proud_luddite

Aus dem Nichts (2017)

A fascinating story

Katja (Diane Kruger) lives in Hamburg, Germany with her husband Nuri - a man of Kurdish Turkish heritage - and their five-year-old son. In the film's three segments, her life is chronicled. The first involves a major crime; the second involves the trial resulting from the crime; and the third follows the trial's verdict.

Each of the film's segments - and the film as a whole - are full of surprises and shocks but never far-fetched. As the main character has serious flaws while remaining an object of sympathy, a great deal of credit can be given to Kruger for her solid lead performance and Fatih Akin for his strong directing and especially for his brilliant, multi-layered screenplay. The narrative also covers tensions in a mixed-race extended family.

As the family lawyer, Denis Moschitto also delivers a fine performance as the most grounded character in the film. In one courtroom scene, he unleashes a massive amount of power and emotion.

The film's conclusion is truly shocking but, after much thought and discussion, could make sense under the circumstances. The fact that the film can generate so much thought and discussion makes its screenplay one of the best of the year. - dbamateurcritic

OUTSTANDING ACHIEVEMENT: Screenplay by Fatih Akin.

From Here to Eternity (1953)

A great cast and a great film

In 1941 in the Hawaiian island of Oahu, the story focuses on a U. S. Army unit (Schofield Barracks) and the lives of some of its members plus their love interests. The film is based on the novel by James Jones.

The main characters include First Sergeant Milton Warden (Burt Lancaster) who reports to Captain Dana Holmes (Phillip Ober) who frequently cheats on his wife Karen (Deborah Kerr) with whom Milton has a secret affair. Also reporting to Holmes are Privates Robert E. Lee Prewitt (Montgomery Clift) and Angelo Maggio (Frank Sinatra). Prewitt is a former boxer who refuses to box any more due to a past incident; he hooks up with Lorene (Donna Reed), a hostess at a social club. Maggio has a serious conflict with stockade Sergeant Judson (Ernest Borgnine).

Despite occasional 'soap opera' moments, the film is always enjoyable and has a great mix of military stories with love stories. Some of the bullying scenes are difficult to endure although some of the worst incidents take place off-screen and are narrated later by the victims.

The greatest asset in this remarkable film is its superb cast. Sinatra shines in a scene with Clift after Maggio has been brutally mistreated by Judson. The following scene, taking place the next day, shows Clift at his best. And the same can be said for Reed during the film's last half-hour. And yes, Lancaster and Kerr really fire it up during that famous beach scene. To be fair, all are great in various scenes. These are just the highlights.

This film fully deserves its classic status. And of course, its climax (like so many other scenes) is magnificently executed by director Fred Zinnemann. - dbamateurcritic

RATING: 9 out of 10

OUTSTANDING ACHIEVEMENT: Acting Ensemble.

Brother (2022)

very good

Based on the novel by David Chariandy: in the 1990s in the Scarborough suburb of Toronto, Ruth (Marsha Stephanie Blake) is a Jamaican immigrant raising her teenage sons Francis (Aaron Pierre) and Michael (Lamar Johnson). Non-linear storytelling is used in three different time periods to show the family's struggles, strengths, and life-changing events.

Many small scenes are used in the storytelling and they work very well. Even though the multiple time lines are challenging at first, this method pays off very well. This is mainly because the later time-frame indicates that a serious change has happened in the middle time period. The viewer is left curious as to what mysterious event will happen in the middle frame as the film is nearing its end. So, while the climax is in the middle time-frame, it ends up being exposed near the film's end rather than in the middle as it would have in a linear time frame.

The film's first half is depressing as it exposes hardships with very few lighter moments to relieve the sadness. While this would be a handicap for other films, "Brother" works well in channeling the mood to melancholy in its last quarter as it pieces all the mysteries together so compassionately. It is also accompanied beautifully by the song "Ne Me Quitte Pas" sung by Nina Simone. In fact, director/writer Clement Virgo uses music beautifully throughout his fine film with an impressive score by Todor Kobakov.

"Brother" uses various themes effectively including police brutality; the poor immigrant experience; exploitive talent contests in the 1990s in Toronto (and the false hope and heartbreak that arise); and the terrible effects from grief. This film is courageous in its detailed focus on grief which is rare and praiseworthy.

The main performances are powerful especially Johnson whose character is the main focus of the film and Blake whose character changes significantly in different time periods. - dbamateurcritic.

Riceboy Sleeps (2022)

A great lead performance

So-Young (Choi Seung-Yoon) immigrates from South Korea along with her young son, Dong-Hyun (Dohyun Noel Hwang; later played by Ethan Hwang) to the Vancouver region in Canada. The film chronicles their various adjustments, struggles, and victories. "Riceboy Sleeps" is based partly on the life of Anthony Shim who is also the film's director and writer.

