Samsara (2011)

A stunning visual experience.

Humanities spirituality

stunning portrayed 

on glorious 70mm.

To conclude my little trip into the world of documentary filmmaking, I give you my opinion on one of the most ambitious films I have ever seen. Samsara is a film which aims to give deep and abstract insight into spirituality, consumerist culture and cultural diversity without the use of any dialogue or narration. The only tools this film has to convey these ideas are it's visuals and it's sound, nothing else. It is a good thing then that both of these elements are absolutely phenomenal and result in a documentary that can only be described as an experience.

It is difficult to talk about Samsara due to it's entirely unconventional nature, choosing to present rather than explain. Over the course of two incredibly swift hours (the film drifted as easily as a February breeze) the audience is exposed to a cornucopia of sumptuous imagery and are allowed to create links between these images at their own leisure. Every shot lingers for the perfect amount of time to achieve it's effect, never outstaying the viewer's patience. The film is also expertly put together, with literally every cut holding greater significance and adding to the power of the camerawork I cannot praise the film's cinematography enough, and if any film exists as a testament to the wonder that is 70mm film, it is this one.

The other element that impacts this film is it's use of sound. The soundtrack is wonderfully put together and totally thematically appropriate for whatever the current subject of the film is. The score was written after the film was already edited together, so it was perfectly crafted to compliment and enhance the power of certain shots. The overall effect of the music is grandeur and the film allows the audience to drink the addicting concoction that this film's visuals and sound provides.

To conclude, this film is an experience that I would recommend to anyone. It perfectly demonstrates the scope and potential of the documentary style and has gifted the world with some of the most mesmerising shots ever composed. Samsara is a true work of fine art, and I feel that it is the perfect conclusion to documentary month.

By Jack D. Phillips

A Zoom Film Review

Documentary Month 2015 #6

  

My Opinion of the Oscars 2015: Sound Editing/Sound Mixing

Sound Editing:

I don't feel too qualified in discussing this category, as I have only seen one nomination (Birdman). All I will say therefore is Nightcrawler's inventive use of music ques and the snappy pace of it's dialogue was perhaps worthy of a nomination. Overall however, I'm not really qualified to discuss this category.

Sound Mixing:

In this category I can safely say that Whiplash was a worthy victor, with a perfectly balanced soundtrack and exceptional use of sound throughout. It was pretty much the clear victor in the segment due to it's ending alone, and the sheer importance of sound within that film. Otherwise the nominations seem solid enough.

By Jack D. Phillips

Casablanca (1942)

It's Casablanca. What do you 

expect me to say?

What could I possibly say about Casablanca? If I were to pick the one 'movie' that enters people's mind when they think of 'movies', it would be Casablanca. It launched Humphrey Bogart into legendary status, became the benchmark for literally hundreds of movies which followed, and is often considered one of the best films of the entire 1940's by fans and critics alike. So why is this film so universally loved? Even films like Citizen Kane are rejected by some despite their legendary status amongst critics. However Casablanca is basically hated by nobody. 

Casablanca laid down the groundwork for so many genres that still exist mostly unchanged to this day. Romances, mysteries, thrillers and drama in general. It's influence truly does continue to be felt over seventy years later and I would probably call this film the first 'modern movie'.

The main reason n my eyes for this timeless influence is the screenplay itself. Innumerable better critiques of this screenplay have been written and so I will not bore you by giving my worthless attempt, however it is truly magnificent. Absolutely perfect pacing, to the point where I could imagine myself watching it several times over in one sitting before getting even remotely bored. It remains constantly exciting, grows increasingly more engrossing as it goes on and kept me truly invested in what would happen next. It feels cliche' to say, but Casablanca truly is one of the best screenplays of all time and laid down a foundation so concrete and sturdy that it still hasn't been abandoned to this day.

Casablanca is also the host for a stunning banquet of great performances. Claude Rains (otherwise known as the most underrated American actor of the 1940's) is excellent as the joyfully corrupt and eternally likable police constable. Peter Lorre is fantastic as always in a small but highly significant character role, as is Paul Henreid in a role that acts as a pathotic and war-scarred foil to Bogart's lead. The final significant part of the supporting cast is Dooley Wilson, who despite being a black actor in a time which was historically very unkind to black people, gives one of the most likable supporting performances I have ever seen. He is the fountain from which much of the film's romantic charm is drawn and he is nothing short of legendary in this film.

