Author: bernardovillela

The Best Films of 2011 #15-11

Posted on by bernardovillela

As the number of films I watch has grown so has the number of films I rank among my best of the year. Essentially what matters to me is not so much the number of films included amogst the best of the year but rather the proportion. When I started these picks as a teenager I’d pretty much only be guaranteed a Saturday matinee at the local UA so that amounted to about 52 films a year. Meaning the five Best Picture nominees were equivalent to the top 10%. It’s not a bad rule of thumb. Granted only picking 10 Best Picture nominees of about 222 films deemed eligible equals about 4.5% of the total films I viewed. Therefore it’s not much of a stretch to take my Best List which goes beyond just the nominees from 15 to 25. In fact, I just had to pick the first few that came to mind. Some that wouldn’t show up on another list I did because 30 would be easily achievable.

Without much further ado here is the continuation of my Best Films countdown, you can find the beginning here:

15. Midnight in Paris

Owen Wilson and Rachel McAdams in Midnight in Paris (Sony Pictures Classics)

This film in my mind doesn’t mark a renaissance for Woody Allen. I never declared him creatively dead so he had nothing to rebirth from necessarily. Each trip into an Allen film is an uneasy balance for viewers. We want “old, funny” Woody in a new way but those films of which we think are nearly, if not more than, 40 years old at this point. Things have changed and so has Woody. He always does, that’s the thing. So while this hearkens back to some of his more inventive works and comments openly on a man caught in the past; he’s also playing with new techniques in a new city. Allen has always been unafraid but he’s in a full on experimental mode. He’s not just playing with new techniques, he’s playing with house money, and after all he’s done, why shouldn’t he? You may not like some of his films but any director who always gives you cause to discuss his work, perhaps even heatedly, is worth noting.

14. Crazy, Stupid, Love

Ryan Gosling and Steve Carell in Crazy, Stupid, Love (Warner Bros.)

In the previous list section there I discuss Bereavement which is likely my favorite horror film since the release of Frailty. This is a film I have not yet seen a second time so whether I like it more than such-and-such is difficult to say but what I can say is what class I believe it’s in and that’s the likes of Love Actually, French Kiss and maybe, maybe When Harry Met Sally… It’s equal parts funny and insightful, it’s all heartfelt and it weaves love plots deftly when most would be clunky. Too many missed this film, see it now.

13. Win Win

Alex Shaffer and Paul Giamatti in Win Win (Fox Searchlight)

This is the kind of film that you hope and pray will stick in people’s minds as the year goes on as it deserves to land on lists of this type regardless of release date. I’m glad to see it along with some of the performances have been recognized. Win Win in a lot of ways flies in the face of conventions of escalating incidents, constantly raising stakes and climax. Not to say it doesn’t have these things but it plays them differently. It deals in reality and subtext. It has palpable drama and humor but doesn’t always feel the need to remind you of it but you feel it, always.

12. Take Shelter

Michael Shannon in Take Shelter (Sony Pictures Classics)

To see how I feel this film qualifies as a horror film please see my Horror Film list (to be posted).

Take Shelter is a great film. In a few regards it’s the best kind. It features a powerhouse performance by Michael Shannon one that needs to be as great as it is in order to drive the story. If you believe him as an actor there’s a chance you believe maybe what he sees is in fact real and not delusion despite evidence to the contrary. If you believe him, or at least that he believes it, you fear for him and for his family and not just by proxy either. Another way in which this film is great is that it can be interpreted in a few ways and regardless of which path you choose as your own its great either way, the view is just a little bit different on that road is all.

11. X-Men: First Class

Michael Fassbender in X-Men: First Class (20th Century Fox)

Were I one for quotas I may have pre-designated this year as one which would need to have a superhero film representative. However, I didn’t hold my breath for any of them and came away blown away by this one. The one most near and dear to my heart that I needed to succeed to continue to have faith, or optimism, in those with powers on the big screen. I discussed much of what love about this film in my review so suffice it to say that X-Men clearly did not get here because I needed a superhero film and conversely it’s not a slight that it ends up at number 11. Precisely the reason I started to make lists to accompany my awards is because it would allow me to echo or restate my affections for certain film regardless of how they fall down the ladder when separated by an iota or two from one another.

The Best Films of 2011 #20-16

Posted on by bernardovillela

As the number of films I watch has grown so has the number of films I rank among my best of the year. Essentially what matters to me is not so much the number of films included amogst the best of the year but rather the proportion. When I started these picks as a teenager I’d pretty much only be guaranteed a Saturday matinee at the local UA so that amounted to about 52 films a year. Meaning the five Best Picture nominees were equivalent to the top 10%. It’s not a bad rule of thumb. Granted only picking 10 Best Picture nominees of about 222 films deemed eligible equals about 4.5% of the total films I viewed. Therefore it’s not much of a stretch to take my Best List which goes beyond just the nominees from 15 to 25. In fact, I just had to pick the first few that came to mind. Some that wouldn’t show up on another list I did because 30 would be easily achievable.

Without much further ado here is the continuation of my Best Films countdown (for the beginning go here):

20. Tropa de Elite 2: O Inimigo Agora e Outro (Elite Squad 2)

Wagner Moura in Tropa de Elite 2: O Inimigo Agora e Outro (New Video)

This is the rare case of a sequel not just being better than the original but worlds better. I stated ten times better in social media and that seems about right when you think about it. Despite the fact that voice over is as present in the version as in the original it’s still a more visually rendered divisive, unsolvable puzzle than the first one is. The acting is spectacular earning a lead actor nomination for Wagner Moura (who may or may not be the next Robocop) and a Supporting nod for Irandhir Santos, whose character is fascinating. He begins the film seeming like his character is just a platform on which to discuss some sociological factoids but then he becomes very involved in the story not only as a political opponent of the Elite Squad of police but a man trying to help the city but is also married to Wagner’s ex-wife and they tussle for his son’s affection. It gets immensely more personal than the film before it did while still telling a big tale of systematic corruption wherein one band of crooks supplants another for control of Rio, brilliantly rendered and important. It’s a brave film for Brazil to make and even a braver one to submit to the Academy and on top of that it’s great.

