The House is Black (1963) [Short Film]

A poetic and stunningly
effective documentary.

To follow my first 'Documentary Month' review, here is another lauded and highly influential film from Iran, however with a radically different style and purpose.

This film is a beautifully shot and stunningly empathetic work from a director who was not even a filmmaker by trade. Forugh Farrokhzad, mostly know for her highly influential poetry, hand crafted this stunning insight into a leper colony.

The film features some of the most ingenious editing and cinematography I have seen in a documentary like this. There are some stunning and heartbreaking shots of the inhabitants of the colony, showing the suffering and pain of these people with a bold rawness, uncommon for the time of the film's release.There are several moments where the film drifts from documenting the subject in question, and instead begins to poetically muse the nature of humanity through the visuals. This film is undoubtedly the product of a highly unique and distinct artistic voice, who tragically died far too young to continue this raw expression.

The documentary weaves its way through a number of themes within it's brief runtime. Spirituality, hope, beauty and various other ideas, whilst also describing and showcasing the intense struggles felt by the inhabitants of this odd community. The high-reaching thematic elements and the educational information blend together fantastically.The film crafts these themes through a combination of lovely narration, from the director herself,  and the film's aforementioned excellent editing. By intercuting shots of elderly sufferers of the disease to children, the audience is given a sense of the wide and indiscriminate nature of the disease. Touches like this are what makes this film a masterpiece of poetic realism in my eyes. So much is conveyed with so very little.

In conclusion, the film is a little miracle. This film can be credited with planting the roots which would later bloom into the Iranian new wave, and is often though as the earliest true masterpiece of Iranian cinema. I am most reminded of the classic 1930's film Freaks when I think of this film. A strange, poetic and thoroughly engrossing voyage into a relatable yet alien world, I would recommend both films highly. The House is Black is available on YouTube for free, in good quality (however the subs are a little tough to read at times) and I would highly recommend it.

By Jack D. Phillips
A Zoom Film Review
Documentary Month 2015 #2

Thank You.

Thank you all for 1,000 views on this blog.

I only hope that I am worthy of such attention and continue to be so.

Cheers.

This is not a Film (2011)

A poetic and

 thoroughly frustrating

document of a grave

 injustice against art.

If you are not aware of the unjust arrest and ban from film making which was committed upon Jafar Panahi by the Iranian government, I highly recommend that you do some research before watching this film. This context highly benefits the viewing experience in this instance. The fantastic 

web-show Brows Held High did a spectacular episode on this film, which gave all the appropriate background information without spoiling too much and I recommend this before watching the film.

Aside from the background surrounding it, how does this film stand on it's own terms?

Beautifully.

This is by far the best film I could have opened documentary month with, because this is where film making (and by extension, all true art) begins. Raw creativity, passion and above all, guts. This is one of the most risky and dangerous cinematic gambles I have ever seen, and it pays off tenfold.

Jafar Panahi shows all of the frustration, despair and angst expected of a man in his position. However he adds more than just that, the emotion that I see most from Panahi in this film is longing. He is a filmmaker who was forcefully shot down in the prime of his career, with films he still wanted to make. Watching his attempt to somehow breath life into a screenplay he can no longer produce is a maddening experience, even more so to anyone who knows how frustrating it is have projects which you know can never be achieved.

Aside from it's relevance to filmmakers on the whole, This...non-film, is also simply an enjoyable insight into a fascinating individual. I have never seen any of Panahi's other films before now, however I am certainly eager (even more so due to the clips Panahi plays during this film). Panahi's critical, yet benevolent attitude towards Middle-Eastern society seems to be prevalent throughout his films, and he may be the perfect introduction to Iranian film for me, a culture I have almost no experience with.

The film this reminds me of most is Werner Herzog Eats His Shoe, which was also a small scale insight into a fascinating filmmaker I have no real experience with. However where as that film was laid-back and relaxed in tone, this film has a constantly tense atmosphere. It almost feels like Panahi will be taken by the police, due to breaking his ban on filmmaking, at any moment and the occasional mentions of increasing police activity throughout the film makes matters even worse. We feel all of Panahi's fears first hand, and we feel his utter helplessness as he see him watching news footage of natural disasters within Iran. For all he knows, Iran is literally burning around him.

