Once Upon A Time In Anatolia

Revelations come slowly, and lack the dramatic punch that you might expect of them, but this film flaunts the stunning beauty of the Turkish countryside, as well as some fine acting and filmmaking.

A police chief, a prosecutor, a doctor, a driver and a suspect are driving through the countryside in the middle of the night. They stop, look around, ask the suspect to identify landmarks, argue about routes and the lay of the land. It becomes clear that they are looking for a dead body. The suspect has killed him, and buried him somewhere, but he can't remember because he had been drinking, and his brother was asleep.

What you see above is among the first shots of the film; before we are introduced to any characters, we see their convoy pull over, and people get out and talk. We hear their conversation from afar, but the camera doesn't budge; the entire scene plays out in one still shot, and we are left to ponder what we've heard, its relevance unclear until later on.

You should be able to tell from this image: this movie looks beautiful. Much of its time is spent driving through the country at night; director Nuri Bilge Ceylan photographs it with such vivid colouring and careful framing, it evokes a fairtytale-like quality that matches its title.

It is an interesting blend though; the film is mostly very realistic, actions play out in real time, and trivial issues concern characters as much as grander ones. Occasionally  the film breaks its strict reality to play out a surreal sequence. Two men have a conversation without moving their lips; one man sees a ghost; a woman appears like an angel to all the men... These sequences flow seamlessly from the main thrust of the film, and give a richer sense of the characters while also adding to the air of mystery that pervades most of the movie. I have no doubt that a second viewing would be very rewarding, given the context of each character in these dreamy sequences.

This is a film that rewards patience. It plays out slowly, with generous screen time devoted to moments void of dialogue; the scenery, the sounds and the atmosphere allowed to sink in. If you like action movies, or fast-paced thrillers, perhaps this one isn't for you. If you like a good drama, or crime yarn though, you may get a lot out of it. For a long time nothing happens but driving, and talking. But as the plot advances, the stage is set for some great revelations that take place in the third act.

And here is my major gripe with this film - although perhaps it was just not to my taste: these third-act revelations are groundbreaking, and cast everything that has come before in a new light. But they aren't treated as such. They are treated just like any other dialogue or setup in the film. I felt as though the movie should begin to hit its stride when the party finally reaches the town; that everything should begin to fall into place, and the great mystery that's been constructed should be revealed, and the exposure of the truth should lead to some gut-punching dramatic beats that stick with you long after watching.

Well, everything did fall into place. The truth was exposed, and each character was given enough time for a substantial exploration. The film sticks with you after watching... I guess I just didn't get that punch in the gut. The big reveals happen slowly, and it's up to the viewer to figure out exactly what they mean. Once Upon A Time In Anatolia is a film I'd definitely want to see a second time. I'll reiterate: this film rewards patience. And it's a very rewarding film.

Capitalism: A Love Story

Moore is undeniably charismatic and engaging, even if his methods are manipulative and extreme.

Explaining the problems of capitalism in a nutshell, it's Michael Moore, known for many controversial works such as Bowling for Columbine, and Fahrenheit 9/11. This film did not make as much of a splash as those though, probably in part because money isn't as interesting as tragedy, and partly because most people will agree with what this film espouses (at least, to some degree).

The film was made in the wake of the financial crisis in 2008, which resulted in the bailout of Americas biggest banks by the government. While I think it is by no means his 'Magnum Opus' (see the quote on the cover), it's interesting that this film seems to come full circle - he starts the film in his home city of Flint, Michigan, which was the subject of his first ever film, Roger & Me. Moore observes that the desperation and social decay that occurred there when the GM factory closed down years ago, is being repeated all over America with the growing power of the banks.

Mystery Train

Great characterization, clever narrative structure, and very entertaining. This film takes its time, but the world and the characters will grow on you.

Jim Jarmusch is an American independent filmmaker, whose name most closely resembles 'muscular', according to my spellchecker here (if you look at the guy though... he isn't.) What he is is talented, and Mystery Train demonstrates why.