The early scenes in Canada show troubles of adjustment for both mother and son at work and at school respectively. This is greatly highlighted in a powerful, fiery scene in a school principal's office. These scenes take place around 1990 before the story jumps to 1999. At this point, adjustment has taken place and the main characters have less trouble standing out as "ethnics" and the racism they faced in earlier years. And while Shim shows great talent as a writer and director, his acting skills are also well displayed in the later section where he plays So-Young's boyfriend, a character who has a sweet humility that comes off as shy and awkward sometimes.

But Shim's best talents show in his directing. Many scenes are rich with depth and in some of them, the camera moves perfectly in single-shot scenes.

A scene in Korea near the end seems to have a different flow compared to the film's other scenes. And while it is quite good and necessary to the story, part of it might be far-fetched as it includes someone whose health is very weak and not likely to sustain the demands of travel. But this is a minor complaint for a film that shines in so many other ways.

The movie's most outstanding asset is Choi's performance. While she has great cathartic scenes at Dong-Hyun's school and her workplace, she is most powerful in subtle, quiet ways. This includes her awkward adjustment in a new job in a new country plus her most outstanding scene (and possibly the best in the film): one in which she is having a conversation with a doctor.

Some have compared "Riceboy Sleeps" with "Minari". This is a compliment to both great films. - dbamateurcritic

RATING: 9 out of 10

OUTSTANDING ACHIEVEMENT: Acting by Choi Seung-Yoon.

An Cailín Ciúin (2022)

very powerful

In 1981, Cáit (Catherine Clinch) is nine years old and part of a large, poor family in rural Ireland. Relating poorly in her family and in school, she is sent during the summer to stay with her mother's well-off second cousin, Eibhlín (Carrie Crowley) and her husband Seán (Andrew Bennett). The film is based on the short story "Foster" by Claire Keegan and is mostly in the Gaelic language.

"The Quiet Girl" is a powerful film in which mysteries are gradually revealed. And Cáit is not the only quiet person in the story. Seán also says very little and the gradual bond between the two is one of the film's treasures. Each encourages the other to speak more.

This may or may not be true in Irish culture but it seems, at least in Irish films (including "Brooklyn" , "The Banshees of Inisherin" and the current film), that each Irish community has a wretched gossip: someone middle-aged or older who believes it is her duty to know everyone's private affairs and occasionally to pass the information on to others. This particular archetype in "The Quiet Girl" reveals important past history in the film's second half.

Ultimately, it is the film's final scene that is its most powerful. Like so many other scenes that precede it, words are few while subtext is overpowering. And director/writer Colm Bailréad chooses to cut the scene at a moment that might seem premature but ends up being more gripping than if the scene had continued. A brilliant decision to complete a beautifully, moving film highlighted by an exceptional child performance. - dbamateurcritic.

American Sniper (2014)

a mixed result

Based on the true story of Chris Kyle, an expert marksman and U. S. Navy Seal, Bradley Cooper portrays the main character who fought in the front lines during the Iraq War.

The first half of the movie is seen mainly through Kyle's viewpoint. He is a devout patriot and sees his mission as saving his country and its people. This is a fair viewpoint but the movie avoids the many counter-arguments happening at the time of that very divisive war.

Iraqi civilians are mainly portrayed as the "bad guys" which is unfair considering their ordinary lives have been uprooted with so many radical changes.

Thankfully, the film doesn't have a totally biased viewpoint. It is quite honest in the difficulties faced by soldiers after returning home. For Chris, this is mainly reflected by his wife, played by Sienna Miller, who is clear in her unhappiness about Chris' drive and how he has changed. Though Cooper gives a rather good performance, there could have been more depth and subtlety in the portrayal of someone who is driven while denying the effect of the traumas he has experienced.

At times, the film seems too long but it ends with a very moving finale that is felt well after the movie's completion. The ending also centers around an event that boldly and effectively takes place off-screen. - dbamateurcritic.

All the Beauty and the Bloodshed (2022)

Nan Goldin is a fascinating documentary subject

The career, activism, and life of renowned New York photographer Nan Goldin are the subject of this documentary.

Various subjects are covered in this film. The main one involves an activist group P. A. I. N. (Prescription Addiction Intervention Now) and its battles against the wealthy Sackler family who own Purdue Pharma. P. A. I. N's main goal is to hold Purdue Pharma accountable for the current opioid addiction crisis.

Other subjects include the highlights of Goldin's career and her earlier involvement in support of members of the LGBT community during the AIDS crisis of the 1980s and 1990s. One of the most moving subjects involves memories of Goldin's childhood which included a heartbreaking tragedy. Here, the footage of the 1950s and 1960s was gripping.