19. Bereavement

Spencer List in Bereavement (Crimson Films)

Usually it’s not until after a seeing a film that you start to think grandiose and perhaps hyperbolic thoughts about it. With Bereavement those thoughts started during my first viewing and they were re-affirmed upon a nearly complete second viewing (my friends weren’t in the mood for such a tale). Perhaps what’s most unique about my experience with Bereavement is that I didn’t go into it knowing it was a prequel and that had no adverse affect on my viewing, as it should not. The score by writer/director Stevan Mena underscores the tension of the film and is potentially iconic given time and the same can be said for the dialogueless performance of Spencer List. Alexandra Daddario plays a horror heroine to utter perfection it might be possible to backtrack a decade or more to find a more charismatic, talented and likable genre lead in the ingenue mold. It’s the kind of film that really sneaks up on you. It implies greater atrocities than it shows and as time goes by I can only hope its fanbase will grow.

18. Incendies

Lubna Azabal in Incendies (Sony Pictures)

If ever there was a film that’s a testament to sticking it out this is it. That’s not to say I ever disliked this film at any point during it or that I came close to stopping it. However, it’s not until after the midway point and actually closer to the end that this film goes from good to very good and then great. The narrative unravels itself slowly, It travels through time and place. It is seeking answers which are hard to find and that no one will give willingly due to the implications therein. When answers do come the affect is great and when the last peace falls you may not even be certain what just happened. When you do finally close the circle you will be left gobsmacked. It’s a tale as old as time updated with new players and modern implications about a family that grows more pained as it gets closer and has to leave home to discover their mother but can only do so after she has passed. It’s a film about specific locales and conflicts with a global reach.

17. A Screaming Man

Youssouf Djaoro in A Screaming Man (Film Movement)

I am one who can be swayed but a very restrained and minimalist tale. This is a perfect example of that. Here you have the very simple story of a man who works tending to a pool in a posh hotel in the central African nation of Chad. Since he used to be a swimmer the pool is his life. He says as much. As civil war encroaches on the routine of his life and tears his family asunder he tries to keep control of things. You never learn too much about the conflict. War is war. Civilizations get caught it in it whether in the crossfire of by some form of collateral damage. Events are at times implied and others commented upon, facial reactions are restrained or non-existent but it gets you. I was brought to tears by this film. When it ended with a gorgeously languid fade to black I was completely gutted and left wanting another scene for more closure but knew another scene would not be right. The film had ended and we the audience like our protagonist would have to live with what had transpired.

16. Fireflies in the Garden

Hayden Panetierre and Cayden Boyd in Fireflies in the Garden (Senator Entertainment Co.)

In the linked article I discuss the only real issue this movie presented me which was one of casting more than anything else. That issue is exacerbated to an extent by the unusual family dynamic wherein an aunt and her nephew are very close in age and then we’re also playing in two different time planes. However, those things happen and that’s the part of this movie I love. Aside from the persistent use of flashback its one of the more emotionally wrenching films of the year. Now granted it’s not the only time I cried three times watching a film this year, so that barometer isn’t what it once was but it’s the fact that it so carefully mixes melodramatic traits and pulls back with just enough restraint when necessary to make it identifiable. The film is a family drama that is essentially about letting go of past pains and hurts that families can cause one another and while any story of this nature will have its histrionic set pieces, this one more than most, it’s with clarity and conviction that the details can be overcome and the emotional truth of the piece can drive home to any audience member, which is to say I never dealt with anything like what occurs in this movie but there’s a universality to it at its core that made it a beautiful and wonderful experience where I related to many of the dramas and characters involved in them.

The Best Films of 2011 #25-21

Posted on by bernardovillela

As the number of films I watch has grown so has the number of films I rank among my best of the year. Essentially what matters to me is not so much the number of films included amogst the best of the year but rather the proportion. When I started these picks as a teenager I’d pretty much only be guaranteed a Saturday matinee at the local UA so that amounted to about 52 films a year. Meaning the five Best Picture nominees were equivalent to the top 10%. It’s not a bad rule of thumb. Granted only picking 10 Best Picture nominees of about 222 films deemed eligible equals about 4.5% of the total films I viewed. Therefore it’s not much of a stretch to take my Best List which goes beyond just the nominees from 15 to 25. In fact, I just had to pick the first few that came to mind. Some that wouldn’t show up on another list I did because 30 would be easily achievable.

Without much further ado here is the beginning of my Best Films countdown:

25. The Brotherhood

Jon Foster and Trevor Morgan in The Brotherhood (Phase 4 Films)

Who saw this movie? In all likelihood practically no one, which is why it had to show up here. Perhaps the biggest mantra of my year-end write-ups will be advice for film enthusiasts: “Seek and ye shall find.” With almost as many distribution paths as there are films now, it is likely something you’d be inclined to enjoy will slip through the cracks. I had to confirm what this film’s release date was on IMDb and got the disc from Netflix. Aside from my mini-review round-up post I never saw it elsewhere but essentially this film is part suspense, part horror, part tragedy and part comedy. It takes a commonplace situation and exploits it to its fullest potential and thus has been very memorable to me and could easily have finished higher.

T-24 Justin Bieber: Never Say Never

Justin Bieber in Justin Bieber: Never Say Never (Paramount)

The first thing I need to say is that I wish I viewed a high enough volume of documentaries to give them their own list. As it stands I do not. I do feel confident in this year’s slate of nominees but unlike other film categories I had to limit it to just five as opposed to ten simply because I didn’t see enough to justify a higher count. The last BAM-related note will be please excuse my fudging the rank here as I am writing this ahead of the winners’ announcement and want to preserve drama.

As for the film itself while John Waters almost always says things in a way that makes him sound like he’s not serious, for example: when he picked this film as one of his favorites of 2011, he doesn’t joke around about his opinions and as you can see he has perhaps the most diverse top 10 you’re likely to find anywhere. This film would end up on my list regardless of whether anyone else selected it simply in part of how surprising it was cinematically. There was a lot of talk before the film about how it’s not just a concert film like previous ones I’d seen like the Hannah Montana/Miley Cyrus one or the Jonas Brothers. Not only were they right about that but they still left you unprepared for what a great documentary it is.

