Movie Rankings

These are all rankings of films I have seen for the first time during the era of this blog: Tokyo Story (1953): A / Playtime (1967): A / Solaris (1972): A / Seven (1995): A / Isle of Dogs (2018): A / Singin’ in the Rain (1952): B / Kuroneko (1968): B / Wind River (2017): B / Jumanji: Welcome to the Jungle (2017): C / Early Man (2018): C / Avengers: Infinity War (2018): C / Descent (2007): D / Black Panther (2018): D /

Isle of Dogs (2018) - First Reaction - EJE

Greetings my fellow meme-consumers, I have just seen Isle of Dogs (2018), written and directed by Wes Anderson, starring Bryan Cranston, Koyu Rankin, and a whole bunch of other people, including some Wes Anderson regulars as well as some new faces for the director. This is Anderson’s ninth outing as director and the fifth film of his I have seen. I saw Moonrise Kingdom (2012) a few years ago so I cannot say if I would enjoy now and just within the past year have had the pleasure of seeing Rushmore (1998), Fantastic Mr. Fox (2009), and Darjeeling Limited (2007), which I have put in descending order of my preference here. I would recommend all films for the same reasons anyone would recommend a Wes Anderson film, although Darjeeling slows down a little in the second half, hence its placement here. Rushmore and Fantastic Mr. Fox are neck and neck as Rushmore is one of the few films where I audibly laughed despite watching it alone but the style and sheer enjoyment of Fantastic Mr. Fox is something to be reckoned with. Speaking of Fantastic, Isle of Dogs is Anderson’s second stop-motion film that also features talking animals who are able to communicate with humans. Those are really the only parallels between the two films apart from the stylistic nature that binds all of Anderson’s films. Isle of Dogs is a much more gritty, adult film than Fox which was based on a Roald Dahl book. While still a fun quirky adventure overall, there is some incredibly dark subject matter in the film that turns this film off from the average family viewing experience. Death has a very real presence in the film which allows for some of the most tense sequences Anderson has ever helmed, even though what we are seeing is never flesh and blood. Alexandre Desplat’s magnificent score also helps keep the suspense going with one of the more memorable and unique scores in recent memory for me, striking a very different tone from his folky, quaint score for Fox. Technically speaking, this may be one of the best stop-motion films I have ever seen, feeling larger than any Aardman outing and even bigger than Laika’s most ambitious projects like Kubo (2016). Every shot is absolute visual perfection that leaps off the screen in a way that live-action would struggle to. While the musical sequences in Fox blew me away, several scenes in this film contained that same complexity, with a scene involving the preparing of sushi standing out. It is hard to describe in words what I saw on the screen as it is something to behold. Despite being intimidated by the large voice cast, the focus is on the relationship between Bryan Cranston’s Chief and Koyu Rankin’s Atari, which is so incredibly sweet without becoming cheesy or overdone. The performances and writing in this film are subtle in their approach, not feeling like most voice acting in animation which feels the need to be a cartoon in and of itself. The voice acting feels like real people speaking even when its voicing for dogs. Every character feels unique despite the similar subtle approach. Despite their limited screen time, I could not imagine the lines of Bill Murray and Jeff Goldblum being switched and still working the way they do here. There are a few running rags that grew tiresome, but only one really stuck out and was addressed in the film, which allowed for some forgiveness. While the story is simple, I like a simple story done well, especially with all of the little touches added to each frame (literally) by hand. The subtitles and visual gags added for some great humor which I am sure I will find more of on second viewing. Also the representation of television through a more traditional animation style (although I do not know the exact type nor can I find the name of it currently) and the use of a translator in the film were very unique and added an aesthetic quality that can not be found even in other Anderson films and certainly not in any films by other directors. I cannot recommend this movie enough. If you do not enjoy Wes Anderson, I would not say this film will change that, but I do think it can at least be appreciated on a technical aspect. A.

Tokyo Story (1953) - First Reaction - EJE

Greetings my fellow meme-consumers, I have just seen Tokyo Story (1953), a film directed by Yasujiro Ozu, starring Setsuko Hara, Chishū Ryū, Sugimara Haruko, Chieko Higashiyama, So Yamamura, as well as many other Ozu regulars. My first introduction to Ozu was in my film class I am currently taking where we watched Ohayo (1959), which was a very delightful film as well as a discovery of a previously unknown director to myself. While Ohayo takes delight in childhood innocence and its frustrations, Tokyo Story looks at the pains of age and the tragedies therein. Unlike your King Lear or your Oedipus Rex, every main character in this film is the tragic figure, from the Mother and Father to their three children and their daughter-in-law. All actors give great performances filled with all of the intricacies we wish to see in a person on and off screen. While the personal standout for me (and I imagine other people) is Setsuko Hara, who gives Noriko such a pleasant yet not superficial portrayal that you understand (even if you do not agree) when Shukishi and Tomi say they feel pity for her, even the children all have their moments of anguish shown on the screen, and all feel genuine and touching that it almost feels unfair to let Ozu manipulate our emotions like this. Of course, a review of any Ozu film would be incomplete without discussing the style of his films. A refreshing break from typical Hollywood continuity editing, Ozu’s trademark 360 degree editing technique that does not beg for attention as most alternate forms of editing do, but simply adds a flare to each scene while not impairing its emotional content, simply showing every facet of it. The typical low camera height is also on display here of course and is perhaps the most quirky aspect of Ozu’s films and the aspect that justifies Wes Anderson’s inspiration from the man. Yet here it somehow throws away its typical charm for a much more poetic somber mood, as if the emotion of the film goes beyond the frame itself, rendering the low height as despondent and melancholy as its characters it shows. Perhaps the greatest compliment I can give the film is that it replaced the overwhelming joy I had throughout the day with an emotional deepness I can’t shake (at least until I see Isle of Dogs (2018) later today). There is not much else for me to say here without ruining your experience of the film. With that, I give it a strong A.