The filmmakers made a great decision to have Goldin do most of the narration. She has a great voice that is genuine and unpolished. And the placing of photographs was also perfectly arranged throughout the film.

The film is intriguing while also telling a great activist story in which it is sometimes a mystery whether P. A. I. N. will fully or partially succeed in its goals. In addition, many fascinating eras and histories are covered in the film. Occasionally, it feels like too much is covered but the film wins overall. - dbamateurcritic.

Living (2022)

A touching film

1953, London: Rodney Williams (Bill Nighy) is a senior city bureaucrat who, like his colleagues and superiors, has little or no interest in doing good for the city despite being paid to do so. After receiving shocking news, Rodney's life values change significantly. "Living" is a remake of the Japanese film "Ikiru" (To Live) released in 1952 and which takes place around the same time.

During scenes involving Rodney's workplace, "Living" perfectly exposes one of the most repulsive collective acts of our world: passing the buck. Other forms of human nature are also on display including the fact that we're very different - in a better way - when responding to tragedy and how sad it is that our better ways are likely only temporary.

"Living" has a very special scene during its last fifteen minutes involving one of Rodney's younger colleagues and a police officer. This scene is touching in the deepest of ways and it is the highlight of the film which has many other fine moments underlined by Nighy's performance.

The film creates a time capsule in many ways. One of them is the special colour cinematography that was typical of many films released during its time period. This is a fine film with a lot of inspiration to reflect on life. - dbamateurcritic.

Beurokeo (2022)

A fascinating makeshift family

A church in Busan, Korea provides a special service where abandoned babies can be dropped off and later adopted into families. Two criminals steal unregistered babies with the intention of illegally selling them on the adoption black market.

This film has a strange but believable bunch of misfits who unintentionally create a makeshift family. The two criminals and a kidnapped baby are joined by a young repentant mother and a boy from an orphanage. The extended family gradually expands to include detectives assigned to keep watch on the criminals plus prospective adoptive parents.

As could be expected, there is a lot of comical relief despite - or maybe because of - all the criminality involved. In the end, "Broker" has a great story with much intermingling in an odd mix. - dbamateurcritic.

The Danish Girl (2015)

Redmayne is superb

Based on a true story: In 1920s Copenhagen, Einar Wegener (Eddie Redmayne) is a landscape artist and his wife Gerda (Alicia Vikander) is a portrait artist. When a female model is late to pose for Gerda, she asks Einar to temporarily replace her, partly dressed in women's clothes. This incident re-stimulates Einar's early desires to live as a female.

It is also notable that Einar's transition to Lili Elbe is one of the first known transgender incidents in history.

I'm sure my fellow movie buffs can recall times when a film was universally acclaimed and we just didn't see what any of the fuss is about. Sometimes, we even disliked the film. "The Danish Girl" creates that rare situation in the opposite direction: a film that is universally rated as mediocre or disappointing; but one which I found superb. The naysayers at least agree that Redmayne and Vikander are great in their roles. More on that later.

I believe that director Tom Hooper (who helped raise "The King's Speech" to such a high level) deserves great credit for elevating the mood in this film to one of intensity mixed with beauty. There is much risk in expressing true identity at a time when the term "transgender" did not even exist. The deeper understanding of artists, among others, is on display with kindness and compassion. The beauty of cities like Copenhagen, Paris, and Dresden (with exquisite set designs, cinematography, and music) all contribute to keep the aesthetics of this film at the highest level.

But it truly is the acting that makes this film as great as it is. Redmayne's performance alone would have been adequate but Vikander's contribution is more than that of a supporting role. As an emerging artist and as a woman whose marriage is changing in ways that could never have been equaled at that time, Vikander brings great depth to Gerda as her love and support are unyielding during a very difficult and unusual time.

Redmayne is truly sensational in this film. This is not a surprise considering his turn in last year's "The Theory of Everything" for which he was rightly praised with multiple awards. In "Danish Girl", his depth goes even further as he boldly and courageously exposes the sensitivity of a unique and misunderstood soul. From the time he first reacts to wearing women's clothes, the movie is riveting as he easily conveys nuance in his facial expressions and takes great risks to be truthful and authentic.

As Charlize Theron did with "Monster", Redmanyne's sublime performance raises a fine film to an even greater level. - dbamateurcritic

RATING: 9 out of 10

OUTSTANDING ACHIEVEMENT: Lead Performance by Eddie Redmayne.

Sorcerer (1977)

This movie as some of the best action scenes ever filmed.

