ryo yamada2001
ryo yamada2001
my family and friends keep making fun of me for having seen so little films. they just mention some film and then they go "aaaaaaahhhh what!!!!" when i tell them i haven't seen it. that is annoying and besides that, i realized film is actually a really cool art medium that i kind of underappreciated. so now i'm broadening my horizons by watching a bunch of acclaimed films. i'm writing out my little blurbs here for everybody and nobody to see because it helps me analyzing art and improves my English and whatnot but w/e that's besides the point
Get Out - 10/10
Directly after finishing the film I felt like there was a missing link, but Get Out lingered in my head for days after completing it and over time I kept bumping up my score because I eventually recognized its brilliance. Not a single scene -- not even a single line of dialogue -- was without purpose. Every conversation is so deeply layered with its constant, visceral criticism on society whilst progressing the plot forward. It is a phenomenal satire, blatantly attacking the virtue signalling white allies who ironically never allow our protagonist to forget his race. There is a lot of wit in every intricacy of the script, and it shows Get Out is a work of Jordan Peele's life experience. Every scene is so tight, poignant, and layered. Particularly its ending, which is far from a happy one.
Perhaps it's because I'm inexperienced in the medium, but Get Out truly is one of the most enthralling films I sat through yet.
Eternal Sunshine of the Spotless Mind - 7/10
The scene that sticks with me from this film most is Clementine opening up and recalling her youth trauma about yelling at her baby doll that she can't be ugly, that she has to be pretty. Joel's heartbreaking pleas to not take away this particular memory is very emotional and vulnerable, and the moment I was a hundred percent sold on Jim Carrey's performance. There are so many moments of insecurity and fragility showcased whilst deconstructing the relationship of two polar opposites. Again, a film with a phenomenal ending that lingered in my head for a while.
Eternal Sunshine is a little bloated, however. I could do without the entire Elijah Wood character even if he's fairly important to the story. Kirsten Dunst's plot twist in the film was rather unexpected and, although clever, meanders at a point in the plot where we really want to see something different, kind of weakening the potency of the final act.
The Wolf of Wall Street - 3/10
The first half hour of this film is genuinely really good; the early dialogue flows spectacularly well (despite ramming as many fucks in there as possible) and Matthew McConnaughey dominates the one scene he is in. The quaaludes scene towards the end is well-done and truly depicts rock bottom for our 'protagonists', and the prison shot is some poignant criticism about capitalism.
And while I wholeheartedly agree with that criticism; every part of the film I did not mention in that paragraph inherently contradicts the exact same thing Wolf gets praised for satirizing. There is an undeniably smug aura to the excessive spending sprees and debauchery that Leonardo DiCaprio acts out very convincingly, but as Wolf is based on a novel I can't help but feel a little disgusted by the smarmy and self-indulgent person Jordan Belfort is. The hedonism is almost certainly exaggerated and the insatiable greed is never really condemned. Belfort's only regrets ultimately seem to be getting caught, and it takes away punch from the ending but also makes him so unlikable.
And to be emotionally invested in an unlikable main character for three hours is a tall ask. Especially so when the entire repertoire of jokes consist out of "I am rich, I am a drug addict, and I have a lot of sex". While funny at first, it becomes redundant by its second hour and downright obnoxious by the third. The rest of the side character cast is really flat and underdeveloped, Jonah Hill being the only one getting meaningful screen time. I guess he does okay for what he's given, it's just a poor character overall. Wolf is just a facade, all flash and no substance, completely vapid, and utterly disappointing.
Reservoir Dogs - 8/10
The actual story the film is titled after, when Tim Roth carrying marijuana walks into a reservoir filled with cops, gets me every time. I love the escalation in setting while Roth is practicing the story; first choppily reading it out loud from the script in his own room, to reciting it in front of his mentor, to casually telling it at the cafe, into its final form where Roth's telling is so convincing that it immerses the listener into the actual situation. The sheer tension of that little story is amazing.
