, and he seems to have forgotten how to tell a story. One of the most important directors of the 80's and 90's, became a joke in the 2000's, a joke which is becoming even more cringe-worthy into the 2010's. Despite such a long period of disappointment however, Big Eyes looked intriguing to me. Burton had dropped his two most recurring (repetitive) lead actors in favor of Christoph Waltz and Amy Adams, two actors I genuinely love. In addition, the concept seemed to be one which Burton held more personally than his more recent and cynic fair. The idea of a period biopic about a kitsch icon closely evokes Ed Wood, one of Burton's most beloved works.  However, despite this intriguing concept and a very strong first two Acts, the film collapses in a spectacular fashion by the end and was a sad disappointment

The film's greatest achievement comes in it's visuals. Burton knows how to set-up a shot and has a great eye for colour. He nails the aesthetic, evoking a kitsch painting in the film's overall visual style and setting the period perfectly. I cannot fault Big Eyes for how it looks, for it is quite stunning throughout and deserves praise because of it. The film would have probably benefited from being recorded on film, like Burton wanted to, in order to better capture the period and style, however it looks fine regardless and the decision was out of Burton's hands on the matter anyway, so it would be unfair to really put this against the film.

The film has some great acting in it too. Waltz is great, actually successfully portraying a charming but despicable con-man, a very hard thing to do. He gets hit hard by the flaws that appear in the film's third Act, however despite this the performance is still good overall. Amy Adams is also solid, however her performance is marred by the lack of complexity in the role. She basically has one note to play, confused and submissive. However she does play this one note as well as possible. John Polito and Terrence Stamp also do well insmall supporting roles, and brighten things up when they appear. The rest of the acting is average, with the exception of one appalling teenage actress how appears in the third Act (one of the several issues that appear there). She is unbelievably wooden and awkward, she doesn't get that many lines but she still really pissed me off despite that. My outlook on the film was honestly shaken a little by her, and it is confusing to imagin Burton allowing that delivery to be kept in the final cut.

The script and pacing is fine, again except in the third Act, and despite being heavy handed in places, the film seems to have been fairly well written. I must emphasise that I did enjoy the film despite the majority of it's flaws. It was far from terrible and I was entertained enough to give the film a pass. However the final 20-30 minutes were horrendous and must be discussed. I would consider it quite average overall.

The relatively serious and mature tone of the first two Acts collapses. during the build-up to the film's 'climax' (the courtroom sequences). Things go from relatable and interesting, to moronically cartoony in the span of a few brief scenes. I cannot emphasise enough how badly the tone collapses, and it is sad to behold Burton give up the film's soul so flippantly. It transforms itself into yet another tired Buron-esk waste of substance, wherin Burton appeals to his tween fanbrats before actually creating something with substance. The quality of the dialogue slips and hits Waltz's character hard, removing any semblence of realism in the character, and turning it inot a joke. This is especially insulting considering the character was based upon a real person, who I imagine deserved a more complex portrayal of his actual life than this.

I have a theory as to why the film gives up towards the end. Burton shows incredible care and respect for the events within the first portion of the film, because the events interest him. H clearly cares about the art and is interested in analysing the nature of identity and pride within art using this stroy as a backdrop, However, when it comes to the courtroom drama and some of the later events which shaped the lives of the real people. It's clear that he cares far less. For example, Amy Adams' character becomes a Jehovah's Witness near the end of the film. This is a very important aspect of the character's development and should have been given a good amount of attention, in fact religion plays an important role even before this, as she comes from a Methodist household. However this entire dimension of the character is maybe given 2 minutes of total screentime. Burton clearly didn't care about the character in this way, and so didn't care to show her in this way. This shallowness permeates the entire film, and shows a director who is more comfortable showing what he wants in a story rather than the truth of the events and people.

Burton lost more respect from me with this film than possibly any other. For now there is no excuse. This was a passion project, and when you cannot succeed in a film you were passionate about, then you can never truly succeed. Burton has gone past the point of competence, and that is a sad thing,

By Jack D. Phillips

A Zoom Film Review

Short Term 12 (2013)

A powerful and moving gem.

Simplicity and truth 

blended together. 

This film was a big surprise for me. I was expecting quality and I had heard some praise, however I did not expect anything particularly outstanding. A good lead performance and some decent social commentary, nothing more really. However what I got was a triumph, one of the best films of the last few years and one of the most emotionally mature films I will ever review. It has some rough edges and oversights, however overall I was shocked by how affected I was by this little marvel.

The most important aspect of the film is it's performances. Brie Larson, John Gallagher Jr., Keith Stanfield and Kaitlyn Dever, all are outstanding in their performances. In particular Brie Larson in the lead role, I insist  that she be given further prominent roles in future films. She demonstrates such emotional realism and proficiency in her role. She is the glue that holds this beautiful ship together, and is responsible for so many powerful moments along with the rest of the excellent cast. The cast all work the fantastic script with fluid ease, it really is heartwarming to see so many unknown actors with so much talent in one place.