Four international criminal fugitives end up in a South American village: Jackie Scanlon (Roy Scheider) from the USA; Victor Manzon (Bruno Cremer) from France; Nilo (Francisco Rabal) from Mexico; and Kassem (Amidou) from Israel. In the hope of escaping their current desperation, they agree to partake in a very dangerous mission of transporting badly stored dynamite using unstable trucks. The film is based on the French novel "La Salaire de la Peur" (The Wages of Fear) by Georges Arnaud. The book had previously been adapted into a French film released in 1953.

Sometimes, the film is difficult to follow in the beginning although its international intrigue is always fascinating. But any early reservations are destroyed once the truck journeys begin. Without revealing too much, there is one scene involving a suspension bridge and another involving a tree. They are among the best action scenes ever filmed. In particular, the bridge scene is so thrilling and grueling that the suspense (no pun intended) is almost painful. For this, the highest praise must go to director William Friedkin and editors Bud Smith and Robert K. Lambert.

Luckily, the thrills don't stop at those scenes. The intrigue continues right to the end with a moment that is not only cleverly executed but also perfectly grim and fatalistic for a film of this nature. - dbamateurcritic

RATING: 9 out of 10

OUTSTANDING ACHIEVEMENT: Directing by William Friedkin.

Close (2022)

Brilliantly directed, written, and acted

In a rural area of French-speaking Belgium, two thirteen-year old boys share a long-term, deep friendship that includes physical affection. As they reach puberty and begin high school, Léo (Eden Dambrine) begins to feel uncomfortable with the closeness and veers away from it. This leaves Rémi (Gustav De Waele) feeling confused and rejected.

The film is divided into three primary segments. The first shows the pre-adolescent childhood bliss that the boys share with each other, within their families, with each other's families, and within the (mostly) supportive community around them. The second segment focusses on Léo's changed attitude (plus how other children influenced this) and how this affects Rémi. The last segment is so radically different from the other two that as little as possible will be mentioned of it here in order to avoid spoilers. Suffice it to say that "Close" has a similarity to the Italian film "The Hand of God" released a year before it in that both films have a shocking, unexpected climax near the half-way mark.

The viewer is set up to feel every possible emotion while watching this film. Director Lukas Dhont (also one of the film's screenwriters) ensures that every scene, now matter how ordinary it may seem, is executed with a gentle sensitivity. And he is helped with an exceptional cast. The two young leads are perfect in conveying a full range of feelings within their friendship. Dambrine deserves further praise for showing conflicting feelings, including the denial of such feelings, in the most subtle of ways.

Further praise goes to the cast playing the boys' families: Émilie Dequenne and Kevin Janssens (as Rémi's parents), Léa Drucker and Marc Weiss (as Léo's parents), and Igor van Dessel (as Léo's older brother). There's a very special scene when the two families are having dinner together. The viewer is likely to see in advance that an attempt at pleasant, ordinary conversation will likely lead to unintended consequences. This is one of the film's more profound moments. Drucker is powerful during the film's climactic scene while Dequenne shows greatness in more than a few special scenes including a pivotal one near the film's end.

"Close" turns the coming-of-age genre in a totally different direction with courage and insight. Kudos to Dhont and Angelo Tijssens for their powerful screenplay. Their story also shows in subtle ways how individuals can be affected by outside paradigms - the paradigm in this case being the collective belief that males must keep a minimum distance from each other - except for violence. Anyone who hasn't seen this film yet but plans to see it should be prepared to feel. A lot!

This film is so emotionally touching and honest that it has a very strong chance of being my favourite for the decade even if there are many other films to see before the end of the 2020s. - dbamateurcritic

RATING: 10 out of 10

OUTSTANDING ACHIEVEMENTS:

• Directing by Lukas Dhont
• Screenplay by Lukas Dhont and Angelo Tijssens
• Acting by Eden Dambrine, Gustav De Waele, and Émilie Dequenne.

Everything Everywhere All at Once (2022)

totally bizarre and quite fascinating

Evelyn (Michelle Yeoh) is a Chinese-American immigrant and the co-owner of a laundromat with her husband Waymond (Ke Huy Quan). She has strained relations with Waymond as well as their daughter (Stephanie Hsu) and her father (James Hong). Further, she and her business are being targeted by a high-achieving tax auditor/inspector (Jamie Lee Curtis). As if this isn't enough, she learns of other versions of herself in parallel universes and is forced to make important decisions to save the entire multiverse.

The experience of viewing this film feels like being stoned without taking any drugs. To call it totally bizarre might be an understatement. Once the surreal aspects took wing in the film's second half-hour, the movie seemed like a write-off as it was so strange but it paid to stick around. When the oddities seemed less odd and at least a bit understandable, a message of goodness came through. This message was badly needed for Evelyn whose name might be code for Everyone at least during some times in our lives: overworked, under-appreciated, and unsatisfied with life. (Note that the first three letters in the words Evelyn and Everyone are similar to those in the first two words in the film's title.)