The story already existed for anyone who knew even some of the details to do something special with it and Jon M. Chu scored big time. It is necessary for any viewer of a documentary to clear the subject hurdles, which can be two-pronged: the subject which is discussed and/or the person who is the focus. Regardless of one’s opinion of Bieber (for the record: mine was and is positive) this is an incredibly well-crafted film that isn’t just an extended music video or a sugary biopic but pretty complete and in hindsight benefited from Davis Guggenheim withdrawing for they found in Chu a director ready, willing and able to give this film the time and energy it deserved to be a viable aesthetic work and not glorified marketing.

T-24 Senna

Ayrton Senna

All stated above about documentaries is true. Add to that the fact that good documentaries can inform as well as entertain. Ayrton Senna to me was probably the first national sports hero of my lifetime. My whole family is Brazilian and when I was very young he was a world championship contender while the national football (soccer) team was an also-ran. However, being young there were things I didn’t understand for example the nature of the Prost rivalry, his drought, the controversial Mansell year and the exact circumstances regarding his fatal crash. Not only on a personal level did it finally allow me to adequately grieve and see the pain his loss caused so many in Brazil but it also filled in the gaps in my knowledge.

Furthermore, it’s rather a great cinematic feat. There’s great original music which heightens the film but Formula 1 stories are typically rare due to the high cost of archival footage and with a deceased subject the dangers of Talking Head Syndrome is nearly unavoidable but you rarely see one. There are intro shots and L-cuts and there’s narration or dialogue through muvh of it but it’s typically archived or creatively cut.

All in all it’s a great film that has impressed both racing and film fans alike and performs the unenviable task of delivering an emotional wallop with a foregone conclusion.

22. We Bought a Zoo

Patrick Fugit, Matt Damon and Scarlett Johansson in We Bought a Zoo (20th Century Fox)

This film may fall into an uncomfortable category for some, it’s one of those “old pair of slippers” kind of movies meaning you know the look and feel of it and you’ve seen it before but you love it anyway. However, this one is a little like you’re looking at them from a different angle because whether it’s through Jónsi’s mellifluous score or the unexpected artistry of the flashbacks, Cameron Crowe, as he does with anything he makes, pours his heart and soul into the film and what’s more is that you feel it. He has an uncanny knack for picking source music also, it’s unparalleled. This is also a film that showcases pretty much everything Matt Damon is capable of, which is a lot, in one role without reaching. It reveals a rising star in in Colin Ford and shows the flipside of another in Elle Fanning who plays virtually the opposite character she plays in Super 8.

Essentially this film exemplifies one of my axioms that it’s more about the execution than anything else. Aside from the relatable, moving family story there are also some treats for film fans like Crowe working with Patrick Fugit anew and Scarlett Johansson coming full circle to another animal project.

21. Horrible Bosses

Kevin Spacey, Jason Bateman and Charlie Day in Horrible Bosses (New Line Cinema)

I’m not one who consciously takes a formulaic approach to making these lists but in all likelihood, given enough slots to pick from, I will end up with a comedy on my list. It was hard to decide between this and The Sitter considering everything else it had going for it but the fact of the matter is I scarcely came up for breath during this film. It is the most consistently funny film I saw lat year and boasts the best comedic ensemble by far. While it may seem like another boys’ club buddy comedy in a superficial sense, the issues they face though taken to obsessively ridiculous extremes (like in any good comedy) is universal.

2011 BAM Award Nominations

Posted on by bernardovillela

Winners will be announced on Wednesday, January 4th.

Best Picture

The First Beautiful Thing
Harry Potter and the Deathly Hallows, Part 2
Hugo
In a Better World
Super 8
Terri
Toast
The Tree of Life
War Horse
Winter in Wartime

Best Director

J.J. Abrams Super 8
S.J. Clarkson Toast
Martin Koolhoven Winter in Wartime
Paolo Virzì The First Beautiful Thing
Martin Scorsese Hugo

Best Actress

Bérénice Bejo The Artist
Elizabeth Olsen Martha Marcy May Marlene
Carey Mulligan Drive
Micaela Ramazzotti The First Beautiful Thing
Jeong-hin Yin Poetry


Best Actor

Matt Damon We Bought a Zoo
Jean Dujardin The Artist
Wagner Moura Tropa de Elite 2
Brad Pitt The Tree of Life

David Rasch Olhos Azuis

Michael Shannon Take Shelter



Best Supporting Actress

Anjelica Huston 50/50


Claudia Pandolfi The First Beautiful Thing
Sarah Paulson Martha Marcy May Marlene
Stefania Sandrelli The First Beautiful Thing
Octavia Spencer The Help


Best Supporting Actor

Ben Kingsley Hugo

Christopher Plummer Beginners
John C. Reilly Terri
Alan Rickman Harry Potter and the Deathly Hallows, Part 2
Irandhir Santos Tropa de Elite 2

Best Cinematography

Larry Fong Super 8
Eduardo Serra Harry Potter and the Deathly Hallows, Part 2

Stephanie Anne Weber-Biron Heartbeats

Robert Richardson Hugo

Janusz Kaminski War Horse

Best Makeup


Harry Potter and the Deathly Hallows, Part 2
Super 8

Tucker & Dale vs. Evil

Rammbock
Winter in Wartime

Most Overrated Picture

13 Assassins
Attack the Block
Certified Copy
Cold Fish
Don’t Be Afraid of the Dark
I Saw the Devil
Martha Marcy May Marlene

Melancholia
Trollhunter
Unknown

Worst Picture

11-11-11
Annelise: The Exorcist Tapes
Children of the Corn: Genesis
Creature
The Darkest Hour
Don’t Be Afraid of the Dark
Final Destination 5
The Thing

The Three Musketeers
The Wrong Ferrari

Most Underrated Picture

Battle: Los Angeles
Bereavement
Fireflies in the Garden
The Hole
Justin Bieber: Never Say Never
Red State
The Sitter
The Ward
Toast
Winter in Wartime

Best Original Screenplay

J.J. Abrams Super 8


Michel Hazanavicius The Artist

Benjamin Hessler Rammbock
Stevan Mena Bereavement
Paolo Virzì and Francesco Bruni and Francesco Piccolo The First Beautiful Thing

Best Adapted Screenplay

Marti Noxon and Tom Holland Fright Night
Steve Kloves and JK Rowling Harry Potter and the Deathly Hallows, Part 2