The film looks great too. On the surface to aesthetic is quite simplistic, safe even. However that simple ambiance allows for a subtle level of intimacy which really assists in delivering the great performances. However despite the simplicity, the director clearly understands film language. This is seen  in the very clever lighting in select scenes, and the frequent use of extreme close-ups to showcase moments of intense emotional turbulence. A one-take rap scene around a third into the film took my breath away drove me to actually shed a tear. A subtle but unbelievably effective zoom throughout the long take reflects on the audience. We are sucked into the characters plight and feel deeply affected. Credit to Keith Stanfield for delivering the best scene in the film and totally knocking it out of the park, he was outstanding.

The film's pacing and atmosphere are incredibly intoxicating. It is similar to reading a gripping novel, this obsession with finding out where each character ends up, this desire to see things resolve. It is really indescribable. These elements are helped by the sparse, but also effective score, which helps to emphasise the hugeness of the onscreen actions. That is perhaps the film's greatest secret, nothing at all is trivilaised. Even the seemingly smallest achievement with the development of the kids, or the smallest emotional victory feels massive. It is an indescribable effect.

The film does have flaws however. I find the character of Nate to be obnoxious, superflous and unnecessary. He is introduced as an audience avatar, however one is not needed here, the film explains itself so beautifully without one, The character does not develop, or truly impact anything, and the actor's performance is perhaps the only grating one in the entire film. In addition I feel the film's magic dims in the third act ever so slightly. Realism dissipates for a few scenes and the effect is lessened because of it. However things pick up by the ending.

Overall, despite these issues, director Destin Daniel Cretton should be showered with accolades because of this film. It seems that every year a small number of indie films are selected to become popular within the mainstream. It is horrifying to see a film as meaningful as this not given this arbitrary honor. I beg of all readers to track this film down on Netflix, because it deserves better than to be a footnote.

By Jack D. Phillips
A Zoom Film Review

Sympathy for Mr. Vengeance (2002)

The key word is 'Sympathy'

in Chan-Wook Park's

 flawed but interesting

 vengeance thriller.

(Is this the least holiday-related thing I could review? Possibly)

Chan-Wook Park's 'Vengeance trilogy' is perhaps the most beloved creation in all of South Korean cinema for Western audiences. The first installment of the trilogy is not only the origin of Park's iconic trilogy, but also the most obscure entry for Western cinema lovers.  I feel I must explain my perspective before I continue this review, Chan-Wook Park is among my favorite directors of all time. I have currently seen three of his films, excluding the film in question, and have absolutely adored all of them (Oldboy, Lady Vengeance, Stoker). In fact I consider Oldboy to be a contender for my all-time favourite movie. So there's my perspective, I saw Mr. Vengeance after these three films and knew little about it going in.

Overall, I view Mr. Vengeance as an inferior prelude to the rest of the trilogy. It is rough and flawed when compared to the director's later work, however it contains many fascinating ideas and it is interesting to see where the ideas which would go on to form the basis for some of my all time favorite began.

The key word in the film's title is 'Sympathy'. The film's greatest achievement is how it is able to create sympathy for characters despite the deplorable actions they perform. The film focuses more on the motivation and reasoning behind these horrible actions rather than the acts themselves, shifting the tone into character study rather than action-thriller (ironically the genre which Oldboy more closely fit). All three of our primary actors are fantastic. Ha-kyun Shin portrays a desperate man simply trying to do what he thinks is right for the people around him perfectly, and special credit must be given to him for also successfully portraying a deaf man. His inflections and actions all seem fitting and natural for a deaf person, and his confusion and disorientation as caused by the disability is well portrayed. This even more impressive when considered that the role is delivered without any dialogue, certainly an impressive performance. Kang-ho Song is also fantastic, showing both moving sadness and inspiring strength in his role as a beraved father, justifiably trying to avenge a grave injustice which has been committed upon him. Finally Doona Bae delivers perhaps the standout performance of the film. Showing both cruel and manipulative cunning, and an enjoyable strength of will. A really enjoyable portrayal, and also showing a clear inspiration for some of the performances in future Park films (this is also true of Kang-ho Song, who clearly laid the groundwork for the lead performance of Oldboy).

The cinematography and set design of Mr. Vengeance is also quite strong. Some very nice outdoor locations and a generally less urban feel, gives the film a unique visual identity within the Vengeance trilogy. The very pretty Korean scenery and suburban setting evokes childhood,  a key theme and motif of the film itself. Some very clever angles and a fluid style keeps the film visually engaging, and I was overall very impressed by the camerawork. Byeong-il Kim deserves geat praise for the films look.