By the film's end, it's fair to say that although the trip was outlandish, it does succeed in encouraging a lighter attitude toward life. Plus Yeoh and Hsu are very powerful in a final scene together. - dbamateurcritic.

Women Talking (2022)

Double praise for Polley as director and writer

Based on true events covered in the fictional novel by Miriam Toews: in 2010, a Mennonite colony is in crisis as many men within it have sedated and raped women and girls within the community. During a two-day period when the men are absent, a select group of women are to collectively decide the fate of the females as well as young boys within the colony: whether the decision is to do nothing; stay and fight; or leave.

The rich and thoughtful dialogue of this film potentially encourages the viewer to reflect on similar personal dilemmas past and present as it is filled with both inner and outer conflicts (fight vs. Flight vs. Freeze). Dealing openly with trauma that is often silenced and suppressed is also a plus for this great film.

There are some long conversations in "Women Talking". In most films, this would have resulted in dullness but director/writer Sarah Polley and her great cast have a way of keeping such scenes lively and fascinating. The best is a discussion about forgiveness - a topic that often encourages pompous platitudes especially when pontificated by devious people who know how to cleverly deflect responsibility. Whether discussed from a religious perspective (as in this film) or otherwise, there are well-known attitudes on forgiveness that are brief, rigid, and narrow-minded. While the special scene in the film includes such attitudes, it also provides the audience a gift in expanding the discussion and the expression of other perspectives culminating in a simple line that perfectly exposes a universal misinterpretation around forgiveness. This line alleviates many misconceptions about forgiveness that are filled with dogma and stupidity.

Other great films are recalled when watching "Women Talking". They include the classic "Fiddler on the Roof" as well as "The Innocents", a lesser known - but equally worthy - Polish film released in 2016.

There is a unique and special feminine perspective in "Women Talking". It is very unfortunate that this perspective is rare in the world of cinema but this rarity adds to the impact of the very emotionally powerful experience of viewing this film. The great cast includes Rooney Mara, Claire Foy, Judith Ivey, Ben Whishaw, Jessie Buckley, Sheila McCarthy, Michelle McLeod, and Frances McDormand. - dbamateurcritic

RATING: 9 out of 10

OUTSTANDING ACHIEVEMENTS:

• Directing by Sarah Polley
• Screenplay by Sarah Polley (based on the novel by Miriam Toews)

Avatar: The Way of Water (2022)

Possibly the most beautiful visuals ever

A sequel to "Avatar" released in 2009: in the fictional eco-universe of Pandora, Jake Sully (Sam Worthington) is the chief of the Omatikaya clan where he and his wife Neytiri (Zoe Saldana) raise their family. Facing further threats from the Resources Development Administration, the family finds refuge in a sea community of Pandora occupied by the Metkayina clan where further battles await.

The visuals in this film are spectacular; possibly the best ever. The experience was greatly enhanced by seeing the film in 3D on IMAX. The very best scenes occur when the characters are interacting beautifully with nature.

The story of the film is moving and pleasant though perhaps a bit simple in some instances and overly busy in others such as the climactic scene. But every element of the story that relates to nature and the need for its protection win every time. - dbamateurcritic

RATING: 8 out of 10

OUTSTANDING ACHIEVEMENTS: Visual Effects, Cinematography, Set Design.

Top Gun: Maverick (2022)

Great Entertainment

A sequel to Top Gun (1986): Captain Pete Mitchell aka Maverick (Tom Cruise) is a top-notch military pilot in his fifties and is assigned to train ten exceptional recruits to destroy a uranium enrichment plant.

This film might be confusing to those unfamiliar with the prequel but for the rest of us, it fits as fine entertainment.

The main character is fascinating in that he is confident of his exceptional talents while being self-aware enough to know that using his talents to climb a career path with a series of promotions is just not his thing. In this way, he is a tribute many who are like him who march to the beat of a different drummer rather than cave in to mainstream standards.

The grand finale seems standard but it is enhanced by a solid plot twist. Overall, "Top Gun: Maverick" is big-budget Hollywood at its best with many thrills. - dbamateurcritic.

Saint Omer (2022)

A powerfully acted film

Rama (Kayije Kagame), a Parisian of Senegalese heritage, is a literature professor and novelist. For a writing assignment, she travels to the French municipality of Saint-Omer to observe the infanticide trial of Laurence Coly (Guslagie Malanda), a Senegalese immigrant. (Rama is the on-screen surrogate for director/co-writer Alice Diop who observed the real-life infanticide trial of Fabienne Kabou in 2016.)