John Logan and Brian Selznick Hugo
Lee Hall and Nigel Slater 
Toast

Mieke de Jong, Martin Koolhoven, Paul Jan Nelissen and Jan Terlouw Winter in Wartime

Best Editing

Job ter Berg Winter in Wartime
Mary Ann Brandon and Mary Jo Markey Super 8

Mark Day Harry Potter and the Deathly Hallows, Part 2

Thelma Schoonmaker Hugo

Hank Corwin, Jay Rabinowitz, Daniel Rezende, Billy Weber and Mark Yoshikawa The Tree of Life


Best Score



Stevan Mena Bereavement
Alexandre Desplat Harry Potter and the Deathly Hallows, Part 2
Howard Shore Hugo
Michael Giacchino Super 8

Jónsi We Bought a Zoo

Best Sound Editing/Mixing

Harry Potter and the Deathly Hallows, Part 2
Hugo
Super 8


Real Steel


X-Men: First Class

Best Visual Effects

The Adventures of Tintin
Harry Potter and the Deathly Hallows, Part 2
Hugo

Super 8


Real Steel

Best Cast

Harry Potter and the Deathly Hallows, Part 2
Hugo
Super 8

Toast



War Horse


Best Youth Ensemble

Chinmai Chandrashuh, Vedant Desai, Devji Handa, Rohan Grover, Naman Jain, Ifran Khan, Aarav Khanna, Shriya Sharma and Sanath Menon Chillar Party
Ellie Darcey-Alden, Ariella Paradise, Benedict Clarke, Alfie McIlwain, Rohan Gotobed, Arthur Bowen, Daphne de Beisetgui, Will Dunn, Jade Gordon, Bertie Gilbert, Helena Barlow and Ryan Turner Harry Potter and the Deathly Hallows, Part 2
Asa Butterfield, Chloë Grace Moretz, Gulliver Mcgrath, Shaun Aylward and Ed Sanders Hugo
Laramie Eppler, Tye Sheridan and Hunter McCracken The Tree of Life
Joel Courtney, Ryan Lee, Riley Griffiths, Gabriel Basso, Zach Mills, Elle Fanning Super 8

Best Performance by a Child Actress in a Leading Role

Elle Fanning Super 8
Bailee Madison Don’t Be Afraid of the Dark
Chloë Grace Moretz Hugo
AnnaSophia Robb Soul Surfer
Saoirse Ronan Hanna

Best Performance by a Child Actor in a Leading Role

Cayden Boyd Fireflies in the Garden
Asa Butterfield Hugo
Joel Courtney Super 8
Dakota Goyo Real Steel
William Jøhnk Nielsen In a Better World
Hunter McCracken The Tree of Life

Best Performance by a Child Actress in a Supporting Role


Landry Bender The Sitter

Celine Buckens War Horse
Olivia Crocicchia Terri
Elle Fanning We Bought a Zoo
Joey King Battle: Los Angeles

Best Performance by a Child Actor in a Supporting Role

Chase Ellison Fireflies in the Garden
Colin Ford We Bought a Zoo
Ryan Lee Super 8
Bill Milner X-Men: First Class
Bridger Zadina Terri

Best Art Direction

Anonymous

Detective Dee and the Mystery of the Phantom Flame
Hugo

Winter in Wartime

X-Men: First Class

Best Costumes


Drive

Hugo

Super 8
Terri

Toast

Best Foreign Film

The First Beautiful Thing

In a Better World

Olhos Azuis

In Their Sleep
Incendies
Rammbock
A Screaming Man
The Skin I Live In
Tropa de Elite 2
Winter in Wartime

Best Documentary

Bill Cunningham New York
Buck

Life in a Day
Justin Bieber: Never Say Never

Senna

Best Song

“Chatte Batte” Chillar Party
“Exploded Diaper” Löded Diper Diary of a Wimpy Kid: Rodrick Rules
“I Want Candy” Cody Simpson Hop

“Born to be Somebody” Justin Bieber Justin Bieber: Never Say Never 

“Pictures in My Head” The Muppets

“Let Me Take You to Rio (Blu’s Arrival)” Ester Dean & Carlinhos Brown Rio


The Robert Downey, Jr. Award for Entertainer of the Year

Andy Serkis

The Ingmar Bergman Lifetime Achievement Award

Steven Spielberg

Special Jury Prize(s)

The Confession

The Harry Potter Franchise

5 Franchises That Should’ve Been

Posted on by bernardovillela

Some films that are made seem to be begging for more, in other incarnations of this topic people have tended to focus more on the tie-in and merchandising potential and less on story. In this list you will see five films I think were just begging to be continued, expanded upon and elaborated more greatly. What are some of your favorites?

5. The Kids in the Hall: Brain Candy

Mark McKinney and Dave Foley in Kids in the Hall: Brain Candy (Paramount)

Why this film received such a cold shoulder and is largely overlooked is beyond me. The Kids in the Hall probably could’ve made a slew of films with a colon and their troupe’s effort following it in the title. They could’ve become the 90s incarnation of Monty Python. This film is hugely overlooked and vastly underrated. The franchise here is not the Brain Candy concept but rather the troupe’s brand of comedy transposed onto the big screen. Perhaps in the economically affluent, blasé, Generation X 90s a droll, snide stab at pharmaceutical companies and anti-depressants was not the way to go but it is hilarious. If you haven’t yet checked out their one and only feature length film to date please do. They still do shows and have appearances in Canada and each member does individual projects but perhaps the harsher times will reawaken the need for KITH as a unit.

4. Explorers

River Phoenix, Ethan Hawke and Bobby Fite in Explorers (Paramount)

While many do like it and it’s fine by me but not great, Explorers seems like the kind of film that would be better after a second installment when characters are already established and you can go deeper. Kids who design and build their own space craft and use it to travel to outer space; if this concept was developed today it’s an absolute certainty that it would be intended to be a series. Keep in mind that the original starred both Ethan Hawke and River Phoenix before they really hit it big with any project so it could definitely been continued as a star-vehicle and could be one anew. It’s just a wonder they haven’t tried again…yet.