The film's great flaws mainly come in the form of unevenness. The tone can be wildly inconsistent , ranging form dark-humor to horrible violence in rapid succession. When compared to Miller's Crossing, another film which shifted tone frequently, the tone feels very erratic and unfocused, with poor forethought being given to how the tone of one scene affects the others. In addition, the film can be quite difficult to follow, even when compared to Park's other complex plots. A combination of the foreign language, the rapid pace and the scatterbrain tone prevents the film from adequately conveying the plot to the audience, or at least me. In addition particular plot elements seem to go for long periods without mention, before being brought up again almost without any buildup (the worst offender here is a plotpoint involving blackmarket Organ traffickers).

In conclusion, I did enjoy Mr. Vengeance. It was a mostly successful character-thriller and kept me invested throughout. However it is a rough and uneven outing from Park, and some of it's concepts would be re-purposed into better and more complete films after this one.

By Jack D. Phillips

A Zoom Film Review

Miller's Crossing (1990)

An outstanding example of both

 light and dark tones colliding,

to create a film with a feel all it's own.

The Coen Brothers' most underrated 

masterpiece.

Miller's Crossing is rarely discussed as one of the Coen's best efforts. It tends to be ignored and overlooked by the majority of film fans. This is admittedly true of the majority of their 

pre-Fargo output, however I find it especially baffling in this case. Miller's Crossing is a masterpiece in my opinion, and shows outstanding cinematic mastery from the brothers early on in their careers. 

There are many great elements within Miller's Crossing, however I was most impressed by it's shockingly well formed tone and atmosphere. The film walks a near impossible balance between light-hearted and even cartoony  wonder, and genuinely engrossing drama and suspense. It can shift between feeling comedic, tense, dramatic and emotional in a span of a few minutes, and does so with such effortless dexterity. I do not even pretend to understand why these tonal movements work so well here, whilst in lesser films they could result in a confused and jumbled mess. It simply works, perhaps due to the incredibly written script. There is not a single exchange which feels awkward or clunky. It is fluid and totally absorbing, with a mindboggling number of memorable quotes and hilarious quips. It feels almost Tarantino-esk, although this predates Tarantino and the characters are far more complex and compelling.

The acting used to bring these characters to life is perfect, simple. I have never had much exposure to Gabriel Byrne before, however I am now sure that he is a first class actor, if only for his outstanding lead performance here. He is both a despicable slime-ball, and an endearing and likable rogue. The film relishes in his many flaws, yet still gives him enough of a heart to make him relatable. Despite his deplorable actions and bloodthirsty demeanour, we do not reject him as a main character and audience vessel. It is almost impossible to quantify how a script or actor can do that, and shows the Coen's prefect balance of direction and writing.

Aside from Byrne, the supporting cast is also great. Tuturro, Finney, Gay Harden and Buscemi all imbue their characters with fully formed personalities and relatable motivations. Special mention must go to Tuturro who steals every scene he's in and also secures himslef a place as a top-tier actor in my eyes from this film. Beyond all of the supporting cast however is Jon Polito, who delivers one of the all time great supporting performances. He is stupidly likable and endearing in every scene he is in, and had me practically leaping for joy whenever he appeared on screen. I will not spoil any more of his performance, just know it makes the film great all by itself.

Overall, this film is a testament to the Coen's masterful control of tone and character. I would highly recommend this film to any film fan, and hold it as one of the most underrated films of the last 30 years.

By Jack D. Phillips

A Zoom Film Review

Top 8 Christmas Films I Have never seen.

In order to further demonstrate my nativity when it comes to cinema on the whole, and to demonstrate that even the tired genre of Christmas movies can continue to surprise and mystify, here are 8 holiday movies that I have never seen, but really want to.

8. All other acclaimed versions of 'A Christmas Carol'.

Not much to say here. An excellent story which has been told well many times before. In particular, I am interested in the Patrick Stewert and George C. Scott versions. On the bottom of the list because I have seen several versions of the tale already.

7. Bad Santa

A novel concept which has received a surprising amount of acclaim, and even a fairly devout cult following. I enjoy Billy Bob Thornton as an actor and the idea of a cynical, yet not entirely jaded, Christmas film interests me. Probably due to my love of the Blackadder Christmas special.

6. A Christmas Story

I will admit, in a similar way to how the universal (and non-stop) acclaim of Amelie has actually succeeded in numbing me to the idea of actually seeing the film, I am not as enthused as I probably should be to see this supposed classic. This is why it is quite low on the list despite it's status.

5. Rise of the Guardians

Billed as the largest holiday crossover in movie form since A Nightmare Before Christmas. With it's fun concept, fairly impressive looking animation and large fanbase, I am quite interested in this one. 

