Weekly reviews #004

Exodus: Gods and Kings (2014) - 6.5 / 10

The sole reason why I went to see this film was Ridley Scott. If there's anyone who has proven himself a master of (semi-)historical epic movies, it's him. From his debut The Duellists to 1492: Conquest of Paradise to his modern classic Gladiator to more recent epics Kingdom of Heaven and Robin Hood, Scott just knows how to visualize stories like this. That doesn't mean all those movies are good movies. As a matter of fact, personally I only like 1492: Conquest of Paradise and Gladiator. But they are entertaining and often nice to watch. Exodus: Gods and Kings isn't any different. Some captivating scenes (like the one where the Egyptian army, lead by Moses and Ramses, attack the Hittite settlement) and a nice adaptation of the generally known biblical tales of Exodus make this a fun movie to watch. Due to the great lack of drama Scott succeeded in preventing to romanticize too much (except for the character of Zipporah), but it can also be seen as a huge flaw: female actors are ridiculously underused. Especially Hiam Abbass, Sigourney Weaver, Tara Fitzgerald and Golshifteh Farahani are barely more than props... There's some irony in that, but at the same time it's a missed opportunity to make a biblical film with strong female characters. While the drama in Exodus: Gods and Kings is low, the semi-historical approach is quite pleasant. Ramses II, Seti I, Tuya and Nefertari are all historical characters, while Moses, Joshua, Zipporah, Bithiah, Miriam and Aaron are all biblical. The mix of both makes Scott's views on the matter quite interesting, both for (moderate) Christians and (moderate) atheists. After seeing the ten plagues semi-rationally explained (including some ecological lessons, which are much more subtle than in Darren Aronofsky's Noah) and God depicted as a vindictive child, I couldn't help but enjoy this movie more than expected.

Timbuktu (2014) - 8.5 / 10

One of the movies that's still in the running for a "Best Foreign Language Film" Oscar nomination, is Timbuktu. Together with the Estonian Mandariinid it's one of my favorites for this year's Academy Awards, but I'm afraid only one of them will make it to the shortlist and neither of them will eventually win the Oscar. Not while movies like Ida, Turist and Leviathan are their competitors (although I think Timbuktu and Mandariinid are better than those three). The thing about Timbuktu that makes it such a beautiful picture, is its, what I presume, authentic representation of Muslims and the different views on Islamic religion. Spoken in a number of languages, from French and English to Arabic and a wide diversity of African languages (Tamasheq, Bambara and Songhay), Timbuktu shows Westerners a part of the world we almost know nothing about. Apart from judgemental and arrogant claims about the (religious) backwardness of many people there, be they Berber or Bedouin, many people here just don't know what to say about the Northern part of Africa. Director Abderrahmane Sissako gives us lots of stuff to talk and think about (for example the use of "jihad" as on the one hand an inner struggle (the greater jihad) and on the other hand an external holy war which is fought by mujahideen - the second jihad being the one we fear and loathe so much in the West). Not only that, but together with his cinematographer Sofian El Fani (La Vie d'Adèle) he manages to provide us with wonderful visual poetry and exceptional sceneries of south-east Mauritania. While it took some getting used to the narrative and the editing, I was full of awe after enjoying this utterly majestic work of art. Highly recommended!

What We Do in the Shadows (2014) - 8.0 / 10

After Housebound we get a second horror movie from New Zealand: What We Do in the Shadows. I must say, after seeing Tracks, The Rover, Charlie's Country, 52 Tuesdays and Predestination (and, to a lesser extent, These Final Hours and Underground: The Julian Assange Story), the Aussie's really began to amaze me. It took them long enough: the brilliant Mary and Max is a 2009 feature (no I didn't forget Baz Luhrmann's The Great Gatsby, which I found quite dull). At the same time the Aussie's make a comeback, New-Zealand starts to throw off its Peter Jackson-shackles and brought Jane Campion back on stage: Top of the Lake blew me away. And now Housebound and What We Do in the Shadows are some of the best horror movies of 2014! If you like the deadpan humor of Flight of the Conchords (and Jemaine Clement) and you're sick of Hollywood vampirism, then this film is definitely worth the watch. Probably the most dry take on bloodsuckers ever seen on screen.

