jordi_smilo
Joined Mar 2005
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Reviews5
jordi_smilo's rating
Once in a while, you see a little and very unknown movie that grabs you, touches you and opens your eyes. "Zomerdag" is that kind of movie.
Young Thomas (Ruben van Weelden) rides his bike on a hot summer day, and accidentally, he meets forty-year-old Paul (Marcel Hensema, who was equally fantastic in SIMON). After this first meeting - which is anything but friendly - they keep meeting up with each other, and that's how they become friends. Thomas starts to see Paul as the father he never had, and Paul starts to treat him as if he's his child.
With just a few words, some simple guitar music and a calm way of filming and editing, director Marc de Cloe manages to create a beautiful and beautifully detailed little story. He captures the uncertainties of both adolescents and pre-midlife adults with just a single shot, a silence, a short line of dialogue.
And that's the power of the movie. You don't need much dialogue or wild cinematography or other movie-making tricks to tell a good, recognizable and beautiful story.
If you'll ever be able to see this one, don't miss it. I think you can only watch it on Dutch television, and on the website www.cinema.nl.
"Zomerdag" is a little jewel, unique in its kind.
Young Thomas (Ruben van Weelden) rides his bike on a hot summer day, and accidentally, he meets forty-year-old Paul (Marcel Hensema, who was equally fantastic in SIMON). After this first meeting - which is anything but friendly - they keep meeting up with each other, and that's how they become friends. Thomas starts to see Paul as the father he never had, and Paul starts to treat him as if he's his child.
With just a few words, some simple guitar music and a calm way of filming and editing, director Marc de Cloe manages to create a beautiful and beautifully detailed little story. He captures the uncertainties of both adolescents and pre-midlife adults with just a single shot, a silence, a short line of dialogue.
And that's the power of the movie. You don't need much dialogue or wild cinematography or other movie-making tricks to tell a good, recognizable and beautiful story.
If you'll ever be able to see this one, don't miss it. I think you can only watch it on Dutch television, and on the website www.cinema.nl.
"Zomerdag" is a little jewel, unique in its kind.
I saw "Het Rijexamen" a couple of months ago, as a short before "Red Eye". It was completely unexpected - but absolutely hilarious.
The story's about Lana, an elderly woman who wants to finally get her driver's license. She is very nervous, and unfortunately, her drive instructor is anything but comforting. He's a complaining, cursing, vulgar man, and he has problems in his love life. Lana becomes victim of this man's behavior.
The movie is highly original, and deserves a greater audience. These shorts are the kind of movies that give us hope for the Dutch cinema.
8/10
The story's about Lana, an elderly woman who wants to finally get her driver's license. She is very nervous, and unfortunately, her drive instructor is anything but comforting. He's a complaining, cursing, vulgar man, and he has problems in his love life. Lana becomes victim of this man's behavior.
The movie is highly original, and deserves a greater audience. These shorts are the kind of movies that give us hope for the Dutch cinema.
8/10
Yesterday evening, I saw "DogVille" for the first time. People around me were very enthusiastic about it, and so was IMDb. That's why I had great expectations of it.
But after three hours, I was totally disappointed. And though the plot outline was interesting to me, I couldn't deny having the feeling of wasting three hours of my life. And I tell you why.
First, the cinematography was completely annoying. Useless camera moves, almost amateur use of zooming and twisting, and, most of all, distant and cold. The editing was painful for my eyes; fast, uncompleted - sometimes I thought the editor did never finish his work! The end was suddenly awful, and it didn't seem to fit with the rest of the movie. The music of the credits showed me a lack of taste; how can someone play such happy music after an awful scene?! And I didn't like Kidman's role; it simply lacked some credibility. Why did she stay in such a horrible place? And why didn't she tell the people of Dogville that she was the victim? That's why my mouth fell open when I discovered by who she was being chased...
Though, I really liked the idea and the production design (beautiful minimalistic). But it isn't enough to save this movie. Simply a waste of a fine cast.
Mister Von Trier, this could have been so much better.
But after three hours, I was totally disappointed. And though the plot outline was interesting to me, I couldn't deny having the feeling of wasting three hours of my life. And I tell you why.
First, the cinematography was completely annoying. Useless camera moves, almost amateur use of zooming and twisting, and, most of all, distant and cold. The editing was painful for my eyes; fast, uncompleted - sometimes I thought the editor did never finish his work! The end was suddenly awful, and it didn't seem to fit with the rest of the movie. The music of the credits showed me a lack of taste; how can someone play such happy music after an awful scene?! And I didn't like Kidman's role; it simply lacked some credibility. Why did she stay in such a horrible place? And why didn't she tell the people of Dogville that she was the victim? That's why my mouth fell open when I discovered by who she was being chased...
Though, I really liked the idea and the production design (beautiful minimalistic). But it isn't enough to save this movie. Simply a waste of a fine cast.
Mister Von Trier, this could have been so much better.