Diop is very astute at creating tension in various scenes. This is especially so during an interrogation scene between the judge (Valérie Dréville) and the defendant early in the film. This scene is relatively long but Malanda and Dréville play it so perfectly that it becomes riveting rather than dull.

The character of the defendant is an enigma: at times, one can feel sympathy for her despite so much evidence against her. Her backstory is also fascinating regarding the pressures placed on her as a girl in Senegal whose mother demanded much of her regarding education choices and politeness all with the plans of Laurence having "a better life". Rama's response to the trial is also intriguing as she has trouble digesting noticeable similarities she has with the defendant.

The cast is superb in this film. In addition to Kagame, Malanda, and Dréville, there are also notable performances from Xavier Maly (Laurence's partner), Aurélia Petit (the defense attorney), and Salimata Kamate (Laurence's mother).

There are some loose ends in the film including the relationship between Rama and her mother but overall "Saint Omer" is one of the best courtroom dramas since the Israeli film "Gett: The Trial of Viviane Amsalem" which was released in 2014. - dbamateurcritic

RATING: 9 out of 10

OUTSTANDING ACHIEVEMENT: Acting Ensemble.

An Unmarried Woman (1978)

An excellent film and a wonderful time capsule

Erica Benton (Jill Clayburgh) seems to have an ideal life. She is happily married to a successful business executive (Michael Murphy) with whom she raises their teenage daughter (Lisa Lucas) in a glamourous Manhattan apartment. She also enjoys her part-time job in an art gallery. Unexpectedly, she becomes unmarried and must start a new life as a single woman.

In this film, director/writer Paul Mazursky has created one of the best screenplays ever where casual conversation is concerned. Whether talking about the mundane, invoking great humour, or dealing with serious subjects, the talk is always interesting and engaging. This often occurs when Erica is among an amazing quartet of friends - the others played by Pat Quinn, Kelly Bishop, and Linda Miller. Their conversations are lively, realistic, honest and sometimes hilarious. And the best scene of dialogue takes place between Erica and her new love interest, Saul (Alan Bates) when the two have left a party early and are roaming the streets late at night after a rainfall. Their conversation is rich, romantic, and reflective; and the two performers nail it perfectly. It is a rare situation where one might wish a conversation scene in a movie could be extended.

There are some ways this film was ahead of its time including being open about depression and mood problems especially regarding the sudden end of a marriage. This is also true regarding boundaries: a humanistic term that would be more understood and encouraged decades later. This shows in two scenes regarding predatorial male behaviour: an aggressive one in a taxicab; and a subtle one in a doctor's office. The attitude of self-care and deeper self-knowledge carry through to the film's conclusion.

"An Unmarried Woman" was a perfect zeitgeist of its era and what an era it was: the late 1970s in New York. The great creative team behind the film would have had no idea what a pleasure it would be to relive this era by watching this film in later time periods whose paradigms were repulsive by comparison. Beginning a decade later, people would be less interested in talking about the heart of life (as they do in this film) than they would about property ownership, property resale value, career advancement, upward mobility, and marketing. And there are scenes on Manhattan sidewalks which includes something that does not exist today: various interesting-looking people and not a single phone-zombie among them. Ah, the good old days. "An Unmarried Woman" is a great film that earns bonus points for the unintentional nostalgic joy it creates.

And there's an irony in one of the conversations among Erica and her friends. They're debating the value of Hollywood actresses of the 1930s and 1940s compared to those of the current time period. I state it's ironic because as a result of this film, Clayburgh's name would later have been added to the list of great "current" actresses.

Overall, this was a grand movie experience and a wonderful time capsule. Take me back to the 1970s even just for two hours and I'll be happy for a week. - dbamateurcritic

RATING: 10 out of 10

OUTSTANDING ACHIEVEMENTS:

• Directing by Paul Mazursky
• Screenplay by Paul Mazursky
• Acting by Jill Clayburgh
• Music by Bill Conti.

The Fabelmans (2022)

A great drama and piece of film history

Sammy Fabelman (played mainly by Gabriel Labelle and also by Mateo Zoryan Francis-deFord in earlier scenes) is a Jewish boy whose family lives in three different U. S. states (New Jersey, Arizona, and California) during his childhood in the 1950s and early 1960s. He shows a great interest in movie cameras, filming scenes of his family and friends. "The Fabelmans" is based on the life of Steven Spielberg who directed the film and is one of its co-writers along with Tony Kushner.

The first hour of the film is pleasant and seemingly uneventful but it builds up to greater drama later when there are hints of family troubles. These hints are perfectly ambiguous. They give the impression that something may be off in the Fabelman family - maybe even creepy - while also allowing the benefit of the doubt. The viewer follows Sammy as he gradually clues in to what is happening.