El espinazo del diablo (2001) - 7.0 / 10

Guillermo del Toro's El espinazo del diablo (aka. The Devil's Backbone) is obviously a precursor to El laberinto del fauno (aka. Pan's Labyrinth) in style, content and atmosphere. Nevertheless I think El laberinto del fauno is better on all three of those. That being said, I cannot stress enough that I would really like to see del Toro make more of this. The magical realism and child's perspective are excellent ingredients for timeless movies. By making the historical context more horrific than the actual horror components (ghosts or fauns), del Toro subverted both genres. Horror elements are added for dramatic effect against the horrors of real life (the Spanish Civil War in El espinazo del diablo and Francoist Spain during World War II in El laberinto del fauno). On top of that, when observed from a child's point of view, it all gets even more horrific because of the innocence we associate with young children. Because of that both El espinazo del diablo and El laberinto del fauno are some of the most touching "horror" movies I've ever seen. While del Toro's next film Crimson Peak is a return to his dark fantasy style, we will have to wait and see if it brings back some of these defining qualities that made him a great director.

Weekly reviews #003

Clouds of Sils Maria (2014) - 7.0 / 10

Former film critic Olivier Assayas is probably one of those few people who inspire me on a creative level. Not that strange if you consider one of Assayas' own influences: anarchist and situationist Guy Debord. French intellectuals in the 1960s were, in my opinion, too often needlessly complex theoretically and parlor socialists or would-be revolutionaries politically. In contrast, Debord's refreshing anarchist views were typical for the radicality of the 1968-generation and were more about individual freedom, artistic aspirations and fighting against a new form of determinism: consumption. In that respect, Assayas' Après mai was one of the best films I've seen in years. In Clouds of Sils Maria he puts on his meta-shoes and tells the story about an older actress who'll perform in the same play she did when she was young: Juliette Binoche plays Maria Enders who plays Helena. In the meanwhile Valentine (a brilliant Kristen Stewart, who would've expected?!), the personal assistant of Maria, resembles a version of Maria when she was young. Joanne Ellis (Chloë Grace Moretz), an up-and-coming actress with the reputation of a troublemaker, is Maria's co-star in the theater play. But when the play (about a young girl (Sigrid) who seduces an older woman (Helena)) starts to reflect reality (especially because Maria used to play Sigrid herself), the film begins to get an extra - metaphorical - layer. In the end we are confronted with thoughts about time, change, fame, getting older and conflict between generations. Clouds of Sils Maria is a beautiful film with some very good acting, especially by Stewart. It also raises interesting questions about contemporary stardom and transience. Nevertheless, this movie is (feels?) less personal than Assayas' previous one and therefor misses a bit of the uppercut I was hoping for.

Revenge of the Green Dragons (2014) - 6.0 / 10

A collaboration between Wai-Keung Lau (Infernal Affairs trilogy) and Martin Scorsese (The Departed) about Chinese gangs in New York at the end of the 1980s. One would expect fireworks, right? Not so much. This movie is entertaining but misses a bigger impact. It's not surprising the film didn't get a wider release in the US... The rather conventional story is embellished with different kind of colorful gangs from the (Asian) underworld, some pretty gruesome torture scenes and an attempt to make a huge plot twist at the end, but finally fails due to ordinariness. It needed more "cool" and a more interesting angle storywise. Fans of Asian-centered mob movies should give it a try though.

The Book of Life (2014) - 7.5 / 10

The Book of Life is without any doubt the best animated Hollywoodmovie of the year! It has been a while since I've seen so much narrative creativity, magnificent colours and wonderful animation coming from Tinseltown. Producer Guillermo del Toro (Pan's Labyrinth) chose this one well. With songs from Mumford & Sons, Pixies, Elvis Presley, Rod Stewart, Biz Markie and Edward Sharpe & The Magnetic Zeros being sung by the cast, it even gets a pleasant musical vibe. Add a strong female character (Maria) and the great voices of Ice Cube, Cheech Marin, Gabriel Iglesias, Plácido Domingo and Danny Trejo (none of them are main characters but they are, ironically, more memorable than Diego Luna, Zoe Saldana, Channing Tatum, Ron Perlman and Christina Applegate) and you've got yourself one of the most enjoyable pictures of the year. According to director Jorge R. Gutierrez this is the first part of a trilogy. If the writing for the next two movies is as good as this one, I will be looking forward to those chapters! Especially the one about Maria should be awesome. Make your inner child see The Book of Life. Really.

Total Recall (1990) - 6.0 / 10

This is actually a far better movie than I expected. Paul Verhoeven is one of Holland's best when it comes to big budget cinema, but the true credits go to Philip K. Dick, one of the most interesting sci-fi writers of the 20th century, whose short story "We Can Remember It for Your Wholesale" inspired this movie. The special effects are excellent (no CGI's yet, hooray!) and the body horror is absolutely fantastic. But alas, when I see Arnold Schwarzenegger's face on my screen, I just want to rip my eyes and ears out. He's such an awful, unbearable actor and turns every movie he shows up in to shit. While I am able to enjoy The Terminator and Predator it is a very hard task to separate the qualities of the movie from the fact Arnie is messing the whole thing up. If I want to see bad acting, I'll watch a b-movie where it feels more authentic and not a big budget one where I expect overpaid actors to (try to) work for their money and not be a fucking gimmick. So, to conclude, Total Recall would've been so much better without Arnie in it. And no, I'm not going to watch the remake where Colin Farrell took his place. A 2012 Hollywood movie will never have those groovy special effects and awesome body horror that made the 1990 version so good, so why bother?