In conclusion, this film was a daring and wonderfully done insight into both a grave injustice, and a very interesting man. I desperately hope that Panhi is able to somehow keep his career going, for he of all people deserves recognition.

By Jack D. Phillips
A Zoom Film Review 
Documentary Month 2015 #1

The Red Shoes (1948)

One of my all time favourite films,

with one of the greatest sequences in film history.

 One of the true masterpieces

of classic cinema.

I adore this film. So, expect yet another rambling review for this one. Sorry.

The Red Shoes is perhaps the most beloved work from the legendary duo of Michael Powell and Emeric Pressburger. I became interested in this film after another legendary director, namely Martin Scorsese, named it as one of his all time favourite films. After watching I am inclined to agree.

The most talked about aspect of this film is the cinematography. Powell was famous for his technical pioneering and his startling use of technicolour. The stunning beauty of this cinematography cannot be understated, the film looks phenomenal. The use of colour and production design is shockingly advanced  for the 1940's, and the film's aesthetic is at least 15 years ahead of it's time. Even without gushing over the technical aspects of this cinematography, the film looks outstanding and has several eye-popping moments, particularly during one key sequence. 

The acting of the film is also phenomenal. Anton Walbrook is outstanding as Boris Lemontrov, emotional and deep, whilst also believable and naturalistic. He is one of many shining gems within the sparkling crown, and the actors deliver some truly fantastic performances. There little I can say other than, watch and enjoy.

There is one key sequence of this film that will never leave me, and that is what I wish to discuss above all in this review. This sequence is the titular performance of The Red Shoes, and it is a hypnotic marvel, a visual masterpiece. The choreography, visual effects, music and - of course - colour used in this scene are all mesmerising, and it is impossible to comprehend how all of these elements were mixed so perfectly. The sequence is given even more power when put into context with the character's dilemmas and development, and is the central point of the entire film. This sequence is, simply masterful and makes the film what it is. The rest of the film is very, very good, however it is this portion of the film which makes it all so poignant. I beg you however, do not watch this scene out of context. Whilst still visually stunning, it would carry none of the pathos and complexity that it would in context.

In conclusion, I again feel that I have failed to encapsulate how wonderful this film is. I beg you all to give it a try, it truly is a masterpiece and a technical masterpiece.

By Jack D. Phillips
A Zoom Film Review

Documentary Month 2015!

If there is one genre of film I have almost no experience with, it's the humble documentary. I have attempted to break into this medium for a long time, however I have never been able to find the time. Now, in the month of February, I will watch and review as many documentary films as I can!

Here's a list of films I wish to cover in this month. I may not cover them all, and I may cover some films not on this list at all, however it should give you an idea of what to expect this month (I have not seen any of these films as of the time of posting this update [all dates provided by IMDB and not verified]).

A Letter to Zachary (2008)

Blackfish (2013)

Bowling for Columbine (2002)

Burden of Dreams (1982)

Catfish (2010)

Cave of Forgotten Dreams (2010)

Exit Through the Gift Shop (2010)

Grizzly Man (2005)

Haxan (1922)

Hearts of Darkness (1991)

Indie Game: The Movie (2012)

Into the Abyss (2011)

Jesus Camp (2006)

Jiro Dreams of Sushi (2011)

Jodorowsky's Dune (2014)

Leviathan (2012)

Life Itself (2014)

Man On Wire (2008)

March of the Penguins (2005)

Samsara (2011)

Senna (2010)

The Act of Killing (2012)

The Corporation (2003)

The King of Kong (2007)

The Look of Silence (2014)  (May not be released where I live yet)

The Thin Blue Line (1988)

The Union: The business behind getting high (2007)

This Film is Not Yet Rated (2006)

Waltz with Bashir (2008)

The Month will last between Jan 28th - Feb 28th and I aim to review at least 10 documentaries. Bear in mind that the issues with frequent uploads due to college are still very much in effect right now, and I still wish to release some other review and list content besides this. With all this in mind, I look forward to diving into this whole new world of film.

By Jack D. Phillips

Fruitvale Station (2013)

Not the most 
exciting

 biopic ever made,
but undeniably 
solid

 with some great

performances.