3. Flight of the Navigator

Joey Cramer in Flight of the Navigator (Disney)

Again I think era might’ve had something to do with this concept not being followed up. If Disney was making Flight of the Navigator today and made a cent of profit it certainly would become a series. I just think here the film opens up a whole can of worms that could be revisited, not that it necessarily should. In the film David played by Joey Cramer travels through space and thus time and comes back still looking twelve eight years later. There are just so many possibilities other complications this could cause and other planets to visit. This film may soon be off the list as a remake is in development and has been for some time.

2. Stephen King Projects

Colm Feore in Storm of the Century (Walt Disney Television)

OK, allow me to explain this selection. It’s basically a tie because one would be a film and the other could be a film following a mini-series and the mini-series, lost art form as that is, is kind of in a no man’s land in terms of film.

The first King property I’m surprised never turned into a series was Silver Bullet. It is without question one of the most accurate and best interpretations of a King book put on screen. Due in no small part to the fact that King wrote the script himself. It’s like Cycle of the Werewolf was plastered on celluloid. It’s great and considering some of the other werewolf films that were popular in the 80s it’s even more surprising. The possibility of a follow up to that tale is definitely a tantalizing idea to think about but King doesn’t have it on his docket.

The second would be a sequel of some kind to Storm of the Century, King’s first mini-series. Without giving anything away for those who haven’t seen it the ending is not open but rife with possibilities and considering that Linoge is one of his best villains, on par with Randal Flagg, and to see power transition from him to his protégé would be something.

1. The House by the Cemetery

Silvia Collatina in The House by the Cemetery (Anchor Bay)

One of Lucio Fulci’s best works and one that screamed to be continued more so than any of the Zombie films which are terribly overrated. The House by the Cemetery features a great villain a cruel, twisted doctor who is undead, practically immortal and of course can’t really be defeated not that much resistance has been put up against him. The ending of the film is open and you really are left to wonder what happens with Bob next. If an American had made it with better known actors it likely would’ve been a series one that would’ve gotten ridiculously long after a time but might’ve been enjoyable still reminiscent of the original Halloween cycle.

Franchises Which Could Use a Reboot

Posted on by bernardovillela

While I am no proponent of the rebooting trend there comes a point where screaming protestations does become tiresome, when even the biggest purist has to sit back and say “You know what? If this is the trend it may as well serve some kind of a purpose.” To that end here is a list of 10 film series that should be rebooted for one reason or another.

Rex Harrison in Dr. Doolittle (20th Century Fox)

10. Dr. Doolittle – This is another example Eddie Murphy’s sad decline ruining an altogether fine film concept. The Doctor Doolittle books by Hugh Lofting are magical and if adapted at the very least faithfully if not slavishly could certainly still be a huge hit and there is no reason it can’t start up again. Considering that the original 1967 rendition with Rex Harrison is mostly an afterthought it’s about time the series as written was done properly – installment by installment if possible.

Asterix & Obelix (Clement)

9. Asterix et Obelix – One of two foreign entries on this list. While there are animated versions of this popular comic available ad nauseum there are only two live action films and one can clearly see why. The story came across as stale and lacking in whimsy. Gerard Depardieu who was one of the leading men in cinema once upon a time comes across as a charmless, fat oaf and not Obelix. The cast and director should be scrapped. It can be done in France or anywhere for that matter as long as it lives up to the magic these stories that travel through history are capable of and with that theme story possibilities are endless since the source material already provides many of them.

In light of the worldwide box-office success and aesthetic triumph of Tintin motion capture would be a wonderful place for this series to go.

Daniel Cerny in Children of the Corn III: Urban Harvest (Dimension)

8. Children of the Corn – This is a series that has had a remake of the original. Now as it stands the original is fantastic. It is a quintessential 80s horror film and overall one of the better ones ever made simply due to its overall impact. Having said that the series of sequels that followed soon thereafter have watered down and bastardized the brand and the drop in quality from the original to the sequels is one of the most precipitous of any horror franchise ever (with few exceptions). For that reason I have placed the franchise on the list and it will be with a bit of curiosity that I will attend the remake to see if the franchise can be revitalized.

Zombie (Anchor Bay Entertainment)

7. Zombie – These are perhaps the films that Lucio Fulci, Italian giallo director, is best known for and it’s a mystery why. Slow-moving, sunlit and un-suspenseful when compared to Fulci’s best works. The occasional grossly unsettling make-up job is not enough to save any of the set-ups. These are a prime candidate for a relaunch. The island can be shot at night, or it could simply not be set on an island. Zombie films are all the rage for the time being find some other way to turn the genre on its ear under the zombie brand and it is sure to be a hit.

Jaws (Universal)

6. Jaws – Yes, Jaws is an absolute classic and should not be touched. There are reasons why the series is on the list. The series as a whole is very bad. Nothing that happened after Spielberg is any good and Hollywood has proven time and time again that absolutely nothing is sacred, not even Spielberg. A Poltergeist remake is in the works. So, theoretically, yes the Jaws series does belong here.

Samuel Costa in O Menino Maluquinho (Inter Filmes)

5. O Menino Maluquinho – This is the second foreign selection on this list and it is the film adaptation of the best-selling children’s book by Brazilian illustrator/author Ziraldo. The first film was absolutely wonderful and while not a literal adaptation it was most definitely one in spirit, which is the most important thing. There was a sequel which was good but not as good as the original as the cast was a little too old at this point to be believable in the story. However, with the character still popular in a daily comic strip it is easily a candidate for reboot. Brazilian audiences, especially younger ones are used to long series like Os Trapalhoes, and it would work perfectly if the kids were recast every few installments similar to the James Bond franchise.

4. Home Alone – This is another example of a series where it was the sequels failing the concept more so than the original. This is also one of those series where it’s one of the least necessary reboots but it’s the kind that makes you wonder why it hasn’t happened already, especially considering that it’s a John Hughes project Anyway, the second was regurgitation, the third was decent but weird in as much as it was just a continuation of the situation not characters or plot and the fourth was just painful.

Gremlins (Warner Bros.)

3. Gremlins – Yes, the first only was classic but they kind of dropped the ball. The sequel, though enjoyable, seemed like an afterthought and the time between the original and the follow-up could’ve contributed to its lack of success. It’s an idea that’s endlessly appealing and one of the best combinations of horror and comedy around while the film is an 80s classic there is no performance that’s irreplaceable so it’s surprising that studio executives haven’t jumped at the opportunity to jump-start this one.