The film follows three groups of characters, and their experience of one night in the city of Memphis. First, a young Japanese couple from Yokohama. The girly, Mitsuko, is bubbly and excitable and totally obsessed with Elivis; the guy, Jun, is quiet, aloof, cool, and prefers Carl Perkins. After exploring the town for a day, the two settle into a hotel for a night,  The second story follow Luisa, an Italian woman stranded for a night in Memphis; she flees some creepy strangers, and ends up in the same hotel. In the lobby she meets Dee Dee, who has just broken up with her boyfriend and needs a place to stay. The two agree to share a room together. The final story follows Johnny, Dee Dees former boyfriend, and Charlie, her brother. Through a complex chain of events, the two also end up crashing at the same hotel.

Days Of Heaven

A phenomenal film, partly for its charming cast and tragic story, but mostly for the absolutely stunning visuals. It's an experience, worth embarking on twice, and it's also one damn pretty picture.

Terrence Malick is possibly the most interesting filmmaker working today. His first picture was Badlands in 1973, which garnered him critical acclaim in America and internationally. It took him five more years - until 1978 - to finish his second film, Days Of Heaven. After that, he moved to France, and stopped making films for twenty years. In 1998 he came out with The Thin Red Line, again to wide acclaim. Since then he has made The New World (2005), The Tree Of Life (2011), and To The Wonder (as yet unreleased).

What's fascinating about him is that despite garnering such critical and commericial success - and being known even by artsy European directors as a great director - there's reletively little known about him. He doesn't seem to do public interviews, or offer comment on puzzling aspects of his films. He just makes them, and sets them loose upon the world.

Nuremberg

A generally well-produced TV-Miniseries, with a particularly shocking second act. It doesn't deeply challenge issues, but informs, historically and emotionally.

The Nuremberg trials were a series of prosecutions run jointly by Allied nations in the wake of World War 2, to sentence the captured Nazi leaders for war crimes carried out under their command. Nuremberg was produced in 2000, starring Alec Baldwin as cheif prosecutor Robert Jackson, and Brian Cox as Hermann Göring - the former second in command of Nazi Germany, who establishes himself as a very Hitler-esque figure, with his radical ideas backed by incredible charisma.

The film portrays Jackson as idealistic, and Göring as conniving. Jackson is determined that the Nazis be given a fair trial; that justice be served. Göring is determined to exploit the court system to escape his fate. The two serve as tent poles for the two sides of the case, but there are a plethora of other characters and subplots revolving around them.

Touching The Void

Based on a true story, Touching The Void delivers an extraordinary tale of human survival, with breathtaking re-enactment that packs emotional punch.

In 1985, Joe Simpson and Simon Yates attempted to climb the west face of the Siula Grande - a 6.3km ascent that had never yet been completed. The pair climbed alpine style; this meant no camps halfway up, and no more equipment than the two of them could carry. Joe admits, in hindsight, they were a bit stupid.

Touching the void is a 2003 documentary based on the book by Joe Simpson, detailing their climb, and almost fatal descent. The film uses talking heads (that is, interviews with the climbers themselves), along with performed re-enactments filmed on location at the slope, to convey their struggle to survive, and the brutal decisions each had to make.

The Bourne Legacy

Awkwardly woven into the plot of the previous trilogy, The Bourne Legacy does as it's supposed to: it cashes in on past successes, and delivers a good enough film to sell tickets.

Sometimes sequels can be great things. They can develop a character, expand a world, explore new ideas, deliver new thrills, and make a healthy profit for the movie industry - all built upon the foundation of an earlier film. The Bourne franchise has had its fair share of this; The Bourne Identity was a well paced, well executed spy thriller that broke a dry spell of good spy thrillers (just have a look at the Bond movies coming out then). The Bourne Supremacy took the idea further - introduced new well-integrated characters, better explored Jason Bourne's motivations, and dialled up the action to boot. The Bourne Ultimatum improved on everything in Supremacy, and tied things up nicely with a happy - and importantly, non-violent ending.

The Bourne Legacy takes that fantastic foundation, chucks it in the dumpster, and goes on to tell its own mediocre story that taints the beauty of the first three films.