4. Santa Claus: The Movie

This cult-classic has a devoted fanbase who hold it as one of the most enjoyable and ambitious holiday movies ever made. Although it may turn out to be a simple slice of cheesy schlock, it's grandeur and ambition intrigues me.

3. Joyeux Noel

A film which uses an unbelievable historical event as a platform to deliver a holiday message is very fascinating to me. I have always been very interested in the Christmas truce of 1914, and so the existance of an acclaimed dramatisation of the event was guaranteed to make it high on this list.

2. Miracle on 34th Street

Often considered to be the greatest holiday classic aside from It's a Wonderful Life. Not much to say other than, I should have seen this before now.

1. Tokyo Godfathers

I hugely regret not putting Satoshi Kon on the unseen directors list (he likely would have ranked in the top 20 if I had thought to add him). Along with Paprika I must experience this guys widely adored Christmas classic for myslef. A dramatic and strange addition to the Christmas canon, which I intend to see tomorrow on Christmas Eve.

By Jack D. Phillips

A Zoom Film List

Dedicated to the memory of Satoshi Kon, I dearly hope that the 'Dreaming Machine' is completed to allow his last artistic memory to see the light of day.  

Top 10 Childhood Christmas Movies/Specials

All the Christmas films that I remember the most from my childhood. Not ranked by quality, rather by how big an influence they had on me as a child, or how much I enjoyed them.

10. Jingle all the Way



Not much to say here. I loved it as a kid, I am aware that it is actually quite bad. I do still have a large soft spot for this one.

9. Mickey's Christmas Carol



A fairly poignant and faithful retelling of the classic story. Honestly quite an underrated version of 'A Christmas Carol', my introduction to the story, and a good introduction for kids in general. Also it's Scrooge McDuck as Scrooge, it makes itself.

8. Die Hard



Die Hard is an action classic. Perhaps the best action film of the entire 1980's (the golden age of the genre). Is it really a Christmas movie? Well it's my list so I say it is.

7. Elf



A pretty funny movie in general. Will Ferrel is probably at his funniest here. Again, hardly a great film, but the scene with Peter Dinklage still cracks me up.

6. It's a Wonderful Life



By far the best film on the list, and a contender for being the greatest Christmas film of all time. I genuinely adore this film, and as a child it introduced me to the wonder that is James Stewert. The only reason this is not higher, is that I was a little older when I first watched this (I was around 11 or 12), so it's actual impact on me as a child was quite low.

5. The Santa Clause



I watched this film more than any other Christmas film as a child, probably every year from ages 4-5 on-wards. However, once a again, it is quite mediocre when watched through more mature eyes. Still a large source of nostalgia though.

4. Blackadder's Christmas Carol



I adore Blackadder, one of my favourite TV shows of all time. This special is an excellent showcase of both the show's excellence, and the power of a Chritsmas Carol. One of the best subversions of the classic tale ever. Absolutely hilarious.

3. Home Alone



It's Home Alone, what is there to say? It is the perfect Christmas comedy, and continues to be a favourite of mine to this day in termsof festive films.

2. Gremlins



I love Gremlins, and always have. One of my favourite films of the entire 1980's, and (along with 'It's a Wonderful Life') probably the best film on this list. A dark, funny, heartwarming and generally perfect movie. However, it doesn't take number 1 here.

 1. A Muppets Christmas Carol



I adore this movie. It is a tradition of mine to watch this film every year, because it epitomises the season so perfectly for me. Caine is great, the puppetry is outstanding as usual and it is a pretty faithful and very loyal adaptation of the tale. This film was my far the most important Christas film of my childhood.

By Jack D. Phillips
A Zoom Film List

Happy Holidays! [Update]

Hello everyone, I wish you all happy holidays. In light of the season, and the fact that we're only one week until Christmas, I will be posting 3 Christmas related film lists before Christmas eve. Normal reviews will go on mostly unaffected, however I do intend to cover one or two holiday movies there too.
Not much more to say, other than I hope you enjoy the holidays and I thank you for your continued support into 2015.

The Ice Storm (1997)

Despite some nice visuals

 and clever storytelling,

Ang Lee's 

multi-stranded drama

 is flawed and hardly a masterpiece

The Ice Storm was Gene Siskel's favourite film of 1997. It has also received a Criterion release and is generally lauded as an obscure gem. I must say however, that despite some effective elements and ideas, I do not believe that this film is worthy of such high praise. Here's why:

The film's acting is perhaps it's greatest asset overall. Sigourney Weaver and Kevin Kline are both great in particular, along with the cast of younger actors. Due to the film's multi-stranded nature, each of the 'main cast' receive comparable amounts of screen time throughout the film and are all allowed time to shine and give something memorable. This perhaps the greatest strength of such a structure, allowing the actors roughly equal time to establish themselves and give their performances.