Ultimatly however, it is the job of Ingrid Bergman and Humphrey Bogart to carry this film, and they carry it effortlessly. The two have chemistry which is so magnetic it is hard to believe the actors did not actually have feelings for each other, and their respective charms are responsible for perhaps the most quotable dialogue in any film I have ever seen. Bergman's youthful yet powerful will paired against Bogart's worn-out charisma is a match which has seldom been matched since, and is a must see for any filmmaker intending to base their work off a relationship like this.

In the end, Casabalanca is everything I was promised. Quotable, memorable, exciting, endearing and truly immortal. This film will live on in the heart's of myself and thousands of other film fans for years to come and such perfection has rarely been achieved since.

By Jack D. Phillips
A Zoom Film Review

My Opinion of the Oscars 2015: Best Makeup and Hairstyling/Best Production Design

Best Makeup and Hairstyling:

There were shockingly only three nominations for this category. I am not sure if this shows integrity on the Academy's behalf, by not forcing in film's it does not consider worthy just for the sake of filling up the category, or shows that the Academy is perhaps moving towards disbanding the category. I honestly would not be surprised if they merged makeup with costume design at some point in the future. Despite the limited nominations however, the category seemed fine. Belle again seemed to be an odd omission, however that is a minor gripe. Although I probably would have preferred the excellent makeup of Foxcatcher to win overall, The Grand Budapest Hotel was still a fine choice.

Best Production Design:

The art of production design is something I hold very close to my heart. Therefore it pains me to say that this probably the most underwhelming category thus far. Gone Girl, Big Eyes, The Babadook and Birdman were all films with very admirable production design that all should have received some form of recognition. From the screenshots and trailers I have seen for the film, Enter the Woods seemed fairly unappealing in it's production design and seemed to suffer from too much CGI. Once again, The Grand Budapest Hotel was a very worthy winner and probably my choice also, however I noticed some grave oversights in this category

By Jack D. Phillips

Doubt (2008)

A brilliant performance piece

featuring three of the

greatest actors working at

the time.

Based on a highly acclaimed play, Doubt is a film that has interested me for some time. Mainly due to the main cast, featuring three truly legendary actors. This makes the film oddly easy to describe and encapsulate. It is a source of several fantastic performance, features a beautifully written screenplay and is elegantly paced. However it suffers from not feeling cinematic enough at times, whatever that vague term means.

Perhaps the most telling element of the film is the fact that the writer of the original stage-play returns to write and direct the film adaptation. This clear devotion to his original work results in a film that feels totally fresh and original and not simply a failed attempt to steal relevancy from an established concept. The themes of the film are deep, complex and clearly the product of many years of development and familiarity with the material. Although the film does in many ways suffer due to feeling too 'play-like', the direction is still very good and is an excellent example of the level of effortless clarity that comes from both writing and directing the same film.

Primarily the film is a performance piece, and it greatly succeeds in this aspect. Phillip Seymour Hoffman is outstanding as the film's emotionally conflicted and deeply troubled priest. Hoffman's greatest strength was his subtle ability to distinguish his roles whilst keeping his primary skillset the focus of attention. This film is a great example of that and stands as yet another wonderful performance from one of the greatest actors of the last two decades. Amy Adams is strong also showing a frail yet undoubtable will that serves as the film's core. Adams is also an actor able to subtly change her posture within each role to astounding effect, and this film is once again a great example of her wonderfully expressive acting style. However the star of the film for me is Meryl Streep, in perhaps her best performance of the 2000's. She plays perhaps the film's most complex character and embodies each of the complexities so well. She dominates the screen and is one of the few actors to have ever stolen a scene from Hoffman in my eyes. The final gem in the crown that is this film's cast is Viola Davies. She only has one scene however she is truly mesmerising and her character will leave the audience highly emotionally conflicted. It is no surprise that her scene dominates the film's promotional material for it is possibly the best of the film's many intense dramatic exchanges. Overall, if you are looking for a film that simply contains some of the best performances in recent years all in one place, then Doubt will certainly satisfy.

The film's cinematography is of a high standard, however I would by no means consider it revolutionary. The majority of the film consists of intense conversations, hardly material lending itself to incredible visuals. Roger Deakins, known primarily for his fantastic work with the Coen Brothers and Sam Mendez, does a great job giving the film a complete visual identity and offers some really nice shots in a film which didn't exactly beg for them. The effort is appreciated and helps give the film an identity of it's own compared with the source material.

In conclusion, this film is excellent for what it is. A collection of mesmerising acting with a truly exceptional screenplay. The film revels in it's own complexities and begs for analysis and discussion, which it certainly deserves.

