Tagged: review

“The Good Boss” review

I sent my thoughts on Fernando Leon de Aranoa film, “The Good Boss” to my film group when we watched it a few weeks ago. I’m sharing them after editing here:

My review notes for “The Good Boss”

“The Good Boss” was an enjoyable film… and, oh: is that all I can say: that it was just “okay”? Why is this the case with this particular film? 

The casting was terrific, with Javier Bardem (as the titular boss Blanco) supplying just the right amount of smoothness to his emptily charming boss (he has to play Berlusconi!) The supporting cast deliver their wholly recognisable parts well. I have seen the street thugs, security guards, middle management and trophy wives shown here in real life. The story was fun, but maybe that was the problem here: it didn’t really go anywhere unexpected.

This film’s wealthy characters (in this case, a man who has inherited his factory from his father [but, oh no: he never got anything handed to him]) get away with things (with the Intern following in Blanco’s footsteps) and its lower class characters get screwed over. In a way, this film’s probably very true to life, but it never became really entertaining, in the same way a movie like “Force Majeure” could make fireworks with the most mundane moments.

While the meat of the film seemed bland, the sauce was exquisite: the film was immaculately lit, reminding me of Phillipe Rousellot‘s natural light photography in “Too Beautiful for You” (directed by Betrand Blier [a director who would have definitely brought in the fireworks to this story]). The design, costumes and sound were top notch, with Blanco’s Jaguar being a world all of its own.

This film could have been gentle in its ironies or vicious in its satire, but the story, theme and its treatment seemed all out of balance, and the whole film came out a little bit “meh”. If only the whip had been cracked to force up these elements a little more. A pity. Anyway, it passed the time pleasantly.

Looking over these notes, I seem a touch negative. Was I too harsh? Was there something I missed about this film?

“Paris, Texas” review

With the recent rerelease of Wim Wenders’ film, “Paris, Texas”, I wrote a review for my film group meeting. It went down rather well and I share it with you here:

My review notes for Paris, Texas

What a movie!

I’m completely bowled over by how this rerelease serves this film. My first experience with Paris, Texas was watching it on a VHS recording of a Channel 4 broadcast. My recorder’s tape head did no favours to the dark compositions and subtle sound design; the whole made very little impression on me. Watching it in this format feels like seeing it for the first time, as it should be seen.

The opening titles are a masterclass in aesthetic mood setting. Red lettering “bleeds” onscreen so to see these stark titles so well done is refreshing. “With Harry Dean Stanton” as an opening cast credit is a delight for some reason, and Ry Cooder’s riff hitting just as the main title is shown is exhilarating. As the screen opens on Robby Mueller’s images there is a continuing sequence of sympathetic camera moves and movement within the frame. The compositions recall Ernst Haas and Edward Hopper, and work in complete harmony with Kate Altman’s production design and Peter Pryzgodda’s unobtrusive editing. I couldn’t take my eyes off it. That first close up of Stanton’s sandblasted face is unforgettable.

But without a guiding force all these images are for naught. Wim Wenders, who must have been put through the wringer with his Hammett experience, marshals all these elements to fully serve Sam Shepard’s humanist screenplay, which is packed with moments of great joy, sadness and humour that spring completely from these finely drawn characters, within settings of an America that isn’t often seen on screens (I kept thinking of “flyover states” while watching.)

The cast was excellent, with Stanton lending his hangdog expression to great humour and sadness, Clement looking even more beautiful than she did in Apocalypse Now and Kinski displaying years of pain in the blink of her eyes. With Stockwell’s gentle bemusement at his brother, I couldn’t help but think of how this cast’s talent has felt so underused in their careers.

The quietude of this film was a pleasure to bathe in and I imagine the influence it had on the work of not only assistant director Claire Denis, production assistant Allison Anders and Wenders’ film stock recipient Jim Jarmusch, but also Spike Jonze (whose short film How They Get There is a sly lift from the father and son walking home scene) was huge. Jonze’s award winning (and subtly terrifying) Her has the same quietude displayed here.

Little more to say except that I feel I’ve really learned something in watching this film. Its patience and stillness have shown me the power of paying attention to places and people, and letting their stories out in full: a rare skill. Loved it.

Has anyone seen the rerelease of this brilliant film? What are your thoughts on it?