Anthony Michael Hall, Chevy Chase, Beverly D'Angelo and Dana Barron in Vacation (Warner Bros.)

2. National Lampoon’s Vacation – The Vacation films weren’t ever really designed to end. They’re all so great each one more memorable than the last and just silly. I think it’s a series that could easily come back into play by just having Rusty or Audrey go on a trip with their kids and have Grandpa and Grandma (Chevy Chase and Beverly D’Angelo) along for the ride (Seriously, what else are they doing? And they should be doing something). With the last film being in 1989 there is so much socially and about the world that can be mocked, parodied or lampooned that wasn’t even in the public consciousness back then that it’s about time. People still laugh at the old ones and they would laugh at new ones too.

Leslie Nielsen in The Naked Gun 2 1/2: The Smell of Fear (Paramount)

1. The Naked Gun – Yes, the 3rd film was called The Final Insult but those kinds of titles have been contradicted before. I think along with a new James Bond we should have new Frank Drebin pictures. This can be done in one of two ways one the old pulling the investigator out of retirement against his will ploy can be implemented or he could be unwillingly training his replacement. Either way good parody is a necessity and his were second to none and he should be leading, not making appearances in second rate attempts so the parents in the audience can have a good laugh.

Ideally, I’d have loved the late great Leslie Nielsen to have been involved but the fact of the matter remains that the parody film is fast becoming a lost art of the comedy genre and perhaps a classic vehicle is needed to revive it with the right people in place.

8 Out of Print Titles That Shouldn’t Be

Posted on by bernardovillela

These days it is very difficult to find anything which is out of print, which is a great thing, it is usually the diamonds in the rough which will inspire future generations. And the more of those which are readily available the more likely great art will be inspired in coming generations. More studios should be following suit with Warner Brothers and slowly rolling out their vaults and making almost anything and everything available to all. Below are films which good, bad and ugly are currently unavailable on either VHS or DVD, and that ought not be so. Many of them represent types and I’m sure you can find a handful of films similar to the titles I mention. Those suggestions are welcome and just as viable.

8. Serials (any serial)


The most idealistic choice, but seriously I don’t know how these can be expensive and someone should pick them up and distribute them on an On Demand basis because they’re like a cinematic drug; addictive. The serial is just classical storytelling at its best and it has inspired some of the best loved film series of the 20th centuries (think Star Wars and Indiana Jones). If you chop those down into 15 minute installments you get classic cliffhangers. Blake of Scotland Yard for the novice has absolutely everything you need, if you want the most inventive array of genres mixed together get The Phantom Empire.

7.Song of the South

Song of the South (Disney)


Here are facts regarding Song of the South: The controversy surrounding racism in this film is centered on two key points: first, the “happy slave” character. This, however, was cliché. The vitriol against the film really comes from the subplot of Bre’er Rabbit and the Tar Baby. This was a direct adaptation of the original tale and literally about a baby made of tar. The film unintentionally put the term into the common vernacular as a racist slur. While I can’t defend many animators regarding many insensitive jokes in this era this one did seem rather innocuous. Due to one short scene an all around decent and wonderful film has been lost in time. Compounding it is that clips of the film have been used in Sing-A-Longs, characters from the film are at Disneyland and -World and everyone sings “Zip-a-Dee-Doo-Dah.” It’s a bit hypocritical and a bit of a tease to let younger generations know this film exists and that they’re not allowed to see it. Disney should either bury it or put it out there, stop trying to have your cake and eat it too. Keep in mind that titles which are overtly racist like Birth of a Nation and Leni Reifenstahl’s propaganda films are readily available, so it’s not even as if the home video market is devoid of contentious subject matter so if one disagrees with this assessment of Song of the South rest assured it’s not readily available and if it were you needn’t buy it.

6. As Aventuras da Turma da Monica

As Aventuras da Turma da Mônica (Mauricio de Sousa)


This is the original animated feature which sews together vignettes starring Mauricio de Sousa’s seemingly endless cast of characters. It’s a wonder no studio has tried to introduce these characters to the States since his comics and cartoons are syndicated all over Latin America, Europe and Asia.

5.Ciske the Rat


Ciske the Rat (Concorde Films)

A staggering, realistic and disturbing portrayal of the birth of a juvenile delinquent in the most haunting and disturbing way possible where you can identify with it and almost want it to happen. A strong 1980s entry from the Netherlands.

4. Shark: Rosso nell’oceano

Shark: Rosso nell'oceano (Cinema Shares International Distribution)


This is a film I first and only saw on Mystery Science Theatre 3000 and is one of the most memorable and hilarious episodes of that show. It truly is one of the grotesquely terrible films ever made. Case in point, it’s more like an octopus than a shark, not sure what the rationale behind the title was exactly. With or without any comic relief this film is painful.

3. Eu Sei Que Eu Vou Te Amar


Eu Sei Que Eu Vou Te Amar (Embrafilme)

Features Fernanda Torres in a role which won her Best Actress at Cannes in one of her first performances it is another compelling, complex and fascinating film by Arnaldo Jabor which takes place almost entirely within the confines of an apartment yet stays engagingly cinematic.

2. The Cellar


The Cellar (Hemdale Home Video)

Is a prime example of execution of a film and its plot heavily outweighing the importance of budget, production value and actor’s ability. The sum of the last three factors should not be enough to make a great horror movie but the cinematography, ingenious and practical effects work, score and editing make this movie happen.

1. They Shall Have Music


They Shall Have Music (United Artists)

I saw this during 31 Days of Oscar on TCM. It is a standard 1939 tear-jerker which makes it better than anything today in that regard. It’s a nice easy watch with a deservedly Academy-Award nominated score by Alfred Newman and great cinematography by Gregg Toland.

Tintin Finds Its Own Path

Posted on by bernardovillela

The Adventures of Tintin (Columbia/Paramount)

As the art of cinema develops alongside technology, so does the business of it. Methods of distribution and viewership are now more varied than ever, however, what some may not fully consider is that aside from method of viewing (streaming, MOD, DVD, etc.) theatrical releases also have found new paths. Now more than ever theatrical releases have tinkered with the formula. It used to be an unwritten rule that the rest of the world would have to wait for Hollywood films until America had seen it first. Now, for many reasons whether it be location or just the international viability of a given project, films are not only premiering overseas with increasing frequency but opening there well ahead of the US also.