By Jack D. Phillips
A Zoom Film Review

My Opinion of the Oscars 2015: Best Visual Effects/Best Costume Design

Over the course of the next week I will voice my opinion on the Oscar winners and nominations in each individual category. This is just a small piece of bonus content to supplement the blog. I am avoiding all categories which I have no reasonable opinion on, these are basically the Documentary, Short, and Animated categories. (If I catch up on the films within these sections, I may cover them at a later date). Disclaimer, I have not seen every film which won or was nominated for awards and so this is very much an incomplete opinion.

Visual Effects:

For the most part I felt the nominations were fine. I find it somewhat odd that Godzilla did not receive a nomination, particularly because the effects were the best part of that mediocre film. On an artier note I will make it clear that I firmly believe that Under the Skin deserved a nomination in this (and several other) categories, to the point where I feel it probably should have won the award. However, the Academy would never support a film so far from convention (their happy place) and so I am not surprised over the snub. Interstellar was pretty much the obvious choice from the start, and I doubt anybody is surprised that it won the award.

Costume Design:

Again a fairly solid lineup. Belle and Selma seem to glaring omissions in this category and their absence contributes to the uncomfortable 'whiteness' of this years awards lineup. Maleficent is a truly hideous film with an atrocious aesthetic, so I do not feel it deserved the nod, however the choices were solid overall. I adore The Grand Budapest Hotel and it's visual style, to the point where I'd call it possibly the best looking film of the year. Therefore I am quite happy with it's victory and have no more real complaints as far as this category is concerned.

By Jack D. Phillips

15 More Directors I have little/no experience with. MEGACUT

A few months ago, I released a list focused upon the forty directors I needed to experience more of. As time has gone on I have discovered even more directors I need to see more work of. So here is a list of the fifteen directors not included on that original list, who probably should have been.

15. Abel Gance

Recently I have been watching The Story of Film: An Odyssey by Mark Cousins. I will probably cover this wonderful documentary series at point during this month, however one of the interesting filmmakers I discovered during the first few episodes was Abel Gance. Considered the grandfather of French impressionism and the inspiration for many filmmakers in the decades to follow, perhaps most significantly Jean Cocteau. La Roue appears to be one of the most daring films of the early 1920's, and his four-hour epic Napoleon seems to be a sublime masterwork from only the ffew frames I have seen.

14. Michelangelo Antonioni

Considered a master of Italian neo-realism. I am fervently fascinated by his film Blow-up and it's highly influential standing amongst filmmakers across the world. Not too much more to say about this filmmaker, other than I should have included him along the other legendary Italian filmmakers on my first list.

13. Xavier Dolan

This Canadian filmmaker is perhaps the most significant homosexual director working today. His highly acclaimed body of work despite his youth shows exceptional raw talent despite inexperience. Now all I need to do is see some of his films so I can praise him even more. Would be higher on this list if not for his fairly small filmography as of the time of writing this list.

12. Kim Ki-duk

Unlike many on this list, I did consider this filmmaker for the original list. I eventually cut him as I felt there wasn't enough to truly intrigue me. Recently however Taste of Cinema posted an interesting retrospective on this director's career. From this I have gotten a better idea of exactly how influential this director is to contemporary Asian cinema, and I am now curious to say the least.

11. Spike Lee

I will admit something here. This filmmaker was not on the previous list based on entirely petty reasons. Spike Lee directed the Oldboy remake, a concept which angers me so much that I have effectively avoided the director ever since. I now realise how petty it is to to dislike an artist based on a single recent work and I now look forward to seeing his films for what they are. Namely the premier works in African-American cinema, from one of the most assertive directors working today.

10. Andrey Zvyagintsev



Some have referred to this director as the most influential Russian filmmaker since Andrei Tarkovsky. Tarkovsky himself is a director who I also need more experience with than this one, and he probably remains my priority in terms of Russian cinema. However this apparent master of humanist cinema, with a handful of outlandishly praised films under his belt, is certainly fascinating in his own right.

9. Abbas Kiarostami



The multi-lingual, multi-national filmmaker has been steadily growing in influence since the 90's. At this point he stands as one of the most influential men in all world cinema. I have little else to say, other than this filmmaker practically seems like required viewing at this stage.

8. Peter Greenaway



Peter Greenaway, one of the most enduring names in British independent cinema. By taking inspiration from baroque art and Jacobean tragedies, Greenaway has forged one of the most unique cinematic identities out there. So, I certainly have high expectations for his actual work, because he has been so interesting to read about.