Singin' In the Rain (1952) - First Reaction - EJE

Greetings my fellow meme-consumers, I have just seen Singin’ in the Rain (1952), a musical directed by Gene Kelly and Stanley Donen, starring Debbie Reynolds, Gene Kelly, and Donald O’Connor. This film is considered to be one of if not the defining Hollywood studio musical, and it’s not hard to see why after having seen the film myself. Placing this film in the 1920s is the only time period where this film could make sense as it deconstructs the creation of the conventional musicals of that time. The premiere of the film where our main characters are introduced pokes fun at the hollow nature of Hollywood and its films while the rest of the film shows what the causes of this hollowness are. In doing so however, the film also embraces all of these tropes but with a self-awareness and a genuine sincerity in them that increases pleasure rather than depleting it. This film’s enjoyment is seeing it build up the exact thing it knocks down simultaneously. Our three main leads oose charisma and charm and are playing directly to the crowd, which makes sense with their characters being entertainers in the film. While Gene Kelly is the star of this film, both Debbie Reynolds and Donald O’Connor have their own scenes where they say “look at me” without it coming off desperate but instead completely earned. Having watched this in a film class, I know some context in this film that was told to me by our instructor which shaped my opinion of the film before and after. This film was essentially constructed around exploiting the back catalogue of MGM Studios songbook. These were all classic songs well known to audiences for years. The plot was after the fact and pieced together these songs, and knowing this before the film, it became very apparent, though hardly ever unwelcome. The film even pokes fun at this very idea to an extent when a decision is made by our main characters to turn a film into a musical, piecing the songs around the action, an inverse to the film we are seeing. Another thing I knew after the film was over is that both Debbie Reynolds and Donald O’Connor suffered during the production of this film. Debbie Reynolds said of the experience “Making Singin' in the Rain and childbirth were the two hardest things I've ever done.” Not having ever danced before the film, Reynolds was taught by Kelly and Fred Astaire to dance and in the “Good Morning” sequence a blood vessel burst in Reynolds’ foot, causing her to pass out. Donald O’Connor performs an extended solo performance of “Make ‘Em Laugh,” which caused him to be bed-ridden for three days after until the crew realized the camera was out of focus and the whole scene was reshot, putting O’Connor back in bed for three more days. Yet the film seems so effortless and fun when you are watching it that you almost wish to forget all of that and just enjoy the film. The cinematography utilizes very rich colors and a very active and lively camera that bring every scene alive with so much energy. The only negative is that I am not someone who derives much pleasure from watching people tapdance for extended periods of time, which makes up a significant portion of the film, taking away much of my enjoyment through no fault of the film really. There is a “dream sequence” as I will refer to it which illustrates my feelings toward the extended sequences. It is an incredibly long scene of almost exclusively dancing in different studio settings. Once we return to reality, so much time had passed I had forgotten what scene we were in. A great film but one that is not always for me in this way. A film that acts in a similar manner is La La Land (2016), a film which I enjoy much more for its greater ambition and storytelling, with much less Hollywood cheese appearing in that film, replaced with genuine wonder at times. All in all I feel a very strong B with this film, and would highly recommend it to everyone, especially if you enjoy dancing in film.

Types of Film Reviews You Will See - EJE

First Reaction: Probably the most common type of film review you will see on my blog or Youtube channel, as it is simply my thoughts on a film I have just seen for the first time. Free of spoilers and formal in nature, it provides my concise thoughts and recommendations for a particular film without in-depth analysis of why these things are true. ________________________________________________________________________________________________________________________________________________ Initial Thoughts: Very similar to First Reaction reviews only this can go into spoilers and discuss specific things I liked and disliked without going into how these things form an aesthetic experience for a viewer. ________________________________________________________________________________________________________________________________________________ Things I Like: Similar to First Reaction in format but looks at films I have seen multiple times and love. Generally classic films that are universally acclaimed that I would like to recommend. Can either avoid or go into spoilers but in a much more formal pattern in which these elements of the film are connected to show what makes the film enjoyable for me. ________________________________________________________________________________________________________________________________________________ Film Criticism: This is the most unique review that will be seen on my blog or Youtube channel, as it is an in-depth analysis of one scene from a film, deconstructing its individual aspects to show what does or does not work about the scene.