It's interesting to me to pick that little segment as title for your film, but really the core of Reservoir Dogs is centered around these organic moments; dialogues so realistic and well-performed that sell these characters as real human beings. We get insights into nameless personas simply by the way the conversations so naturally move forward. The lengthy opening sequence with Tarantino analyzing Madonna's "Like a Virgin", or the scene towards the end of the film where Penn tries to tell a story about a black woman named Elois, or the discontent at code names for the operation. Rapid trains of thoughts clash repeatedly and it plays sensationally well off each other. The minutiae, facial expressions, and general sense of style is what elevates the movie into classic status.
Never do those aspects feel overbearing, and neither does the breakneck pace Reservoir Dogs progresses with. It already clocks in at only 99 minutes, but watching it feels like it takes only half an hour. And yes, the movie is ultimately pointless but the genre of pulpy fiction is one that Tarantino mastered as early as 1992.
Reservoir Dogs is not without its glaring faults. Mr. White's flashback scene is utterly pointless, the torture scene slightly too long and edging into glorification category, and the slightly too comfortable usage of several slurs make me raise an eyebrow. It is not quite as good as Tarantino's subsequent release, but serves as an extremely tight and enjoyable prelude nevertheless.
Cidade de Deus (City of God) - 6/10
The film is good. Competent. An emotional tale about a good kid in a mad favela and the showcase of the utter pointlessness and pettiness but also cyclical nature of violence. What got to me particularly was a time skip where the viewer is told nobody really understands what incited the war in the first place, and the final scene where the little boys talk about killing some more people kind of for the sake of it.
Ultimately the jumpy and poor editing left me desensitized with all the violence and killings. Perhaps that is the point of it all, to truly be sobered up and immersed in the situation we've followed thus far, but I feel like it meshes poorly with its climactic ending.
I'm also slightly skeptical about the legacy of the film; kind of turning these favelas into cultural hotspots and masses glorifying it into something 'cool' and 'raw', which ultimately further stigmatizes and patronizes the inhabitants of those favelas.
Get Out - 10/10
Directly after finishing the film I felt like there was a missing link, but Get Out lingered in my head for days after completing it and over time I kept bumping up my score because I eventually recognized its brilliance. Not a single scene -- not even a single line of dialogue -- was without purpose. Every conversation is so deeply layered with its constant, visceral criticism on society whilst progressing the plot forward. It is a phenomenal satire, blatantly attacking the virtue signalling white allies who ironically never allow our protagonist to forget his race. There is a lot of wit in every intricacy of the script, and it shows Get Out is a work of Jordan Peele's life experience. Every scene is so tight, poignant, and layered. Particularly its ending, which is far from a happy one.
We see a police car arriving after the slaughter that just happened and we fear for Chris. However, the film would be meaningless and utterly demotivating if Chris were to be killed or locked up. Such an ending would mean that resistance is futile, but its theatrical ending is a moment of catharsis, giving the black community a break from the unfairness of the system, a glimmer of hope. I think that was spectacularly done.
Perhaps it's because I'm inexperienced in the medium, but Get Out truly is one of the most enthralling films I sat through yet.
Eternal Sunshine of the Spotless Mind - 7/10
The scene that sticks with me from this film most is Clementine opening up and recalling her youth trauma about yelling at her baby doll that she can't be ugly, that she has to be pretty. Joel's heartbreaking pleas to not take away this particular memory is very emotional and vulnerable, and the moment I was a hundred percent sold on Jim Carrey's performance. There are so many moments of insecurity and fragility showcased whilst deconstructing the relationship of two polar opposites. Again, a film with a phenomenal ending that lingered in my head for a while.
Eternal Sunshine is a little bloated, however. I could do without the entire Elijah Wood character even if he's fairly important to the story. Kirsten Dunst's plot twist in the film was rather unexpected and, although clever, meanders at a point in the plot where we really want to see something different, kind of weakening the potency of the final act.