However, it is the screenplay that lets the cast down. The dialogue is relatively good, natural enough and often poignant, however is hardly the stuff of greatness. The characters and narrative are the main issues here however. The audience is expected to sympathies with the sexual and romantic frustrations of rich white people, and although this can be done well in some other films, here it screams the phrase 'first-world problems'. There is nothing forcing Kevin Kline's character to attend a wife-swapping party, at all, however we are made to feel sorry for him regardless. This is the most egregious example of the problem, however not the only. The film is also narrated by Toby Maguire, who does a decent job with his material as a pathetic and slightly creepy nerd. However his subplot is entirely superfluous and does not intertwine with any of the others, ruining the entire idea of 
multi-stranded storytelling. This gets me onto the largest issue I have with the narrative, things that we are told are important, do not seem to be. Maguire's nothing subplot takes more screentime than one involving the death of a curious adolescent boy. This is an example of the screenplays weakness, not properly explaining what it is trying to say, burying it's poignant moments beneath irrelevant ones. I will say that a subplot involving the sexual awakening of a young girl and boy was fairly spot-on. Well acted, paced and given the gravitas necessary. It is also the only one which seems to culminate in some fashion and have a semblance of a conclusion.

Despite the weak screenplay, the film is nicely shot. It captures the essence of the hostile cold environment, the 1970's period, and the small-town American setting quite well. There are also some very clever and truly memorable images here, although hardly enough to redeem some weaknesses in the screenplay. This is not a Terrence Malick film, reliant on aesthetics rather than screenplay in order to get it's ideas across, it is simply a well-shot film with an uneven screenplay.

In conclusion, I think this film would have worked better as a TV miniseries. The structure and prevalence of subplots would have probably worked out better in that format, and the acting and dialogue (whilst mostly good) do feel more akin to a TV show than a cinematic release. Overall I do not understand the abundant praise and feel that the film is a flawed and uneven mess, with some very notable high-points.

By Jack D. Phillips
A Zoom Film Review.

Badlands (1973)

A slow and detached look at

adolescent love and violence,

 through the filter of innocence

 and youth.

I ranked Terrence Malick #1 on my directors I need to see more of list, now I can finally see if he is in fact worthy of the anticipation. Badlands was Malick's debut and is often considered one of the most visually powerful films of the early 70's, certainly no arguments here on that front. However the question with all of Malick film's is whether or not there is any substance behind the beauty.

In the case of Badlands the answer is certainly yes, however the story's execution may alienate some. The film is quite slow, and does not have a defined timescale. The entire film could take place over the course of two months, or two years. For many this can be disorienting, or even frustrating. However the film focuses more on chronicling emotions within a relationship than chronicling the events of a murder spree. More of a study of feelings than a study of murder.

Conveying these emotions are Sissy Spacek and Martin Sheen. Martin Sheen is absolutely phenomenal here. His almost feral mannerisms, innocent outlook on things and intense distance all come together to form an all time great performance. The intense distance in particular reminds me of Ryan Gosling in Drive (2011), perhaps the former inspired the later. Apart from Martin Sheen's captivating performance, Sissy Spacek brings the most contentious element of he film. Whether you hate or adore the film will likely come down to her performance. She shows little emotion and acts as the film's narrator Some may find her unbelievably precocious and annoying, a waste of an otherwise great actor. Where's others will find a subtle greatness in her expressions, and her voice a nice addition to the films superb sound design. I did not really fall into either of those camps, personally finding her slightly irritating but still recognising some clever subtlety from her inflections. 

The film's pace is another fascinating aspect of it's effect. It is very slow, again lacking a cohesive timescale to keep the audience grounded. The film is structured more like a 'road trip', the characters travel from one place to another, and the focus is more on what they encounter and their reactions than anything else. This sets the film apart from other film's about similar subject matter, and contributes to it's very unusual tone. It seems Malick took more inspiration from films like Easy Rider than Bonnie and Clyde. The pace changes the narrative from one about a serial killer and his girlfriend's rampage across America, into one about two young and confused lovers and their desperate attempts to find a place in the world. Whether you enjoy the film or not depends on your acceptance of this unconventional tone and perspective.

The film's minimalist soundtrack also emphasises this innocent and juvenile atmosphere. Large stretches of the film go unscored, again pushing the focus on what were are seeing rather than why we are seeing it. When the soundtrack does appear, it sounds almost like a lullaby or a nursery rhyme. Almost giving the film a fairytale vibe in places.

Finally, as with all Malick films the visuals are king. The naturalistic lighting and colour palette give this film a clean fresh feel. Again, despite the subject matter, gore and violence are never the focus here. The film also puts great focus on nature and landscape, with inumerable shots of such scenery overlaid with narration from Spacek. The film is simply gorgeous, and regardless of how you hold the film's other elements, they show a clear visual mastery from mister Terrence Malick.

