Intro

I love movies. I have loved movies all my life. I grew up on them. When I was eight years old, I managed to convince myself I would make movies when I grew up. Now I am in the process of getting a degree in Film Studies. I write about film more than ever before, partly because I have to for my classes, mostly because I enjoy it, because I have something to write about. Sometimes it helps me understand the film better; sometimes it helps me understand myself better.
I created this blog as a place to showcase my work, and also as an incentive to keep writing reviews, analyses, and essays over breaks, when there’s no one here to grade me.
I have tried many times, and failed, to explain in a coherent manner why it is that I love films. Here is my best—and most coherent—guess.





Showing posts with label Ben Kingsley. Show all posts
Showing posts with label Ben Kingsley. Show all posts

Monday, May 13, 2013

Iron Man 3 (2013)



Oversized, overstuffed, and occasionally overwhelming, Iron Man 3 plays out like a collage of impressive, explosive set pieces, special effects, and sardonic one-liners. The third installment of the series, this is a mega blockbuster at the crossroads of two hugely successful franchises of the Disney-Marvel massive entertainment empire. Already a hulking box-office behemoth, Shane Black’s movie is unique in an often sullen summer superhero-packed cinematic climate for its brilliant, self-aware, self-effacing humor.

Iron Man 3 offers an astute study of a relationship, wrapped up in images of red hot fire people and armies of iron knights, molten steel and heaps of burning rubble in a computer-generated fantasy in which the laws of physics are merely theoretical. The film at times seems like a screwball comedy trapped in the body of a superhero action movie. Tony Stark (Robert Downey Jr.) trades barbs with Pepper Potts (Gwyneth Paltrow), his former assistant turned girlfriend and CEO of his company, with a kind of old-school Hollywood wise-cracking chemistry.

Wednesday, December 19, 2012

Hugo (2011)



Martin Scorsese’s Hugo had me at the first shot—one of the director’s signature bravado tracks that swoops from an aerial view of early 1930s’ Paris down into the teeming cinematic fresco that is the Gare Montparnasse. We are plunged into the middle of the action, from the train tracks with their narrow platforms amid happy shoppers and hurried travellers, to a pair of Dickensian bright blue eyes peering out of a hole in a clock face above the station’s entrance.

The big eyes belong to Hugo Cabret (played by Asa Butterfield), a lonely twelve year old boy who has a gift with gears, screws, springs, knobs, wrenches, and levers and makes sure every clock in the station is wound and ticking away just the right time. His true occupation, however, is trying to fix his automaton, a mechanical man that is all he has left from a happy past with his clockmaking father (Jude Law). Those times seem like another lifetime; now when Hugo gazes longingly at the dreamlike cityscape and its Eiffel Tower, his expression betrays a sadness too deep for someone so young.