Discopathe (2013) - 5.5 / 10

A Canadian slasher movie that resembles films like Cruising, Maniac and Dernière Séance. This serial killer gets crazy upon hearing disco music. As soon as the first tunes reach his eardrums, his eyes turn black and he gets in a killing trance (triggered by some childhood trauma). Although Discopathe is an atmospheric picture with some truely interesting and horrific moments, it couldn't ever grab me by the throat, nor scare me at any time. I suppose this movie hasn't got the intention to shock, but more to generate a dismal vibe like Dernière Séance and 1970s feeling like Cruising. This is definitely something for aficionado's and exactly therein lies its charm. It just didn't work for me this time.

Witchfinder General (1968) - 4.5 / 10

Well, that was disappointing... I learned about this movie through doom metal bands like Witchfinder General and Cathedral, so my expectations were somewhat different than what I saw. I don't really know what I expected (maybe something more in the lines of A Field in England), but in any case something far less conventional than what I saw. It surprises me that this movie was so heavily cut in censorship. Maybe I underestimated the conservative sentiments in 1960s Britain... In any case, apart from Vincent Price, nothing about Witchfinder General makes me feel like I'm watching a horror movie. Some imagery certainly gives away director Michael Reeves' sentiment to the genre, but I thought he would've added more of an occult sensation in the picture. If Reeves didn't die an unfortunate young death a few months after this was released, I don't think it would've become such a cult hit...

Dark Blood (2012) - 3.0 / 10

This is the last film with River Phoenix. Meaning: as Phoenix died in 1993 and Dark Blood was only 80% shot, it took almost 19 years to get the material edited into the final cut. All scenes that haven't been shot are read as a voice-over by director George Sluizer over paused images. While that creates a distinct kind of movie experience, it doesn't seem to be something I'm very fond of. Of course, Dark Blood is a film that's all about Phoenix. Just like James Dean in 1955, Phoenix generated a cult following because of his untimely death. Mostly remembered for his roles in Stand by Me, Running on Empty, Indiana Jones and the Last Crusade and My Own Private Idaho, Phoenix never really had the chance to become the actor he could've been. That doesn't mean everything he did was pure genious though... In Dark Blood I'm just not feeling the Phoenix-vibe. Above all, it's quite a dull movie. Only recommended for those who want to see Phoenix shine one last time.

Sex & Drugs & Rock & Roll (2010) - 6.0 / 10

Not the worst biopic I've seen the past few years. Something for the fans of films like The Boat That Rocked, Good Vibrations and CBGB, although it's absolutely not as good as Richard Curtis' tribute to the pirate radio's of the 1960s. If you're into Ian Dury and The Blockheads Sex & Drugs & Rock & Roll is something you might enjoy. Especially Andy Serkis' performance as Ian Dury, which is spellbinding at certain times. But as with so many biopics, this one also suffers from boring flashbacks, sentimental nostalgia and lack of its own style. The scenes on stage, when Ian is talking to his audience (and the viewers), are probably the only ones that really honour Dury's persona and kookiness. Everything else is conventional cinema accompanied by an awesome punk / new wave soundtrack by The Blockheads.

The Zero Theorem (2013) - 8.5 / 10

One of the most underrated movies of last year. Agreed, you're never certain with Terry Gilliam. The Imaginarium of Doctor Parnassus was a bit of a let-down of which his reputation never really recovered (maybe that's one of the reasons why this movie didn't get a proper release in Belgium), but I must say that The Zero Theorem proves Gilliam's qualities yet again. The dystopian atmosphere of films like Brazil and Twelve Monkeys has returned (some have referred to those two movies and The Zero Theorem as the Orwellian triptych, which suggests a conceptual trilogy). Only this time bureaucratic and post-apocalyptic sceneries have been changed for post-industrialist computer addiction. In a world dominated by multinationalist dictatorship and communist business structures, The Zero Theorem takes on contemporary issues (like burn-outs, existential crises and capitalist wage-slavery) and puts them in sci-fi tragedy. Christoph Waltz' eccentric acting is a sheer delight and even the smaller roles (Matt Damon, Ben Whishaw, Peter Stormare, David Thewlis and especially Tilda Swanton) are carried out wonderfully. Never before has corporate managerialism been displayed so daunting and utterly repelling in a contemporary film, or not that I know of. This movie is without any doubt a gem that might grow everytime I see it.