Overall, despite some grievances with the pacing, tone and Spacek, I really enjoyed Badlands. I did not get what I expected from this kind of subject matter, and am hungry for more from Malick. A great introduction to the guy's work.

By Jack D. Phillips

A Zoom Film Review

Annie Hall (1977)

One of the most charming 

romantic-comedies of all time.

Woody Allen's Annie Hall is one of the most beloved movies of the entire 1970's. It is a charming, poignant and genuinely hilarious slice of magic. Probably the most perfect romantic-comedy ever made. So why is it so damn good?

Well to start, Woody Allen is unbelievably likable as Alvy Singer. He is both a deplorable narcissistic arsehole, and a lovable neurotic . Allen manages to show the character in both lights, not shying a way from showing some of Singer's terrible behavior. However we still find the character likable, this is due to his wry charms and direct relationship with the audience, often addressing them directly to give his own  hilariously cynical and depressed outlook on the world. Diane Keaton is also fantastic as the titular Annie Hall, offering a warmer and more humane counterpoint to Singer. The film focuses entirely on exploring the relationship of these two characters, a relationship which the outstanding script captures perfectly. Honestly, this film's acting and wonderful script makes it an almost unfair viewing experience. You are totally helpless before Allen's Herculean charms and wit, succumbing within moments to the film's unbelievable amounts of personality.

The film's interesting relationship with the fourth wall also plays a key role in it's effectiveness. Alvy Singer will often address the audience directly, pausing the narrative o give insight, or to simply make some hilarious jokes. In particular a scene wherein Singer takes a film snob aside in a movie line, chastises him, and then introduces him to the director he was badmouthing (all during one of these pauses), is one of the funniest gags I have ever seen in a film. I do not wish to spoil anymore of the wondrous things that happen in this silly little movie, but rest assured that after Enter the Void, this was the perfect way of reinvigorating me.

Annie Hall was a lot of fun throughout, however the film truly became an all time great for me with it's magnificent ending. Its dry and reserved, yet hopeful outlook on love and relationships was something I have never quite seen before. Allen displays both a worn exasperation in regards to love, and yet still a wistful reverence of the time spent between him and Annie. It was on of the best downbeat endings I have seen in a comedy, a totally satisfying and smile inducing conclusion to a wonderful film. I am 100% satisfied with the time I spent with Annie Hall, and Allen more than earned his high ranking on my recent top 40 list.

By Jack D. Phillips

A Zoom Film List

Enter the Void (2010)

25 FPS of beautiful and acid filled wonder.

Perhaps one of the most daring films 

I have ever seen.

Hot of the heels of my top 40 unseen directors list, I have finally begun to work myself through said list. I decided to begin with 'Enter the Void', and I am still scoping my brain and eyes from the floor. Gasper Noe's magnum opus, fifteen years in conception,  is a visual masterpiece. Probably the best onscreen depiction of death, acid, and sexuality all at once.

I most give a warning before I continue however, this film is a risk to all people with epilepsy out there, it may seriously kill you. These seizure inducing, yet stunning visuals are the most striking element of the film, however they are not the only aspect of the film which deserve high praise. The film is also a storytelling triumph, creating a huge cast of likable and interesting characters. Even more impressive is the world the film portrays, Tokyo is alive, more of a character than anyone onscreen. In crafting these relatable and complex story elements, the film proves to be more than simply a visual spectacle. The largely improvised dialogue is very naturalistic, and the actors really etch out some very defined performances.  Particularly Paz de la Huerta, in the films most prominent acting role. I have high hopes for her in future projects.

Regardless, it the visuals are indeed king here. This film has a shot, which I'm sure lasted for sixteen minutes. That is insane, absolutely nuts. Perhaps there was a hidden cut or two in there, but I couldn't spot them, and I was searching for one. This absurd cinematography, along with the perfect color palette, makes this perhaps one of the most beautiful films of the decade thus far. It is a drugged up and psychedelic labyrinth of neon and shadow. It really has to be seen to be understood. Truly stunning.

The films themes of family, sexuality and death are all beautifully presented through visual means. Noe claims the film was inspired by a viewing of 2001: A Space Odyssey he witnessed while on drugs, and that is the perfect way to describe the film. It is Kubrick on acid,  2001 through the lens of a dying junkie. Its theming, visuals and story all scream Kubrick, but the scream is used to tell the story of a dead drug dealer in Tokyo. It is one of the most fully formed concepts I have seen in a recent film.

This film is 25 FPS (rather than the more common 24, Noe wanted to further alienate the audience) of perfection. An international celebration of all things insane in filmmaking.