The Wolf of Wall Street - 3/10
The first half hour of this film is genuinely really good; the early dialogue flows spectacularly well (despite ramming as many fucks in there as possible) and Matthew McConnaughey dominates the one scene he is in. The quaaludes scene towards the end is well-done and truly depicts rock bottom for our 'protagonists', and the prison shot is some poignant criticism about capitalism.
And while I wholeheartedly agree with that criticism; every part of the film I did not mention in that paragraph inherently contradicts the exact same thing Wolf gets praised for satirizing. There is an undeniably smug aura to the excessive spending sprees and debauchery that Leonardo DiCaprio acts out very convincingly, but as Wolf is based on a novel I can't help but feel a little disgusted by the smarmy and self-indulgent person Jordan Belfort is. The hedonism is almost certainly exaggerated and the insatiable greed is never really condemned. Belfort's only regrets ultimately seem to be getting caught, and it takes away punch from the ending but also makes him so unlikable.
And to be emotionally invested in an unlikable main character for three hours is a tall ask. Especially so when the entire repertoire of jokes consist out of "I am rich, I am a drug addict, and I have a lot of sex". While funny at first, it becomes redundant by its second hour and downright obnoxious by the third. The rest of the side character cast is really flat and underdeveloped, Jonah Hill being the only one getting meaningful screen time. I guess he does okay for what he's given, it's just a poor character overall. Wolf is just a facade, all flash and no substance, completely vapid, and utterly disappointing.
Reservoir Dogs - 8/10
The actual story the film is titled after, when Tim Roth carrying marijuana walks into a reservoir filled with cops, gets me every time. I love the escalation in setting while Roth is practicing the story; first choppily reading it out loud from the script in his own room, to reciting it in front of his mentor, to casually telling it at the cafe, into its final form where Roth's telling is so convincing that it immerses the listener into the actual situation. The sheer tension of that little story is amazing.
It's interesting to me to pick that little segment as title for your film, but really the core of Reservoir Dogs is centered around these organic moments; dialogues so realistic and well-performed that sell these characters as real human beings. We get insights into nameless personas simply by the way the conversations so naturally move forward. The lengthy opening sequence with Tarantino analyzing Madonna's "Like a Virgin", or the scene towards the end of the film where Penn tries to tell a story about a black woman named Elois, or the discontent at code names for the operation. Rapid trains of thoughts clash repeatedly and it plays sensationally well off each other. The minutiae, facial expressions, and general sense of style is what elevates the movie into classic status.
Never do those aspects feel overbearing, and neither does the breakneck pace Reservoir Dogs progresses with. It already clocks in at only 99 minutes, but watching it feels like it takes only half an hour. And yes, the movie is ultimately pointless but the genre of pulpy fiction is one that Tarantino mastered as early as 1992.
Reservoir Dogs is not without its glaring faults. Mr. White's flashback scene is utterly pointless, the torture scene slightly too long and edging into glorification category, and the slightly too comfortable usage of several slurs make me raise an eyebrow. It is not quite as good as Tarantino's subsequent release, but serves as an extremely tight and enjoyable prelude nevertheless.
Cidade de Deus (City of God) - 6/10
The film is good. Competent. An emotional tale about a good kid in a mad favela and the showcase of the utter pointlessness and pettiness but also cyclical nature of violence. What got to me particularly was a time skip where the viewer is told nobody really understands what incited the war in the first place, and the final scene where the little boys talk about killing some more people kind of for the sake of it.
Ultimately the jumpy and poor editing left me desensitized with all the violence and killings. Perhaps that is the point of it all, to truly be sobered up and immersed in the situation we've followed thus far, but I feel like it meshes poorly with its climactic ending.
I'm also slightly skeptical about the legacy of the film; kind of turning these favelas into cultural hotspots and masses glorifying it into something 'cool' and 'raw', which ultimately further stigmatizes and patronizes the inhabitants of those favelas.