Perhaps the best example of this is Steven Spielberg’s The Adventures of Tintin. I for one had always had a vague awareness of Hergé’s well-known creation but didn’t know much about him or the stories in which he lived. However, similar to my affinity to The Little Prince, which crosses not only various media but also three languages, I knew that it was a property more renowned abroad than in the US. Therefore, it’s perfectly logical that not only did Tintin debut overseas first but also opened there well in advance.

Tintin is, in fact, a cinematic rarity in as much as of this writing it already ranks #360 all-time in worldwide box-office with $239.1 Million and opens in the US tomorrow. Considering the fact that it opened in late October overseas and the ubiquity of social media below you will find some of the reactions I’ve gotten from overseas as I anxiously await the US release. The conversation started rather spontaneously when discussing some of my favorites of 2011 after that Twitter discussion I asked around and got more feedback:

Alex Terentjev, Russia

“What bout Tintin? I think this is the best film to share the evening with family…btw (By the way) I didn’t know anything bout Tintin before I’ve watched a movie, but u know this film is amazing…comedy elements mixed with criminal and interesting adventures and motion capture, as well, makes this movie really awesome…I even started to read Tintin comic books cuz of this movie.”

Patrick Gibson, England

Tintin, one of the best animated films I’ve seen in a long time! Such well thought out characters and beautiful animation!

@lucylucesim, Ireland

Tintin was brilliant![…]The 3D was great but could’ve been better utilized.

@everyfilmin2011, England

So, after months of looking forward to a new Spielberg movie, one of my Twitter followers threw cold water on my mood by telling me it was boring. I must admit, I’m glad they did – because watching a movie with low expectation is always best. First off, I can happily report that there was far too much going on for it ever to be condemned as boring but it’s certainly not the standard of an animated Raiders Of The Lost Ark, which I’d originally hoped…

The action, of course, comes thick and fast and computer animation really lets Spielberg’s imagination out of any normal constraints. Jamie Bell is the perfect voice for Tintin but the real revelation is Daniel Craig as the baddie. He hams it up like never before – talk about shaken and stirred! Of course, it goes without saying that Britain’s greatest chameleon actor, Andy Serkis, is unrecognisable and in top form as the captain…

My biggest bugbear is the 3D. It really doesn’t bring anything to the party and, once again, is just a giant rip-off. The sooner this gimmick dies off, the better. So, a Spielberg classic it isn’t but is Tintin worth a family outing. Yes, I should say so. Rating? 7/10

Here’s an excerpt from Screenings a great resource for those of you in the US who want a chance to see movies early and free:

It mainly mixed three of the original comic books: The Crab with the Golden Claws (1941), Red Rackham’s Treasure (1944), and of course, The Secret of the Unicorn (1943). While the precise motion-capture couldn’t compare to Hergé’s original execution of his characters, it delivered a new fascination for the current generation to enjoy. So don’t expect as much nostalgia but do expect a great viewing experience…

The script does a wonderful job introducing the audience to Tintin and the whole premise quickly. Even if you have no idea what the source material is about, you will get it within the first 10 minutes where you see the new animated Tintin get a caricature of himself which shows the original inked boy journalist […] By mixing many different plots in one, the filmmakers were able to explore more of the Tintin universe and splice together various story lines to keep the momentum and the pace quick. However, you never forgot the main story at hand…

The cast was as impressive as the men behind the scenes. The motion capture and voices were provided by the likes of Daniel Craig, Jamie Bell, Simon Pegg, Nick Frost, and motion capture legend/guru Andy Serkis. With every mocap film, Weta Digital somehow tops itself and delivers a more seamless experience letting you forget your even watching an animated feature. It was a weird mix…even though it looked extremely lifelike, The Adventures of Tintin still had it’s [sic] cartoony feel…

The 3D was used well but again, not drastically enough. The best implementations were the particle effects that were unlike any other movie. They added a strong feeling of depth in their scenes that can’t be duplicated using 2D cameras. Even with the fast moving action scenes, the 3D didn’t get too crazy or give headaches so in the end it just made the visuals pop that much more. I would actually recommend watching this one in 3D because animated films do gain the most from the 3D technology…

The biggest win for this production, however, was a chaotic sequence which never seemed to end. It was very reminiscent of the Indiana Jones days where everything fell into place and the characters had to pull off stunts just at the nick of time. Of course, this is a lot easier to accomplish when every movement is animated by a computer rather than a stunt double. In the end though, the action scene came out so well that it makes you want to watch the entire film again just to watch that portion. If it was on DVD or DVR, you would instantly rewind it back to see again. The whole movie is ok up until that point but then Tintin blasts into full force and dazzles you with the unbelievable. It was really fun and that alone made the movie enjoyable for me. If you’re ready for a big dose of action adventure, The Adventures of Tintin is an amusement ride in the form of a movie and you should probably watch it because the sequel is already in the works.

Two other pre-certifications are first that it currently scores a 7.8 on 21,946 votes on the IMDb, it is “Certified Fresh” by Rotten Tomatoes with 82% based on 67 Reviews and is at 67% on 11 reviews at Metacritic.

However, my open inquiries for a reaction from abroad to Tintin also garnered this surprise response from Simon Doyle who runs titinologist.org:

In 1983, when I was much younger, I watched an “interview”, broadcast on Janet Street-Porter’s “yoof TV” show Network7. Boy-reporter Tintin (we, the viewing public, were assured) was orbiting the Earth in Professor Calculus’s rocket, to bring amazing news to the world. Duly excited, I watched a 2D, somehow-electronically-but-rather-simply-animated Tintin inform the interviewer (and us) that none other than Steven Spielberg was in the process of bringing his globetrotting adventures to the screen!

Wow! If he could do for Tintin what he’d done with Indiana Jones–! I sat back, and waited…

…and waited…

…will it ever happen?…

…and waited…

…Great snakes! – A chap could start to lose hope…!

…and then…!

It’s 28-years later, and I am sitting in the viewing-theatre at BAFTA (BAFTA! The glittering heart of British cinema!), courtesy of the good folks at MediCinema, watching Thompson and Thomson introduce Steven Spielberg’s glorious new movie –

The Adventures of Tintin: The Secret of the Unicorn!

