OOH LA LA

Modern day Hollywood hype around a certain flick is rarely deserved, and I was one of the doubters when it came to 14 (fourteen) nominations for „oscars” for a musical. To be quite hones, I don't like musicals. Basically, I hate them. If I exclude the classic ones („Hair”, „All that jazz”), I disliked almost every single one of those who roared across Kodak theater in the '90s and early '00s (i.e. „Moulin rouge!” and „Chicago”). Hence, my skepticism around the much acclaimed and awaited second Damien Chazelle's long feature was really, really high. And totally undeserved.

In its nutshell, „La la land” is one perfectly balanced blockbuster. Although a musical, the score doesn't overpower the narrative. Although lighthearted and cheerful, it offers some serious existential questions beneath its surface. Although serious for a musical, it doesn't drown in the darkness of modern day US drama. Although funny, it criticizes both Hollywood and the world of music. Although one great hommage to the „good old times”, city of Los Angeles, classical Hollywood and jazz, it stays way out of the pool of pathetic and tacky thank-you notes. All of this, thanks to one single man, the genius behind the camera, young and incredibly talented director and screenwriter, Damien Chazelle.

Taking total control over this vast project, he shows off in every single aspect of it, nailing the certain „golden boys” for best directing, cinematography, editing and production design. By casting the best available young actress (immaculate Emma Stone), he secures the reality of his characters, using the male lead (best Gosling in years) to complement her story. And the story is really one of those everyone can easily relate to, giving the widest possible audience the chance to follow it all the way to the very end.

Ending is a special piece of Chazelle's art, just like the one in his previous indie hit, „Whiplash”. Although a huge musical (jazz) fan, Damien doesn't produce movie fairytales, although they certainly look that way in one point or another. The ending will lift „La la land” from its shell of a elaborated romantic comedy to the level of serious drama that will stand the test of time in years to come.

„La la land” is the one of the best American movies in this decade and certainly the best musical in this century. It will make you laugh, cry, think over it and talk about it long after you left the cinema. Just like every great movie in cinema history does.

LA LA LAND – 9/10

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RAW AND PASSIONATE

Guitar is one of those Holy Grails for men, like the profession of pilot or astronaut. There wasn't a single straight guy who didn't grab some piece of wood with strings over it and tried to impress himself or the others at some point in life.

Hence, guitar players are treated like Gods when it comes to rock'n'roll bands and what bands could be more representative than „Led Zeppelin”, „U2” or „White Stripes”?

Jimmy Page, The Edge and Jack White each represent their decade with the originality they brought to rock'n'roll, entertwining their life stories with their passion for guitar and music. The passion will be the most powerul segment of the movie, whether it comes to guitarist's admiration to their role models or amongst themselves. Legendary riffs will be exchanged, as well as some more loose jam sessions.

Unfortunately, the script itself will be too loose, not always following and gathering together all the parallel elements in a coherent story.

„It might get loud” is a must see for every man who ever grabbed guitar in his hands and also a solid documentary for each true rock'n'roll fan.

IT MIGHT GET LOUD – 7/10

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HEARTBREAKING, BUT INSUFFICIENT

Transforming celebrity's life into a documentary is a painstaking task, especially when it comes to such giants as David Bowie. Hence, the decision of makers of „David Bowie: The last five years” was kinda logical, narrowing their focus to  three final projects in his life: albums „The next day” and „Blackstar”, as well as the music for the theatrical play „Lazarus”.

Final segment of his creative life is being depicted through the eyes of musicians and producers involved on those projects, combined with some previosly unseen new and old video material. Although interesting to fans, this kind of approach limits the influence and variety of Bowie's talent. However, it also sheds light on his final decisions, fanatical secrecy about his work and total reticence from public life. The very end of the flick is a moving testimony of a sudden and quiet exit of Mr. Bowie from the world of living.

„David Bowie: The last five years” is a valuable material for hardcore fans, but there should be more documentaries like this.

DAVID BOWIE: THE LAST FIVE YEARS – 5/10

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PROVOCATION, BALKAN STYLE

Balkan is a place of prejudice, intolerance and hatred since the dawn of the time and it will continue to be just that for many decades to come. Hence, most of the dramas originating from southeastern Europe tend to drown in the overall sense of helplessness and futility of the grim reality.

Rajko Grlic offers something a little bit different, mixing the heavy drama layout of a Croat fascist offspring homosexual being beaten in his own town with some brutal dark humor of the forced relationship with his Serbian neighbors. Although very painful to watch if you are born in Serbia and Croatia, the script will make you laugh, think and process the dark subjets it ruthelessly tackles. Much of that will be made possible via magnificent role of Nebojsa Glogovac and his ability to swap identities in a blink of an eye. Symbolism will be very strong throughout the entire course of the movie, one of the strongest in decades from the entire cinematographic region.

However, the sheer amount of provocations will engulf the storyline from time to time, diminishing their effect to some extent. Also, the main parallel with the theory of the Croatian constitution will be just too artificial if you are a Balkan born.

„The Constitution” is one of the rare cinematographic examples that deserves a „roaming” to the European public.

THE CONSTITUTION – 7/10

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ABRUPT AND THIN

When you're doing an adaptation of a classic, there isn't much room for improvisation. Hence, Bronte's story about Jane Eyre's search for happiness in life is being played by the numbers when it comes to scriptwriting. Overall rhythm will be slow, so the abrupt development will come not as a surprise, but as a  rather poorly motivated irregularity in the storyline.