*I do not wish to trivialise the horror and significance of the actual shooting of Oscar Grant with this review, I am merely critiquing the film on it's own terms.

Micheal B. Jordan is an actor for whom I've held some interest for a while. I have not seen The Wire, however I have been told repeatedly that I should, and that he is great in it. I have however seen Chronicle, an excellent found-footage sci-fi film with wonderful performances from all it's main cast, including Jordan. I watched this film because I was curious to see the man in an acclaimed starring role, and he did not disappoint.

Although I do feel that this film is slightly overrated, the leading performance is not. Jordan is realistic, believable and engrossing here and although I would still not call this a career making performance, it was certainly impressive. The film should really be seen as a showcase for Jordan above anything else, for he is really the element that holds things together. Although the other acting in the film is fairly good in it's own right, the only other performance I feel is worth singling out as great was Octavia Spencer as Oscar's mother. She brings a lot of gravity to her scenes and was also very believable The best scenes in the film were the exchanges between these two actors, and I am interested in seeing Spencer's lauded role in The Help after being impressed here.

The film is shot simply and has a forgettable soundtrack. It was clear that it only had a small budget, however I was disappointing by how underwhelming these elements were. Aside from a nice tracking shot here and there, I do not remember a thing about how the film looked or sounded.

Outside of the acting however, I would best describe this film as a theatrical reconstruction of events rather than a full biopic. It is a fairly dry, by the books account of what happened during the last 24 hours of this man's life rather than a biopic with a particular stance on events. You can probably judge whether you'd like this film or not based on that, however for it me it simply wasn't quite enough. The film didn't offer any particularly interesting insights in my opinion, and did nothing to comment on the larger issues which were related to the shooting of Oscar Grant, such as police brutality or racism within law enforcement. Some may appreciate this approach, however I desired something more poignant. 

In conclusion, this film underwhelmed me.  Although the acting was good, I did not feel like much talent was expressed by director  Ryan Coogler and found this film quite forgettable, although undeniably competent.

By Jack D. Phillips
A Zoom Film Review

The Machinist (2004)

A masterpiece of

Psychological drama.

Christian Bale utterly blew

me away.

As promised, here is a review of one of the most twisted and effective psychological thrillers I have ever seen. A film, which not only stands as one of the greatest films of the 21st century in my eyes, but the film which cemented Christian Bale as more than simply a great actor, but as a legendary actor.

Christian Bale's character Trevor Reznik is a terrifying and totally sympathetic emotional wreck. Attempting to pick your way through his brain while he tries to figure out what is happening to him is one of the most compelling past-times I've ever had while watching a thriller, and the reveal as to who Reznik actually is was astonishing. I cannot empahaise enough how well this character works and how brilliant Bale is in the lead role, it a complete triumph in writing, directing and direction. The film's other actors are also all good, with some memorable lines and strong deliveries, however this film entirely belongs to Reznik, and Bale dominates every scene of this film.

The narrative of the film is devilishly complex and enjoyable twisted, as if the stunning storytelling of a Hitchcock film was mixed with the bizarre and morbid emotional weight of Sympathy for Mr. Vengeance. This film has some of the best use foreshadowing, reincorporation and symbolism I have ever seen in a thriller and it makes the process of working your way through the tightly knit narrative even more rewarding to the viewer. This is one of the most perfectly plotted thrillers, nigh, films I have ever seen and I dare anyone to give criticism other than glowing praise towards it.

Finally the cinematography. The third punch in this film's assault of perfection. Character, narrative, visual. When I watched the opening sequence, my jaw dropped. It was so beautifully stark, and ominously inviting that I fell in love straight away. Throughout the film, my jaw dropped several more times, at some of the even more impressive visuals. The hypnotic whirring of the gears within the factory and the ghost train sequence impressed me in particular. What can I give other than outlandish praise? That's all this film deserves in my opinion.

In conclusion, I apologise for the dull and repetitive positivity of this review. I absolutely adore this film and it has quickly become a favourite of mine. A true masterpiece.

By Jack D. Phillips
A Zoom Film Review

The Theory of Everything (2014)

A platform for some 

amazing performances,

 however hardly

one of the year's best films.

