vonFiedler
I Like Chopin
#192: The Grand Budapest Hotel
This is the only Wes Anderson film on the list, which seems strange to me. It's also only the second film of his that I've seen, and I definitely need to change that. I realize that the reputation he has is that of a hipsterish white goofball, but I think he hits a large combination of high marks that I can't say about many directors. He's uniquely visual in how he tells his stories. Most of what goes into his films is told through clever framing and subtle visual subtext (which contrasts well with unsubtle humor). This allows for a brisk pace, so that people who are really paying attention will get a lot out of the movies, and those who aren't won't be bored.
The movies demand to be analyzed with their bold and intelligent structures. For instance, The Grand Budapest Hotel is a movie about a woman reading an autobiography by an author telling a story about how he once met a man who tells him another story, that being what is prominently featured in the trailers for the film. In literature, this technique is fucking clutch. And the layers allow for multiple endings, satisfying and depressing. Though I found the happy ending to be rushed and simplistic, while the sad one really worked. Maybe that's the point though? You spend the movie hoping for a happy ending, and you get it, but in life there are no endings, and things aren't always happy.
One might take issue with the absurd humor, at least if we're really going to suggest that Wes Anderson is one of the best artists in the industry. But don't forget a little poet once upon a time who filled his works with fart jokes, you might have heard of him, named William Shakesman? The bard became an icon by making works that literally anyone could enjoy (which is quite different from the more common economic goal of making things that appeal to the largest demographic possible). Wes Anderson's visual poetry is as on-point as any iambic pentameter. And y'know, I don't think that William Shakespeare is the greatest artist ever or anything, and Wes Anderson is a guy I need more experience with, so take this all with a grain of salt. I'm just saying the comparison is there, and it's hardly insulting.
#193: Amores Perros
Now as far what most critics think, Alejandro G. Iñárritu is probably the biggest film darling at the moment. He's made a thematic trilogy. He employs unconventional and bold film techniques. And he goes fucking hard. He's also a two-time best director winner, along with best movie in 2014. He managed to make Leo a best actor. And he's a foreigner. The Revenant also scored him major points with bill and bo average joe. This is a man who can only go up, and while he only has two movies on the list (Birdman fell off), I'm certain there will be more.
But Amores Perros is a hard movie for me to rate. It's the most uncomfortable horror movie I've ever seen. Well, maybe it's not a horror movie, but I'm not sure other dog lovers will be able to tell the difference either, and I couldn't recommend it to any of them to be honest. Again, fucking hard. It's not like the movie shows a contempt for a dogs. They play a major thematic role, and are (spoilers not spoilers) meant to represent their owner's journeys and internal suffering.
Amores Perros is an ugly fucking movie. No one is really a good or even likeable person at all, maybe until the end, but that's also when things get the fucking hardest. But it's a smart movie. Interesting how I've been encountering so many thinky movies here near the bottom of the list. Amores Perros has three stories loosely connected around a car crash, which is also basically what 21 Grams and Babel (sans car crash) are. And that's okay because it's a trilogy? I don't know. I may need to see the other two.
This is the only Wes Anderson film on the list, which seems strange to me. It's also only the second film of his that I've seen, and I definitely need to change that. I realize that the reputation he has is that of a hipsterish white goofball, but I think he hits a large combination of high marks that I can't say about many directors. He's uniquely visual in how he tells his stories. Most of what goes into his films is told through clever framing and subtle visual subtext (which contrasts well with unsubtle humor). This allows for a brisk pace, so that people who are really paying attention will get a lot out of the movies, and those who aren't won't be bored.
The movies demand to be analyzed with their bold and intelligent structures. For instance, The Grand Budapest Hotel is a movie about a woman reading an autobiography by an author telling a story about how he once met a man who tells him another story, that being what is prominently featured in the trailers for the film. In literature, this technique is fucking clutch. And the layers allow for multiple endings, satisfying and depressing. Though I found the happy ending to be rushed and simplistic, while the sad one really worked. Maybe that's the point though? You spend the movie hoping for a happy ending, and you get it, but in life there are no endings, and things aren't always happy.
One might take issue with the absurd humor, at least if we're really going to suggest that Wes Anderson is one of the best artists in the industry. But don't forget a little poet once upon a time who filled his works with fart jokes, you might have heard of him, named William Shakesman? The bard became an icon by making works that literally anyone could enjoy (which is quite different from the more common economic goal of making things that appeal to the largest demographic possible). Wes Anderson's visual poetry is as on-point as any iambic pentameter. And y'know, I don't think that William Shakespeare is the greatest artist ever or anything, and Wes Anderson is a guy I need more experience with, so take this all with a grain of salt. I'm just saying the comparison is there, and it's hardly insulting.
#193: Amores Perros
Now as far what most critics think, Alejandro G. Iñárritu is probably the biggest film darling at the moment. He's made a thematic trilogy. He employs unconventional and bold film techniques. And he goes fucking hard. He's also a two-time best director winner, along with best movie in 2014. He managed to make Leo a best actor. And he's a foreigner. The Revenant also scored him major points with bill and bo average joe. This is a man who can only go up, and while he only has two movies on the list (Birdman fell off), I'm certain there will be more.
But Amores Perros is a hard movie for me to rate. It's the most uncomfortable horror movie I've ever seen. Well, maybe it's not a horror movie, but I'm not sure other dog lovers will be able to tell the difference either, and I couldn't recommend it to any of them to be honest. Again, fucking hard. It's not like the movie shows a contempt for a dogs. They play a major thematic role, and are (spoilers not spoilers) meant to represent their owner's journeys and internal suffering.
Amores Perros is an ugly fucking movie. No one is really a good or even likeable person at all, maybe until the end, but that's also when things get the fucking hardest. But it's a smart movie. Interesting how I've been encountering so many thinky movies here near the bottom of the list. Amores Perros has three stories loosely connected around a car crash, which is also basically what 21 Grams and Babel (sans car crash) are. And that's okay because it's a trilogy? I don't know. I may need to see the other two.