After a serious conflict between Sammy and his mother Mitzi (Michelle Williams), there is a scene when Mitzi is viewing family scenes that Sammy has filmed and edited. In this scene, the viewer sees only Mitzi and her reactions to the film. Williams does a superb job in this scene as she does in so many others in portraying a very troubled, complex soul.

The final third of the film mixes the heat of family drama with Sammy's troubles in high school and dealing with anti-Semitic bullies. During a confrontation with one of the bullies, he delivers a hilariously ironic line considering what would happen in the future.

Without revealing much, there is a special scene at the end when Sammy is new to the Hollywood scene. Film lovers would understand the historical significance of this great scene.

Overall, "The Fabelmans" is a very good film. It raises what some might call 'soap opera drama' to a higher level. And in addition to Williams, Labelle also gives a praiseworthy performance. - dbamateurcritic

RATING: 9 out of 10

OUTSTANDING ACHIEVEMENT: Acting by Michelle Williams.

Im Westen nichts Neues (2022)

A very powerful film

In 1917, a quartet of young German friends enlist in the Imperial German Army in order to fight in World War I. One of them is Paul (Felix Kammerer), a seventeen-year old whose initial enthusiasm is lost to the realities of war. The film is based on the novel by Erich Maria Remarque and two other film versions were made before it. The earlier productions were American made; the current one is German.

This film is so emotionally powerful that it takes a long time for feelings to dissipate after its conclusion. Special praise must go to the directing (Edward Berger, also a co-screenwriter), cinematography (James Friend), music (Volker Bertelmann), and the lead performance (Kammerer). Kammerer is at his best during scenes that mix danger, tragedy and grief. There is also a touching scene when he is reading a letter addressed to his fellow soldier Kat (Alberecht Schuch) who is illiterate. There is an awkward pause before Paul reads aloud information that is very private. Further, there is a compelling scene at the film's beginning that involves a factory-like precision when preparing the soldiers' clothing. The scene involves efficiency mixed with cynicism.

Class distinction is clearly present as the soldiers' living hell is juxtaposed with the luxuries enjoyed by those of higher rank. This is bluntly exposed during a lecture from a despicable general (Devid Striesow) who barks orders from a balcony of an elaborate residence nearing the war's end. Scenes like this expose a different war: one between elites vs. The working class whose lives are considered dispensable.

A couple of scenes are difficult. One is a stabbing scene that seems extremely long. Another involves foolishness when Paul and Kat return to a certain place for a second time. But in the end, this film is powerful and worthy of its great acclaim. - dbamateurcritic.

Corsage (2022)

A pleasant film

Based on a true story of the life of Empress Elisabeth of Austria who was also Queen of Hungary: in the late 1800s, Elisabeth (Vicky Krieps) struggles with life and mental health mainly due to her troubled marriage with Emperor Franz Joseph (Florian Teichtmeister). She has recently turned forty and is further depressed by the changes in her appearance.

"Corsage" has a pleasant, steady flow all the way through and it is blessed with a fine lead performance by Krieps as well as European beauty and glamour (it takes place in various European locations).

There is occasional confusion regarding different time periods as the film is non-linear and some important parts of the film are deliberately revisionist. But it is a pleasant experience overall. It can also be praised for not taking sides in the various conflicts and showing compassion for all sides.

In drawing attention to unhappy royals, it's easy to think of a certain couple who recently cut ties with the British royal family. While it is true that even those at the top of the social hierarchy can be unhappy with their lot in life, they certainly have the means to make luxurious accommodations to alleviate their troubles. Elisabeth makes trips to England, Bavaria, and Italy while being waited upon. Maybe, there ought to be stories of those doing the waiting-upon as they may not have been happy with their lot in life either. But despite being privileged, it is still possible to sympathize with Elisabeth's life in a golden cage. - dbamateurcritic.

Viskningar och rop (1972)

brilliantly directed and brilliantly acted

Around the turn of the twentieth century, three sisters are reunited in their childhood mansion in rural Sweden. One of them, Agnes (Harriet Andersson), is dying of cancer. Her attending sisters Maria (Liv Ullmann) and Karin (Ingrid Thulin) are both in unhappy marriages to wealthy husbands.

The film opens with camera movements observing the walls and clocks of the mansion in a deliberate silence. This silence continues throughout the film; even when the actors are speaking, there is a prevailing mood of distance and quiet throughout which emphasizes suffering both physical and emotional. Such is the power of director Ingmar Bergman to maintain such restraint while creating a film that is always captivating. Cinematographer Sven Nykvist (a frequent Bergman collaborator) also fascinates with the use of the colour red in fadeouts between scene changes. Red is also used in the mansion's walls, curtains, and carpets.