With the recent release of the Academy Award nominations, the discussion as to what the true standout films of 2014 are has really heated up (spoilers, many of them received few to no nominations, and yes I do intend to release a post detailing my overall thoughts in the next day or two). One of the films to receive the most attention from the Academy was 'The Theory of Everything' by James Marsh, which received numerous nominations including Best Picture and Best Actor. Having recently seen this film, it is time to voice my opinions on it.

The most powerful thing about the film, and the element which is receiving the most attention right now, is Eddie Redmayne as Professor Stephen Hawkins, and to be frank, he is astonishingly  fantastic. This film will be remembered for launching his career and making him a superstar if nothing else, and the film is worthy of a level of praise for this performance alone. His immersion and dedication to the role is quite astonishing, and he offers several moments which will stick with me for years to come. Although it is perhaps hasty to call this the best performance of the year, and Micheal Keaton still holds that belt anyway, I will defend this film on the quality of it's main star to the hilt.

The other performances are also very good. Felicity Jones is wonderful as the female lead, making great use of her screentime to also leave a heavy impact. Although I was not as impressed by her as Redmayne, I am intrigued enough however to want to see her in more in the future, and she is a solid nomination for Best leading Actress. David Thewlis is also wonderful in a decently sized supporting role. I find him to be a grossly underrated actor and hope that his good work in this film is not overlooked. The only other actor I care to mention is Harry Lloyd, who is a delicious ham in most of his performances and I consider myself a fan. However, in this film he is restrained and successfully gives a powerful performance, in fact he is really good, borderline fantastic. The rest of the acting is solid and I do not remember any distractedly weak performances. Michael Marcus is fairly dull, however he does a passable job.

The cinematography is decent, cinematic and dynamic enough to not feel like a glorified TV movie (a fear I had before seeing the film). However, more impressive than the camerawork is the excellent lighting. There are some beautifully lit sequences and some great uses of colour in this film, helping to secure the film it's own visual identity. This is accentuated by the impressive production design and high quality soundtrack. Well, the soundtrack is only good at certain points, for the rest of the film it is dull and forgettable. I have no idea why the quality varies so much, but it is distracting to say the least.

The majority of my issues with this film stem from it being too generic and suffering from too many cliche' Oscar-bait issues. For example, the real children of Stephen Hawkins only exist as props or plot points, there to stir up emotions within it's middle-of-the-road demographic. The film is not as saccharine as it could have been, and is a bit more restrained than I had feared, however it does have it's moments. It did annoy me a lot, however I acknowledge that it comes with the territory of films like this, and I cannot expect every film to be as emotionally raw as I would like it.

In conclusion, I enjoyed this film a fair amount, but do find it somewhat overrated. The acting was excellent, it looked pretty, and was overall a compelling biopic. However, it does not do quite enough to stand out from the generic pack for me personally.

By Jack D. Phillips

A Zoom Film Review

(Sorry about this being my first review in over a week, hope you'll enjoy)

The Top 25 Films about Insanity (MEGACUT)

So insanity........

Why is it such a popular subject matter for movies? Well I have 25 great reasons for you here. The ranking is largely arbitrary, however I stand by every choice here. I have some rules here however, with examples of films which were cut due to violating them:

- Only films which deal with insanity as a primary subject or theme, if it is only a minor or secondary element it was not considered for the list. (E.g, Stoker, Psycho)

- Disorientation or instability caused by drugs or some similar stimuli are generally not counted, as they often focus more on the stimuli than the mental state of the character. There are exceptions however, and any films on the list which are in this grey area will be explained as to why I allowed them and not others. (E.g, Insomnia, Trainspotting)

- Films that are merely surreal or dreamlike. This was by far the biggest source of exemptions, due to my love of surrealism (E.g, Enter the Void, The Yellow Submarine, The Wall, Mary and Max)

- Paranoia or obsession, these are both key elements of insanity, however if the film solely focuses on these elements rather than something more complex or abstract, it doesn't count. (E.g, Vertigo, Oldboy)

- Films about mental illness, isolation or other forms of mental distress. Not included as they do not involve actual loss of lucidity or control. Some films on this list kinda enter a grey area with this one too, however I will again explain why I included them over others. (E.g, Silver Linings Playbook, The Station Agent, The Wrestler)

Well anyway, I hope you enjoy this list. If there is a film which you wanted to see on this list but didn't make it, then it is likely I have not seen it yet. This list is by no means conclusive and if I find that it has become too outdated in the future, then I may remake it to better reflect my updated opinion. Please enjoy this list and leave feedback, I am sure that you will find at least one film here that you will love.