A List of My Favorite Movies I Have Seen Recently - EJE

Here are a list of films I have seen recently and enjoyed immensely. I plan to do full reviews of all of these, but wanted you to have them here so you could watch them as soon as possible. The General (1926) - His Girl Friday (1940) - Citizen Kane (1941) - Rear Window (1954) - Seventh Seal (1957) - Vertigo (1958) - North by Northwest (1959) - Ohayo (1959) - Breathless (1960) - Repulsion (1965) - Play Time (1968) - 2001: A Space Odyssey (1968) - Last Picture Show (1971) - Aguirre, Wrath of God (1972) - Godfather (1972) - Holy Mountain (1973) - Godfather Part II (1974) - Conversation (1974) - Chinatown (1974) - Monty Python and Holy Grail (1975) - Eraserhead (1977) - Close Encounters of the Third Kind (1977) - Nosferatu the Vampyre (1979) - Apocalypse Now (1979) - Raging Bull (1980) - Meaning of Life (1983) - Paris, Texas (1984) - Do the Right Thing (1989) - Toy Story (1994) - Three Colors: Red (1994) - Rushmore (1998) - Big Lebowski (1998) - Toy Story 2 (1999) - Code Unknown (2000) - American Psycho (2000) - Road to Perdition (2002) - Prestige (2006) - Children of Men (2006) - Ratatouille (2007) - There Will Be Blood (2007) - No Country for Old Men (2007) - REC (2007) - Dear Zachary (2008) - Synecdoche, New York (2008) - Let the Right One In (2008) - Dark Knight (2008) - Dogtooth (2009) - Fantastic Mr. Fox (2009) - White Ribbon (2009) - Antichrist (2009) - Certified Copy (2010) - Scott Pilgrim vs. the World (2010) - Bernie (2011) - Place Beyond the Pines (2012) - It’s Such a Beautiful Day (2012) - Her (2013) - Hugo (2013) - Embrace of the Serpent (2015) - Nightcrawler (2015) - A Ghost Story (2015) - Arrival (2016) - Silence (2016) - La La Land (2016) - It Comes at Night (2017) - Blade Runner 2049 (2017) - Three Billboards Outside Ebbing, Missouri (2017) - Get Out (2017).

An Introduction to My Film Criticism - EJE

Greetings my fellow meme-consumers, I am Ean James Elmore and I am going to describe my declaration of principles as a film reviewer here. ________________________________________________________________________________________________________________________________________________ I believe in a rating system in order to clarify my ultimate opinion of a film and compare it to other similar films in terms of quality. It is my job to give my opinion on the quality of film, which is easily seen in an academic grading system: A, B, C, D, and F. No pluses or minuses are employed in my system. Oftentimes, a review may focus on a particular flaw or praise that may inflate the quality of a film to a viewer, an inflation that can be done away with through an academic grading system. An A film is that which accomplishes what it set out to do and exceeds expectations. A B film accomplishes its goals but does not exceed expectations in a significant way or has some glaring flaws. A C film either accomplishes what it set out to do, which was not very ambitious to begin with, or has many issues. A D film fails to entertain for the most part but has some admirable qualities. An F film fails in its attempts at entertainment with few or no admirable qualities. I do not place this belief here first on the list because it is the most important but because it is the most popular portion of a review. ________________________________________________________________________________________________________________________________________________ I do not believe politics or the “deeper meaning” of a film greatly impacts its quality. Films are not ambassadors of beliefs or sermons, or at least those things do not make film great. What makes film great is the entertainment generated by the film. Entertainment does not simply mean a “popcorn movie,” as films such as Schindler’s List (1993), White Ribbon (2008), and Dogtooth (2009) are entertaining in ways that differ from “popcorn films.” Entertainment is an aesthetic experience between a viewer, images on a screen, and sound from speakers (excluding silent film). Film does not exist beyond those terms. This is a complicated issue, but I hope I have made it clear enough in 98 words here. ________________________________________________________________________________________________________________________________________________ I can only tell you if I enjoyed a film as the filmmaker’s intended for me to enjoy it. This primarily entails two things. Firstly, I am not here to tell you the objective quality of a film. Films are subjective from person to person, which is part of the beauty of any entertainment. Secondly, films may be enjoyable in their failures or shortcomings, such as The Room (2003), Fateful Findings (2013), and to a different extent the Labyrinth (1986), but they are not entertaining in a way intended by the filmmakers, which makes them bad or average films from an aesthetic perspective. ________________________________________________________________________________________________________________________________________________ I hope my film reviews bring some pleasure to whoever reads them here or watches them on my Youtube channel. Thank you, and I hope you come back again sometime. Godspeed.