When positive aspects are at stake, the acting is solid by both Fassbender and Wasikowska, while the supporting cast fails to follow their chemistry on the big screen.

„Jane Eyre” can be watched, but only once will do just fine.

JANE EYRE – 4/10

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UNTRACKABLE

Overlapping timelines is one the concepts brought into the mainstream American SF with the „Terminator” saga 30 years ago and despite its heavy utilization, it failed to produce a decent heir to the trone established by James Cameron.

„Mr. Nobody” tries to elaborate that basic concept by giving numerous paths that branch out from the single life decision, a young boy forced to choose between splitting parents. However, the number and elaboration of those alternative realities, as well as the similarity between them will soon overwhelm the viewer, causing him to be totally indifferent regarding every single of them.

On the positive side, there is some really nicely made sequences and production design solutions.

„Mr. Nobody” laid out a solid foundation, but crumbled upon the weight of its ambition.

MR. NOBODY – 3/10

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GENRE MAINSTREAM

Family drama is one of those genres that are almost but extinct in these modern Hollywood times, since it has been completely overwhelmed with the heavy drama style of narrating real life stories. And it wasn't always like that.

Jake Gyllenhaal gets one of his first major opportunities on the big screen with a every kid's dream of flying to outer space from a God forsaken small mining town story called „October sky”. There will be no surprises here, since the script follows all the well known cornerstones of similar long features, the mistrust and judgement of the boys fellow citizens, the awe of the authorities when faced upon their achievements and the dream come true outcome at the end.

„October sky” won't disappoint you, but it won't enthuse you either.

OCTOBER SKY – 5/10

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REFRESHING, BUT EMPTY

Modern day Hollywood has a huge problem not only with the overall vast majority of mediocre scripts, but also with the ones that tend to proclaim quality, since there is a real danger that they will get stuck in the sea of pretentiousness and emptiness that follows it.

SA failed to produce a solid SF movie in the last decade and it failed to achieve that with Denis Villeneuve's new long feature, the much appraised „Arrival”.

Nevertheless, Canadian born is a good director and he masters with the innovative cuts and angles in this one as well. The production is totally up-to-date, dominated by sterile dark tone minimalistic design. Acting is correct, as well as the humane part of the backstory that follows the main narrative. Atmosphere is nicely balanced and the tension is being steadily built up in the director's trademark slow pace.

On the other hand, the script is just too empty and unconvincing in giving the answer to the main question every SF that deals with the first contact between humanity and outer space species asks:

„Why are they here?”

The answer is given, but it just so weak and anticlimatic that it hurts. Even if „Arrival” represents only the beginning of a trilogy of franchize.

„Arrival” will be worth watching, but not worth remembering it.

ARRIVAL – 5/10

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PATHETIC, BUT IMPORTANT

Oliver Stone can not make a movie without a certain amount of pathetic patriotism and/or social criticism, and he does that with his newest political biopic, „Snowden”.

Story about the most significant US administration whistle blower tends to criticize Obama's administration and its methods of gathering intelligence and monitoring its citizens. It does so with a bit tacky disbelief in the ideals of the American society that are being betrayed by CIA programs developed by Edward Snowden.

On the other hand, the acting is solid, led by Joseph Gordon-Levitt, and the story itself is important and shocking at the same time. Hence, the entire movie should be observed as a script over everything else and that represents its major quality.

„Snowden” is more an educational tool than a classic movie and you should definitely go and see it.

SNOWDEN - 6/10

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DILUTED TO THE POINT OF BANALITY

When a drama tackles with such a important and difficult life subject as a somewhat forced adoption of a stranded baby, the development and outcome of the movie must be heartmoving and powerful. Everything else will be considered a failure, as is „The light between oceans”.

It is a complete failure of adapted screenwriting, not giving the convincing performances (Fassbender and especially Vikander) that will lead to a proper level of motivation, as well as the failure of elaborating the viable dilemmas that are inevitable after such a plot layout.

Overall tempo will also be pretty much tepid and almost no breathtaking turns will be presented in 140 minutes of the movie, while the very end will be just completely immersed in pathetic.

„The light between oceans” is just a poor movie based on a potentially great story.

 THE LIGHT BETWEEN OCEANS – 2/10

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GOOD LOOKING, BUT PRETENTIOUS

Although Tom Ford represents a fresh face behind the Hollywood cameras, his ambition is nonetheless very vast. Hence, his second feature film, psychological thriller „Nocturnal animals'', aims very high when it comes to hidden agenda, symbolism and metaphorical parallels between the manuscript of a young writer (Jake Gyllenhaal) and the real life he shared with his ex-partner, a young and aspiring artist (Amy Adams).

Visual impact of the lighting and backdrops show a clear and refined taste that Tom Ford, being a man from fashion industry, possesses. The atmosphere is beautifully sterile and claustrophobic at the same time, and for that, the director deserves his credit. Acting is pretty solid, led by Michael Shannon's impressive miniature.

However, everything falls in front of the pretentious, yet empty script, that does not evolve from the starting premises and ends abruptly and without any clarifications.

„Nocturnal animals” is a typical new-age Hollywood quality flick, being a feast for an eye and a disappointment for the brain.

NOCTURNAL ANIMALS – 4/10

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