25. Battle Royale (2000)



If this list was merely ranked by the film's quality, then this would easily be in the top 5 (although I do love every other film on this list too). However it's portrayal of insanity is fairly minor when compared to others on this list, hence no. 25. This film shows insanity in a subtle way, however it creeps on you throughout the running time. The actions of the oppression society, and it's effect on the distraught youths is insane in itself, and it often results in the breaking of many of the minds on display here. This is only the first example on this list of a film which shows insanity through it's world rather than through a single character, and it is extra effective due to it's parallels to our own. A must watch film in my opinion, with a deranged and brutal edge. Also, if you want a more direct portrayal of insanity, Takeshi Kitano stars in this film and he is batshit crazy. Check it out!

24. Les Diabolique (1955)



This excellent French thriller is one of the greatest examples of acute paranoia I have ever seen. It was exempt from the rule I mentioned above due it portraying paranoia in a more atmospheric and complex sense, focusing on the mental strain it can bring as a result. Not much to say, other than this is a fantastic look at a mind slowly buckling under the weight of guilt, stress and paranoia, and it all ends with a fantastic twist worthy of Alfred Hitchcock (who ironically almost directed this film in thr first place).

23. Birdman (2014)



Another of the absolute best films on this list in my opinion, in terms of sheer quality (whatever the hell that means). However, it ranks lower on the list because the issue at hand is once again fairly minor in the grand scheme of the film at large. However it is still fairly integral to the central character, so I deem that it still counts. Anyway, Birdman shows how a character's obsessions can lead to a derailment of their sanity. We see how miserable and unstable people can be when following their dreams and how screwed the entire Hollywood and Broadway scenes can be. Keaton portrays a man who is only just able to hold things together, and the strain in his eyes remain in every one of his scenes. This film tackles the issue in a refreshingly fun way however, rarely becoming melancholic and instead allowing the audience to marvel at the craziness.

22. Manhunter (1986)



One of the most in-depth studies of a serial killer ever made, and one of the better portrayals of a heroic character driven to the edge of their sanity and restraint. William Peterson perfectly portrays a man who is not only haunted by the things he has seen, but is more importantly sadistically fascinated in these things. However it is how this disturbed and half-deranged main character mirrors Tom Noonan's wonderfully alien serial killer, which earns this film's spot on this list. A battle of wits, between two stages of criminal insanity. 

21. Vampire's Kiss



This movie is hilarious, however I hold that it is actually a pretty good film overall. I have written a vault review explaining why I feel that way, so check that out if you want. Anyway, Cage offers one of the most entertaining portrayals of insanity out there. However what makes this film powerful is the fact that Cage still manages to display the real pain and suffering of his character, along with giving a suitably psychotic performance. One of the best blends of entertainment and pathos on this list.

20. M (1931)



With all biases on the table, this is my favourite film on the entire list, and one of my favourite of all time. Ignoring that however, this film's portrayal of an uncontrollable compulsion to do evil is shockingly effective. Peter Lorre's performance here haunts me more than nearly any other performance in cinema history, and I simultaneously feel terror and sympathy for every moment he is on screen. Just a wonderful film, with a terrifying and psychotic edge. 

19. The Conversation (1973)



I nearly didn't include this film at all, as much like Le Diabolique this film covers paranoia over insanity on the whole. However, the ending is enough for me to include this, along with the subtly surreal and eerie dream sequence. This film is the equivalent of a delicious entree, it left me desperate to learn more about the the fascinating psych of Harry Caul and after watching I found myself attempting to dissect his mind without even noticing. Certainly one of the most interesting main characters I can recall seeing, and his ultimate descent into madness is harrowing to behold. 