By Jack D. Phillips
A Zoom Film Review.

The Top 40 Directors I have little/no experience with. MEGACUT

In order to showcase my own ignorance, and to celebrate the vast number of wonderful and diverse filmmakers in the world, here is a list of the directors who I have almost no first-hand experience with. Ranked based on my desire to experience their work and my embarrassment at lacking this experience. In addition I have included the poster to the film from each of these directors I intend on starting with.


40. Michael Mann




Micheal Mann is at the bottom of this list mainly due to the fact that I have seen one of his films (Manhunter 1986). However I did highly enjoy Manhunter and have heard great things about some of his other works, I will get to Heat someday I swear.

39. Kar Wai Wong



Mainly this low do to the fact that I have very little information on this filmmaker. However I do wish to dip into more Hong-Kong cinema, and The Grandmaster looks very interesting to me.

38. Jean Cocteau




Very interested in La Belle et la Bete, and early surrealist cinema. Also fascinated by the works of France's supposedly definitive post-war filmmaker.

37. Sergio Leone



Once again low o the list because I have seen one of his films already (The Good, the Bad and the ugly 1966). However I need to experience more of this wonderful filmmakers epic filmography.


36. Takashi Miike



The unpronounceably named mad genius of current Japanese cinema. His lust for violence and breaking taboos fascinates me greatly, especially the film that made him a cult icon. Audition.

35. Jean-Pierre Jeunet



I will be honest, I have been told to watch Amelie so often that it has had the opposite effect. I have become less interested in seeing it. However I am sure I will love it when I see it, I am just less enthusiastic than I probably should be, That is why, this acclaimed master filmmaker is fairly low on the list.

34. Steve McQueen



This director is fairly low on the list, mainly because he is a relative newcomer. He has also only made three films to date, few when compared to some of the other directors on the list. However I am very fascinated by all three of them, and I am sure he will go on to have a great career in the future.

33. Sam Peckinpah



One of the men who helped to usher in the Hollywood new-wave. His movie Straw Dogs certainly looks like an emotional roller coaster in particular.

32. Roman Polanski



Perhaps one of the most acclaimed and diverse filmmakers of the last fifty years. Despite this however, I have seen one of his films already (Chinatown, 1974) and therefore I have decided to place him on the lower side of the list despite his massive filmmaking weight.

31. Steven Soderbergh



One of the kings of recent American independent cinema. Highly influential and with some very interesting films under his belt, defiantly interested in checking out.

30. Joon-ho Bong



The first director from Korea on this list. With a handful of highly intriguing and varied films under his belt, including a recent foray into non-Korean cinema (Snowpiecer 2013), this relatively new face is bursting with promise.

29. Oliver Stone



This director is also slightly lower on the list due to the fact that I do have some experience with him, namely Scarface (1983), which he did not direct, but did write. Based on that, and his highly illustrious and acclaimed filmography, I have a great interest in this filmmaker.

28. Micheal Haneke



I have very little clue where to start with this guy. I've chosen Funny Games (1997) however this Haneke's filmography is so odd and varied, that I have almost no clue to begin. However I would have to say, that although his films are quite alienating on the surface, I hear nothing but wonderful things about them.

27. Satyajit Ray



The only Indian filmmaker here, and a renown pioneer of not only India cinema, but emotive cinema on the whole. The only reason this guy is not higher, is a slight lack of knowledge on my part.

26. Jane Campion



There is a sad lack of female directors in the world of cinema. Jane Campion is one of the few have managed to carve out an acclaimed career for herself. I greatly anticipate viewing The Piano (1992), I have heard nothing but glowing praise for the visual style of Campion's films.

25. Krzysztof Kieslowski



I have heard that the three-colours trilogy is fantastic in every way. I am sure it is, I have high expectations. Not much more to say.

24. Jean-Luc Goddard

 

The crazy and radical wonderboy of the French New-Wave, an era which I have little experience with in general. A highly influential auteur with a long and adored filmography, quite intriguing.

23. Takeshi Kitano

 

A multi-talented and erratic mad genius. This is perhaps the director I am most surprised that I have not experienced before this point. I desperately want to step into this man's odd and undoubtedly brilliant mind. However, I have seen Battle Royale (2000) in which he plays a prominent acting role, so he is not a high as he could have been, as I do have some first-hand experience with this filmmaker.

22. Kathryn Bigelow



A highly significant director, if not only for being the first Woman to direct a Best-Picture winning movie, Hurt Locker (2009 [seriously? It took over 80 years? That is very worrying]). Her career is not only historically significant, but long and varied. I am certainly looking forward to seeing a horror/comedy/western.