Class distinction also plays a part that is not subtle. Anna (Kari Sylwan) is the family's long-time maid. She may be thought of as a servant by Maria and Karin yet she is more of a sister to the suffering Agnes than they are. Her religious faith has a part in her ability to connect and deal with death better than those of greater financial means and social status.

One of the film's highlights is a pivotal scene near the film's end that is dreamlike and surreal. Whether it is the collective subconscious of all characters involved or supernatural, it works in ways that others like it do not: it is mesmerizing and can be open to many interpretations.

All of the above praise would have been enough for this great film but it is blessed even further with a superb cast. Andersson conveys pain in some powerful scenes that are agonizingly heartbreaking. They are brave for the time of the film's release and any other time since. They are difficult to endure (especially for those who've witnessed this situation in real life) but Andersson's performance makes the viewing experience transformative.

As someone repulsed by emotions, Thulin shows Karin's feelings trying to break away behind the shield as her raw emotions emerge to the surface during the film's later scenes. As the conflicted Maria, Ullmann may be more openly affectionate than Karin but she can retreat to repression just as easily as her sister can. Her outward affections are often superficial and insincere.

Cinephiles the world over have varying opinions of their favourite Bergman film. For me, it has to be "Cries and Whispers" which is still a masterpiece after a fourth viewing. - dbamateurcritic

RATING: 10 out of 10

OUTSTANDING ACHIEVEMENTS:

• Directing by Ingmar Bergman
• Acting Ensemble especially Harriet Andersson
• Cinematography, Set Design, Sound, and Costumes.

Black Panther: Wakanda Forever (2022)

one of the better big-budget films

A sequel to Black Panther (2018): the mythical African kingdom of Wakanda is threatened by other kingdoms and nations (both mythical and real) to share its secret formula for vibranium, a unique and powerful metal. Wakanda is also living through collective grief due to a shocking death in its royal family.

This film is an imaginary, futuristic tale with a very unique take on the big budget epic genre. Within the big budget, the money is very well spent with outstanding production values especially the set design, special effects, costumes, cinematography and editing. And two of the film's major players (Letitia Wright and Angela Bassett) each have a special scene that showcase their great talents.

Unlike many other modern big-budget films, this one can be praised for being understandable. It also has a moving conclusion regarding conflict. It leaves one wondering whether this paradigm could work in real life. At least, the possibility is placed in the minds of the many viewers of this film.

Spectacular in many ways. - dbamateurcritic.

The Whale (2022)

a fine film overall

Charlie (Brendan Fraser) is a reclusive English instructor who teaches via Zoom while hiding his image as he wants to conceal his morbid obesity. Within the confines of his Idaho residence, he has encounters with his long-time friend Liz (Hong Chau) who is a nurse; his teenage daughter Ellie (Sadie Sink) whom he abandoned when she was eight; his ex-wife Mary (Samantha Morton); and Thomas (Ty Simpkins), A New Life Church missionary who attempts to reform Charlie.

It is a rare exception for a film to have an obese person as the main character. This is praiseworthy and the film lives up to the challenge for the most part especially as evidence exposed during the film reveal the traumas and guilt that began the overeating addiction. Some of the food-binging scenes are intense considering Charlie's health condition. The high possibility of his death is juxtaposed with the recall of an off-screen character named Alan.

Sometimes, the film is set back with scenes of nasty, crabby people spouting off. This is especially true of the complicated character of Ellie whose endless anger (understandable) makes her appear harsh and one-dimensional. There are also times that the film's optimistic "good in everyone" attitude seems naïve but this does become more understood by the film's conclusion. There is also an interesting interpretation regarding religion.

The film's beginning and closing scenes are powerful even though this is less so in between. But it is the acting that raises "The Whale" to a higher level. Chau has two great scenes; Fraser has many. - dbamateurcritic.

Eo (2022)

a uniquely beautiful film

The title character is a donkey in a Polish circus. Various circumstances carry him to different places and situations and the viewer is constantly by his side throughout the journeys.

"EO" is an update of the French film "Au Hasard, Balthazar" released in 1966. The earlier film may have been questionable in its treatment of the animal actor. Thankfully, the modern update assures that humane animal treatment was provided throughout the creation of the film.

The donkey has many odysseys. Some of them include love; others, the opposite of love. While it is often understood that animals' lives are less than ideal in the circus, the film shows that their lives could be unhappy in other ways when outside a circus. Polar opposites of humanity are shown in this film. One segment includes soccer fan hooligans for whom sportsmanship seems as repulsive as drinking a stranger's urine.

EO's mostly quiet journey provides much beauty for the viewer. The best include many scenes in the countryside as well as those in the historical city of Wroclaw. All in all, EO's life exploration provides a moving experience despite some scenes that show humans at their worst. - dbamateurcritic.