18. Dr. Jekyll and Mr. Hyde (1931)



The well known story about the duality of man, lovingly brought to life on the screen. Fredrich March is outstanding and captures the essence of a man who's psych is falling into the abyss of his dark half. Not much to say, other than a wonderful portrayal of one of the most famous stories on this topic.

17. Shutter Island (2010)



A film which creates one of the more ambitious cinematic lies I have ever seen. The illusion that this film creates is impressive to behold, and in a rare turn Di Capreo is actually emotive enough to sell the twist of this film. I actually believed what I saw from him and was sucked into the twisted and sinister tone of this top-tier thriller. A great twist supported by a wonderful and foreboding atmosphere.

16. Nightcrawler (2014)



One of the newest films on this list, and more than worthy of being labeled as a classic. Nightcrawler examines a malevolent sociopath and how he interacts with society, or more importantly how society can allow a person with such a corrupt drive to succeed and benefit from our pathetic fixations. Lou Bloom is terrifying, not because he is insane, but because he reflects the insanity of our society at large, and the film is tailored to exploiting that horrific fact.

15. Network (1976)



Ironic to have this alongside Nightcrawler, considering how frequently the two were compared after Nightcrawler's release. However, it is a somewhat justified comparison. Both films revel in or society's depravity and our barely masked sadism over the suffering of others. Network is more direct than Nightcrawler however, and therefore tackles the issue with more complexity. The satire upon our society feels more like an argument than a statement, and therefore more can be taken from it. Insanity is also within the main character themselves, however in this case (much like Harry Caul) we feel sympathetic towards this protagonist and are intrigued to learn more about how their mind works. An acclaimed and bitter satire on our own insanity for a reason.

14. The Babadook (2014)



One of the best horror films in recent memory, and one of the most unnerving films I have ever seen. This is due to how it gets in the mind of it's main character and effortlessly allows you to understand the shaky psych of this character. One of the greatest character studies I have ever seen, and one of the most horrifyingly maddening on this list. By the film's end, I was begging for a reprieve from the claustrophobic nightmare and was haunted by the low-key ending. This film will disturb, and is on this list precisely for it's maddening effect upon the hapless viewer.

13. Bronson (2008)



This stylised and extremely entertaining film was the subject of a recent review of mine. However, above what I discussed in the post, it's main achievement is how it delves into the mind of such an unstable and violent individual. Once again, this film must receive major props for actually making such a character sympathetic, mostly through Hardy's highly likable, and not to mention outstanding, performance. This film is a ride through the life of a prisoner, and yet it feels more akin to a warrior's rise within a gladiatorial arena. This film is an odd one, however the way in which it shows psychology and insanity is truly spectacular.

12. The Silence of the Lambs (1991)



Perhaps the most obvious choice on this list, and a truly phenomenal film on top of that. Jodie Foster delivers one of my all time favourite heroic performances, however the film's highly intriguing take on insanity is why it is on this list. Anthony Hopkins is chilling as Lecter, we all now this, he treads a fine line between creepiness and humanity and is utterly captivating in every scene he inhabits. However, it is the cinematography and directing that earns this film it's place, not the acting. The theatrical nature of Lecter's escape scene, the intimacy of his meetings with Foster, the formalism of Foster's own scenes, and the terrifying claustrophobia of the Buffalo Bill scenes, all show a stunning blending of visual styles. Jonathen Demme represents the battle between good and evil, or sanity and insanity, by making his film a battle of visuals.
This film is often cited as a masterpiece of the thriller genre for a reason. It leaves me utterly terrified with it's climax, and it represents one of the purest trips into the mind of insanity that I have ever seen. A worthy number 12, which nearly made it even higher.