7. Pedro Almodovar



What do I even say about this filmmaker? Almodovar is considered by many to be one of the definitive idols of current world cinema. He is known for his boundary pushing concepts and his peerless raw delivery. These are all qualities that I highly admire within directors and I am once again surprised that I have not come across his work before now.


6. Buster Keaton



If you saw my previous list you will remember that silent film legend Charlie Chaplin featured near the top of the list. My lack of experience with the only other silent comedy legend on par with Chaplin, leads me to conclude that I need more silent comedy in my life. Once again, I have The Story of Film to blame for my increased interest in this filmmaker, particularly his magnum opus The General.

5. Roberto Rossellini



The man that pioneered Italian neo-realism, perhaps the most important period in Italian cinema history (alongside the Spagehtti Western and the giallo horror periods). His most well known film Rome Open City is even written by Fredrico Fellini, so I have no excuse to have not seen it yet. A beloved and highly important historical icon.

4. Ben Wheatley



This filmmaker is currently dominating British independent cinema and from sheer reputation alone is set to be the definitive British filmmaker of the 2010's. I have a friend who has bombarded me an order to see A Field in England and so due to this, I will probably see a film from this director before any other on this list.

3. Yimou Zhang



It is surprising that Chinese cinema has so little representation on this blog. Zhang is perhaps the most enduring idol of Chinese cinema, outside of the legendary Jackie Chan and the also legendary John Woo. With a a vast and highly varied filmography, Zhang seems like yet another gem of world cinema which I have failed to pay my respects to as of now. And also, Raise the Red Lantern looks absolutely phenomenal from what I have seen of it.

2. Wim Wenders



In retrospect, this director was probably the most egregious snub from my last list. Wim Wenders stands with Werner Herzog as the most influential German director of the last several decades. His filmography is praised beyond rationality and I am honestly shocked that I was not made aware of this filmmaker before recently. When this list was originally sketched out, Wenders was #1. However then I began watching The Story of Film... 

1. Carl Theodor Dreyer



Mark Cousins introduced me to so many filmmakers in the first few episodes of his documentary alone. This director, although I had some prior knowledge of The Passion of Joan of Arc, was by far the most fascinating. One of the most influential filmmakers in European history, hell, world history and with a career spanning several decades. Carl Theodor Dreyer was the obvious and indisputable choice to top this list, and I eagerly await tucking into his filmography.

By Jack D. Phillips
A Zoom Film List

15 More Directors I have little/no experience with (5-1)

5. Roberto Rossellini



The man that pioneered Italian neo-realism, perhaps the most important period in Italian cinema history (alongside the Spagehtti Western and the giallo horror periods). His most well known film Rome Open City is even written by Fredrico Fellini, so I have no excuse to have not seen it yet. A beloved and highly important historical icon.

4. Ben Wheatley



This filmmaker is currently dominating British independent cinema and from sheer reputation alone is set to be the definitive British filmmaker of the 2010's. I have a friend who has bombarded me an order to see A Field in England and so due to this, I will probably see a film from this director before any other on this list.

3. Yimou Zhang



It is surprising that Chinese cinema has so little representation on this blog. Zhang is perhaps the most enduring idol of Chinese cinema, outside of the legendary Jackie Chan and the also legendary John Woo. With a a vast and highly varied filmography, Zhang seems like yet another gem of world cinema which I have failed to pay my respects to as of now. And also, Raise the Red Lantern looks absolutely phenomenal from what I have seen of it.

2. Wim Wenders



In retrospect, this director was probably the most egregious snub from my last list. Wim Wenders stands with Werner Herzog as the most influential German director of the last several decades. His filmography is praised beyond rationality and I am honestly shocked that I was not made aware of this filmmaker before recently. When this list was originally sketched out, Wenders was #1. However then I began watching The Story of Film... 

1. Carl Theodor Dreyer




Mark Cousins introduced me to so many filmmakers in the first few episodes of his documentary alone. This director, although I had some prior knowledge of The Passion of Joan of Arc, was by far the most fascinating. One of the most influential filmmakers in European history, hell, world history and with a career spanning several decades. Carl Theodor Dreyer was the obvious and indisputable choice to top this list, and I eagerly await tucking into his filmography.

By Jack D. Phillips
A Zoom Film List
Part 3 of 3

Under the Skin (2014)

A shockingly daring

and haunting masterpiece.

Jonathan Glazer is one of

the current masters

of  British cinema.