– and it proved well worth the wait!

If you want the devil’s advocate take there is a discussion link at the bottom of the review, however, if someone who has been as devoted fan for ages and has waited that long for a film version can come away that impressed it is most definitely worth my time. Moreover, the distribution path decision while might’ve seemed obvious to some has reaped rewards for the film as it opens with a bit more buzz stateside than it might otherwise.

Your Online Georges Méliès Film Festival

Posted on by bernardovillela

Ben Kingsley and Asa Butterfield in Hugo (Paramount)

Now, I know what you’re thinking: “Here’s another blog trying to prove how clever they are by linking to all the visual references in Hugo.” Wrong. Granted it’d be more painstaking to jot down the shots and match them to those in the film. However, the purpose of this post is a bit broader.

I have linked to anything and everything I could find. Some are referenced in Hugo, some aren’t. What I really want to people to do is to take a few minutes and watch some of there. Some are quite short. However, I’ve also created this post using just one website.

The internet archive is a great resource for all kinds of material but especially films which have entered the public domain. You can stream and download all kinds of great movies for free.

If you enjoy these movies, as I suspect you will, in their more primitive degraded state then you can look to Flicker Alley who have released many great sets of Georges Méliès rediscovered and restored works on DVD.

Enjoy!

If you ever wonder where your dreams come from, look around: this is where they’re made.
-Ben Kingsley, Hugo

<a href="http://www.archive.org/details/Lauberge-ensorceletheBewitchedInn1897&quot; title="The Bewitched Inn (1897)”>

A Terrible Night (1896)

The Devil in a Convent (1899)

<a href='http://www.archive.org/details/Cinderella_601&#039;>Cinderella (1899)

Joan of Arc (1899) [TINTED; Third-Party Voice Over Added]

The Man with a Head in the Cabinet (circa 1900)

The One Man Orchestra (1900)

The Devil and the Statue (1901)

A Trip to the Moon (1902)

The Monster (1903)

The Infernal Cauldron

The Impossible Voyage (1904)

The Infernal Cakewalk (1903)

Frolics of Satan (1906) [TINTED]

The Palace of the Arabian Nights (1906)

The Eclipse (1907)

20,000 Leagues Under the Sea (1907)

Good Glue Sticks (1907)

The Devilish Tenant (1909) [TINTED]

Cinematic Battle of the Nutcrackers

Posted on by bernardovillela

Every year for the past 5 years Ovation TV has a Battle of the Nutcracker’s wherein they play 5 different versions (rotating some out annually) of the ballet based on Tchaikovsky’s most renowned work. While I definitely qualify myself as an enthusiast rather than a savant of dance, this is a piece I know well enough such that I find it interesting to watch the different versions and pick a favorite.

Now within the ballet there are many variations for while Tchaikovsky’s music is the standard each choreographer has their signature while it was Marius Petipa and Lev Ivanov who originally choreographed it, it’s perhaps Balanchine’s that’s most well known.

What’s most interesting to me about this “competition” where the viewers are invited to vote for their favorites is that it gets me thinking about adaptation. One could do quite a lengthy case study on The Nutcracker alone. While there are many either “filmed ballets” or cinematic versions based on Tchaikovsky there are many based on E.T.A. Hoffman’s story The Nutcracker and the Mouse King. Just the fact that you have these two available sources available to freely adapt makes this quite a notable story.

However, a narrative as flexible as this wouldn’t suffice for a post for one could argue that “The Turn of the Screw” by Henry James and “The Colour Out of Space” by H.P. Lovecraft are more malleable pieces of fiction based on the films they’ve spurned. What makes The Nutcracker a unique tale, is not only the fact that I personally would put it on a list of ‘The Great Stories’ meaning classic narratives I could watch re-interpreted any number of ways but also the fact that it does have two potential origins as a source material either in literature or in dance.

In honor of this great story and the novel idea by Ovation I thought it’d be good to have some suggested Nutcracker-related film viewing for the holiday season.

Here are perhaps the three most well-known (the ones I’ve seen) cinematic versions to get you started.

The Nutcracker in 3D (2010)

The Nutcracker in 3D (2009, Freestyle Releasing)

During its all too brief cinematic run it was referred to as The Nutcracker in 3D. Now with 3D being the cinematic boogeyman du jour home video is the way to check this film out. I won’t give too much away but this version is most definitely different and based on the story rather than the ballet. This allows the storytellers to have a lot of latitude and there are few if any safe decisions and this film will likely cause divisive reactions all around. Partially musical and very allegorical it’s a film that refuses to be ignored. It also features Elle Fanning (Super 8, We Bought a Zoo) and Charlie Rowe (Neverland).

Fantasia (1940)

Fantasia (Disney)

If you’re one who prefers your references and adaptations a bit more oblique then you need look no further than Disney’s pet project Fantasia. Along with many numbers from The Nutcracker you will of course see interpretations of may other classical pieces. This film is definitely all about Tchaikovsky’s music rather than the ballet though there is dancing too as you may well know.

George Balanchine’s The Nutcracker (1993)

Macaulay Culkin and Jessica Lynn Cohen in George Balanchine's The Nutcracker (Warner Bros.)

This was the first place I was able to complete viewing the complete story of The Nutcracker ballet. My first attempt to view it live at Lincoln Center was interrupted halfway through. There are a few things that are interesting about this film not the least of which is that you have within it an encapsulation of George Balanchine’s choreography. You also have the fine narration of Kevin Kline. However, of course, what most will note is that it features Macaulay Culkin in the lead. The only major alteration is that the choreography, which for the nephew/nutcracker is rather minimal is diminished further here. While some may not even know this film even exists you might be further surprised to learn that this film is really perhaps the biggest power play Kit Culkin, Macaulay’s father and perhaps the most notorious stage parent in modern times, ever pulled off. Macaulay’s participation in The Nutcracker was really a case of living vicariously through your child. Though he speaks of it earnestly now of his distaste for the project it really doesn’t translate very much on film. Furthermore, Kit tried to influence the final cut of the film removing said narration and when it wouldn’t happen Culkin didn’t publicize the film so it was another Nutcracker box office bomb.

The Ovation block certainly made me want to look for other versions on film and I hope you enjoy these as well as seeking out others.