11. Primal Fear (1996)



I have no clue why this film is not talked about more. This film has one of the effective twists in recent thriller history, and in describing this film on this list I will sadly have to spoil that twist. In this ending, Edward Norton's character reveals that he has been lying about having a dual-personality, to the lawyer who has just saved him from being convicted of murder based on this false mental illness. This twist is brilliant due to the spectacular performance of Edward Norton, who throughout the film was convincing enough to allow as to believe that he truly had this schizophrenic condition, and his contemptible glee upon revealing his secret to Richard Gere's character, now that he is above prosecution.
Primal Fear discusses insanity from the outside, showing how society and primarily the law interacts with it. We see how easy it is for the system to be fooled and abused, along with ourselves the audience. There is also an extra detail in the ending which few seem to pick up on, Norton is still a psychopath. He was still a man capable of brutal murder and manipulation with remorse, even though his dual personality didn't exist. This detail gives commentary to how insanity is catagorised, and how easy a murderous monster can be confused with an innocent person with an unfortunate illness is really brought into question. I love this little gem of a film, and how rich and full of detail it's twist truly is.

10. Misery (1990)



This is another fairly predictable entry. Kathy Bates delivers one of the most terrifying performances I have ever seen in this Stephen King based thriller by Rob Reiner. James Caan represents sanity in a tense and thoroughly battle  of wits against an insane fan. The film investigates the vices of fame and the misfortunes faced when attempting to break out of a creative rut. Caan's issues begin when the character Annie Wilkes, played by Bates, discovers that he is ending his commercially successful series of novels in place of a more personal and bespoke book. This turns the film into an effective allegory for the battle within an artist between commercial success and artistic integrity. The fact that Wilkes represents the commercial desires speak volumes for the stance the film takes.
This film uses insanity to do many things and speaks to me quite profoundly. Bates is terrifying, representing so many of the ills which represent the mind of an artist and the trials they must face. It may seem to be one of the less subtle entries on this list at first, however I beg you to look at it a bit closer when you next view this classic of 90's thrillers.

9. The King of Comedy (1983)

 

Is this Scorsese's most underrated film? Probably (I still have a few of his films to see so I can't say for certain). In this hidden gem, Scorsese and De Niro offer one of their most poignant and effective  character studies, and one of the most poignant I think I have ever seen.Rupert Pupkin does not scare me, as so many insane characters on this list do. He worries me, because any person with aspirations can see themselves falling into a trap like this. Pupkin is among the most well portrayed and pathetic wrecks I have ever seen, and I see parts of myself in him. The creepy personal parallels aside, this film perfectly portrays the self-destructive nature of obsession without boundaries. Pupkin shows what happens when the American dream fails to deliver, and he is both amusing and harrowing to behold. I adore this film, and hope that all of you go to see what I consider to be De Niro's most immersive performance of all time. 

8. Lord of the Flies (1963)



I feel that this entry owes itself least to a description within the top ten. Most of what makes this film great can also be found within the novella of the same name. However, I would say that the reason I love this film is in how it so effectively brings the imagery of the book to life in cinematic way. It is not a simple dramtisation of the book, and if the book did not exist this would retain this place on the list all the same. This story remains one of the most effective observations on our innate brutality and animalistic insanity ever created, in either form. Personally, I prefer this film version as I find it better paced and more subtle than the novel (which I have read), however it is fair to say that either is worth a watch or read respectively. 

7. Bad Lieutenant (1992)



I recently released a review of this film which covered much of what I have to say about this film within this topic. Despite that, this film remains one of the most emotionally sapping and pathetic spectacles I have ever seen, and probably ever will see. Harvey Keitel gives one of the most empty and desperate performances, I can see the sanity leaking from his ears in every single scene. There isn't much to say here, other than the final Act of this film will leave you speechless.

6. A Clockwork Orange (1971)

 

Stanely Kubrick's masterpiece is one of the most complex and though provoking films ever made. It also stands alongside M as a contender for being my favourite film on this entire list, regardless of the subject of this list. However, this film is not ranked this high for that reason alone. It is here for the terrifying and utterly insane society it portrays, and how it parallels our own. In many ways, it resembles Battle Royale,using a dystopian setting to show the depraved insanity of our own society and commenting on some of the darker paths we have already begun to walk down. However this film strikes a closer chord thanBattle Royale, drawing more believable parallels and showing a society that is not a-moral, only having a recognisable twisted set of ethics.
Alex himself is also a joyfully unsympathetic character, how is able to seduce the audience in a perverse way despite his own insane and monstrous behaviour. In that way, you could argue that A Clockwork Orange actually succeeds in dragging the viewer into a temporary state of insanity themsleves, forcing them to relate to characters who are seemingly unrelatable. Such is the genius of Kubrick.