21. Billy Wilder



The final director on this list whom I have already seen a movie from. Namely Some Like it Hot (1959). However despite this, Billy Wilder is perhaps the definitive icon of 'Old Hollywood' and perhaps the most acclaimed and revered American filmmaker of the time. Despite my past experience, I am hungry for more.

This where the list gets really good.

20. Kim Jee-Woon



With a vast and acclaimed filmography, this guy is one of the most predominant rising stars in modern Asian cinema. Or so I am told at least. So many films from this guy that I need to see.

19. Gasper Noe



This filmmaker is perhaps one of the most daring working today. Although Irreversible is the film that people keep talking about (10 minute rape scene), it is the acid trip that has me fascinated. Very fascinating stuff.

18. Alejandro Gonzalez Inarritu



The filmmaker with the most recent film on this list. However aside from the highly acclaimed Birdman (2014), he posses a very interesting filmography. Sadly the only South American director on this list, a shame.

17. David Cronenberg



The king of body horror, and a mad genius of American independent cinema. One of the most prolific directors on this list, so I have a lot to get to.

16. John Ford



Here we have a grandmaster of classic cinema, and the progenitor of so many careers and film making techniques. I desperately need to see The Searchers (1956), not want, need.

15. Yasujiro Ozu



Whilst Kurosawa looked to the West for his inspiration, Ozu is considered to be the definitive great Japanese director. An emotive master and pioneer in emotive realism. I am determined to track this directors work sometime.

14. David Lynch



Perhaps the face of surrealism for most western audiences. We're now getting to the directors who I'm honestly embarrassed to have not experienced more of, I need to consume this guy's filmography as soon as possible.

13. Lars Von Trier



This guy is probably a little nuts, and he is known to say and do some really stupid things. However, he is also a very distinct and highly influential director. I'm certainly one to enjoy some controversial and schizophrenic movies.

12. Terry Gilliam



This director should be in the top ten, possibly even the top five. However I am a fan of Monty Python, so I do have a little experience with this guy already. Brazil, Twelve Monkeys Fear and Loathing, need I say more? I need to see these films, or my credibility is in eternal doubt.

11. Francois Truffaut

 

I also considered this director for the top ten, however a slight lack of knowledge on my part excluded him. One of the most subtly influential directors of all time, molding dozens of great directors (including some on this list) in his wake.

The top ten is here.

10. Jim Jarmusch 



One of the most important filmmakers in American independent film, ever. With a long and illustrious career, I only surprised that I haven't gotten around to seeing this guy's work before now.

9. Werner Herzog



One of Rodger Eberts favorite filmmakers, and perhaps the most beloved documentarian of all time. With a career spanning five decades, I have a lot to get through with this one. However I have heard nothing but sparkling praise about this melancholic director.

8. Fredrico Fellini



Il Maestro himself. With a record winning run of films, the most to ever win best foreign language film, and a unique blend of realism and surrealism, I am beyond enthused to witness one of history's most beloved filmmakers in action. Also, 8 1/2 seems like exactly the kind of film which may become a personal favourite.

7. Richard Linklater



I have a friend who insists the 'Before' trilogy will change my life. I am inclined to belive him on such matters. In addition, Boyhood (2014) has already been lauded as one of the greatest filmmaking achievements of the century. How can I not be curious?

6. Woody Allen



Possibly the most prolific director on this entire list, it is shocking that I have never found time to watch Annie Hall (1977). What can I say? It's Woody Allen, an all time legend of comedy and drama in American cinema.

5. Charlie Chaplin





It is inexcusable that I have not ever seen a Chaplin film. I am a great lover of silent film, and classic comedy (Abbot and Costello, in particular), and yet I have not ever seen a Chaplin picture. How is this possible? I assure you that I will track down City Lights (1931) as swiftly as possible.

4. Andrei Tarkovsky



The man that Ingmar Bergman called, 'the greatest filmmaker of all time'. Very high praise indeed, and with a wealth of absurdly fascinating films I will certainly have to put that claim to the test one day. Oh, and some of the long-shots I've heard are remarkable.

3. Micheal Powell



Martin Scorsese's near obssesion with The Red Shoes (1948) has definatly got me intrigued. However Micheal Powell is often cited as one of the most technically influential,and dynamic directors of his time. I do own the Red Shoes on Blu-Ray, and yet I still have not seen it. That is probably heresy.

2. Ingmar Bergman



I have no excuses. This filmmaker is often cited as one of, if not the, greatest titans of world cinema. And yet I have not seen a single film of his. Sorry.

1. Terrence Malick



Possibly the most polarising director working today, my #1 is a man who is either despised or adored. Not only does the controversy and total split of the cinephile community in regards to this director intrigue me, but regardless of how I feel about his movies one thing is guaranteed. They will look stunning. Also I am really interested in Badlands (1973), It looks really interesting.

By Jack D. Phillips

A Zoom Film List