In my continuing odyssey into the excellent films of 2014, I come across one of the most polarizing films of the entire year. Jonathan Glazer's intense and highly Kubrickian science fiction film, Under the Skin. So which end of the divided opinions do I fall on? Well by reading the title you'll discover that I adored it.

The aspect of the film which attracted so much attention upon it's release is of course the star, Scarlet Johanson. Much hype was placed upon her odd departure into arthouse cinema, and around her full-frontal nudity within the film itself (because we are apparently a society of pre-pubescent boys huddled around an old issue of Playboy).  Due to the nature of the film, it is fair to say that much of it's impact revolves around her performance and her ability to get across her character's subtle and introspective development. Despite the enormity of the task before her, Johanson does brilliantly, providing one of the more memorable performances in a year filled with excellent performances. The use of her sexuality, the subtle expressions of her eyes and posture and the spot-on sense of otherness within the character is all masterfully handled. It is films such as this and Lost in Translation that convince me that Johanson is an immense talent, despite appearing in crap such as Lucy. The other performances in the film are mostly delivered by amateur actors, and as such feature the typical qualities of well directed amateurs, naturalistic delivery, relatable and identifiable within their environment, and so on. It adds to the realism of the film and it was a stroke of genius to use so much hidden camera footage to capture authentic reactions.

Despite the hype surrounding Johansoon, it is visuals that truly dominate this film. These visuals in particular are some of the most haunting I have ever seen and I am sure they will stand alongside even the films of Kubrick as masterful examples of cerebral-visual storytelling. I am haunted by this film, in fact it most reminds me of Brad Anderson's film The Machinist. A similar cold and clinically precise type of aesthetic, a similar uncomfortable tone, paired with a similarly ambient soundtrack. Under the Sin takes all these elements to a new, possibly never before reached, extreme and does things Brad Anderson could only have dreamed of. In a number of ways, it truly does feel like the kind of film Kubrick would have made if he was just making his mark on the independent scene today. Under the Skin is one of the most visually powerful films I have ever seen, and is a triumph for digital cinematography on the whole.

The plot of Under the Skin is on the surface very simple. An alien begins luring men into a process which strips them of their essence in an attempt to create a number member of 'her' species. She eventually develops a hint of sympathy for one of the victims and attempts to connect with humanity. Eventually 'she' tragically fails to make this connection and the film ends on a somber note. The delivery of the classic and pathotic story is what makes it special however. There is very little dialogue, except for two unrelated exchanges in the film, and so it is all told largely visually. This allows great clarity and purity within it's storytelling, along with the potential for subtlety and ambiguity within it's symbolism and imagery. Overall I feel that the film delivered it's ideas wonderfully, and I eagerly await a second viewing to pick up on some of the smaller details throughout. 

In conclusion, watch this film. Decide for yourself whether you love it or hate it, but ensure you start off with the right mindset. This is not sci-fi/horror porn, despite what the internet believes.

By Jack D. Phillips
A Zoom Film Review 

15 More Directors I have little/no experience with (10-6)

10. Andrey Zvyagintsev



Some have referred to this director as the most influential Russian filmmaker since Andrei Tarkovsky. Tarkovsky himself is a director who I also need more experience with than this one, and he probably remains my priority in terms of Russian cinema. However this apparent master of humanist cinema, with a handful of outlandishly praised films under his belt, is certainly fascinating in his own right.

9. Abbas Kiarostami



The multi-lingual, multi-national filmmaker has been steadily growing in influence since the 90's. At this point he stands as one of the most influential men in all world cinema. I have little else to say, other than this filmmaker practically seems like required viewing at this stage.

8. Peter Greenaway



Peter Greenaway, one of the most enduring names in British independent cinema. By taking inspiration from baroque art and Jacobean tragedies, Greenaway has forged one of the most unique cinematic identities out there. So, I certainly have high expectations for his actual work, because he has been so interesting to read about.

7. Pedro Almodovar



What do I even say about this filmmaker? Almodovar is considered by many to be one of the definitive idols of current world cinema. He is known for his boundary pushing concepts and his peerless raw delivery. These are all qualities that I highly admire within directors and I am once again surprised that I have not come across his work before now.


6. Buster Keaton



If you saw my previous list you will remember that silent film legend Charlie Chaplin featured near the top of the list. My lack of experience with the only other silent comedy legend on par with Chaplin, leads me to conclude that I need more silent comedy in my life. Once again, I have The Story of Film to blame for my increased interest in this filmmaker, particularly his magnum opus The General.

By Jack D. Phillips
A Zoom Film List
Part 2 of 3