5. Taxi Driver (1976)



Another Scorsese/De Niro team-up, this one perhaps being their most lauded collaboration ever. Travis Bickle represents isolation and the madness it can bring in the purest sense it has ever been shown. The film taps into so many causes, symptoms and effects of the alienation experienced by Bickle, and due to this shear detail, it would not be unreasonable to call this one of the all-time greatest character studies. Sadly, a little like Bad Lieutenant, since the main source of insanity, and the primary focus of the entire film, is the main character. Therefore, I do not feel like I can go into too much analysis and only recommend you see this film for yourself.

4. The Machinist (2004)






















Christian Bale delivers possibly his greatest performance in this psychological masterpiece. Trevor Reznek is one of the most complex and stunning characters on this entire list, and his struggle through paranoia and eventually insanity is hard to watch at times. This film manages to provide two seemingly contradictory perspectives at the same time, the perspective within Reznek's head, and the perspective from the outside of his mind. It is hard to determine how the film allows us to feel both intertwined with Reznek and separate from his plight at the same time, allowing the audience to both figure out and decipher the mysteries of the narrative at their own pace, similar to a Hitchcock film, and to feel as though they are trapped in this situation with him, more akin to Scorsese's character studies. This balancing of tones and perspectives is what gets this film so high on the list, it is one of the most complex and thorough character studies I have ever seen.
The film is also beautifully shot and told outstandingly, and is by all accounts a masterpiece. Bale and director Brad Anderson worked together to create one of the finest psychological thrillers of the century thus far, and I implore you all to watch the twisted delve into the mind of a fascinating individual.

3. Pi (1998)



This film is insane. It embodies the idea of insanity and a loss of control more than any other film on this list, bar the #1 film. This surreal, uncomfortable and roughspun film launched the career of Daren Aronofsky, one of the most daring filmmakers in current American cinema. It chronicles a man going gradually insane....and that is about all that concretely happens within this film. Everything else is up to interpretation and is totally deranged. Pi is one of the most abrasive film's I have ever seen, and much like how Aronofsky's Requiem for a Dream, Pi aims to force the audience into feeling the same emotions as the onscreen characters. Therefore, whilst Requiem aims to depress the audience, Pi literally aims to drive it's viewers insane. There is only one other film on this list which aims to do that one thing, and we will get to that soon.

2. American Psycho (2000)



This film is too obvious to write about, if you've seen this film then you've been waiting for it to appear. If you haven't, then it's placing should speak for itself. It is brilliant, and totally unhinged. The only other thing I can recommend is the original novel, which offers a very different perspective and is even less coherent than the film.

1. Apocalypse Now (1979)



Apocalypse Now is an insane movie, about insanity, made by people who had been driven to insanity at the time, and was likely woven with insanity at every level of it's production. The seemingly simple story of a disillusioned army officer sent out to assassinate a rebellious Colonel is renown as one of the most daring, provocative and shocking films ever made. Battered by possibly the worst production of all time, budget constraints, Marlon Brando acting like a total jackass on set, Martin Sheen suffering from alcoholism and a heart attack, Francis Ford Coppola threatening suicide, issues with the Philippian army (the country wherein the film was shot), a huge storm which crippled production, the principle shoot dragging out for almost 18 months, a group of extras who murdered a buffalo on camera (a shot which features in the final cut), conflicts over the editing process, and much more.
No wonder then, that a film born of such insanity and hardship is the greatest study of the latent animalistic insanity which lies within us all. A film which shows not only the futility of war, but the madness that results and births it. Is Colonel Kurtz insane, or is he the only sane man in the country? Will his death calm things or result in even more rampant madness? What kind of society would allow a monster such as Killgore to be given such a high rank? Apocalypse Now does not answer any of these questions, it overloads the audience with so many unanswered question in fact that it is likely to drive the viewer into a maddening state of self-conflict.
I love Apocalypse Now, it is one of the many astonishing films on the list and I urge you all to experience it at least once. In my opinion it is the ultimate statement on insanity, and one of the most unnerving experiences I have ever had.

By Jack D. Phillips
A Zoom Film List