The Babadook (2014) - 7.0 / 10

The Babadook has been labeled the best Australian horror movie in years. I've got not much to compare to, but I do recognize a good horror picture when I see one. While you won't have to prepare for jump scares, gallons of blood or unbearable tension, Jennifer Kent's movie relies on the expressions of the actors and the psychological darkness surrounding the story. Essie Davis and child actor Noah Wiseman give their best making their facial expressions speak a thousand words and mostly they succeed. In addition, I think it is possible to read a subtext in this movie: the Babadook being the psychological terror of not being able to cope with reality. Of course that's just a possible interpretation (although I like the metaphorical layer of the ending when looking at the movie this way). The kind of horror that adds a pinch of Dark Touch to movies like Mama, Sinister and Oculus. Recommended!

Weekly reviews #002

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) - 3.0 / 10

Every year during the holiday season at the end of December, I search for a christmassy movie to watch. This has more to do with a cosy and magical atmosphere than actual Christmas spirit, which I couldn't care less about. Mostly I choose for something I've watched before; a Chaplin film, the original Tolkien trilogy or the Harry Potter series for example. This year I made the mistake to watch the three Narnia adaptations. What a mess! Just like Tolkien before him, C.S. Lewis was inspired by Christianity, but unlike Tolkien the Christian symbolism in Lewis' novels is not subtle, nor used as a mere background for the struggle between good and evil. The Narnia novels and movies are pure Christian propaganda. This makes them reprehensible because of that very fact, but as works of art or entertainment they aren't much better. You may forgive the awful childish acting in The Lion, the Witch and the Wardrobe because it can be seen as endearing. You may understand the absence of blood in the action sequences because it is a necessity for an "all ages" rating. But as a director you can anticipate on those things. And not, like in this movie, give unbelievable lines to those young actors and make them go around slashing and stabbing without any drop of blood to be seen. Result: zero credibility. The first in the Narnia series doesn't even begin to compare to wonderful fantasy films like Stardust, Bridge to Terabithia, Harry Potter, The Lord of the Rings or even The Golden Compass (which was according to some, probably righteously, an atrocity compared to the book - but as a movie it stands head and shoulders above this Narnia crap). Given the epic imagery, soundtrack and dialogue it nevertheless aspires to be exactly like them. Unfortunately, the only thing epic about this movie is its fail.

The Chronicles of Narnia: Prince Caspian (2008) - 2.0 / 10

Even worse than the first Narnia film, Prince Caspian must be one of the most amateurishly acted movies I've seen in ages. While in The Lion, the Witch and the Wardrobe you can forgive the child actors of finding their way in the acting world, discovering an own style and making authentic emotional expressions combined with their memorized lines, it is much harder to forgive them for it when there's almost no improvement to be seen three years later (except for maybe Georgie Henley). On the other hand, just like with Daniel Radcliffe, Emma Watson and Rupert Grint it takes some time to adjust. For them it also took two Harry Potter movies to get the acting really going. Sadly it makes Prince Caspian hard to watch. There are no James McAvoy and (almost) no Tilda Swanton to cover things up this time. We get Peter Dinklage instead, but that nearly suffices. Especially with Ben Barnes doing a ridiculous Spanish accent. The storyline again is smothered by Christian symbolism and the cinematography by ridiculously bad blue screen effects. The result again is an awful picture that irritates more than it amuses.

The Chronicles of Narnia: The Voyage of the Dawn Treader (2010) - 1.0 / 10

Exit Susan and Peter, enter Eustace. Two of the main protagonists of the previous two movies are replaced by a new one. Just like in the books. But at what price? Will Poulter may have a very characteristic face (which is a good thing), but is one of the worst child actors I've ever seen. On top of that Ben Barnes again plays Prince Caspian (who is almost unrecognizable compared to the previous film) but with no Spanish accent whatsoever. The story feels more like a Pirates of the Caribbean quest this time. With no succes, even if the green and blue screens aren't as ugly as in Prince Caspian. These kind of kiddie movies are too predictable, moralistic (the Christian symbolism in this one isn't even remotely subtle anymore) and boring to entertain almost anyone. Or that's what I should hope. Reality proves me wrong. Unfortunately. Maybe that's why hideous films like Eragon, In the Name of the King and The Sorcerer's Apprentice find an audiance. I can't speak for The Water Horse, The Seeker, The Spiderwick Chronicles and Inkeart (I haven't seen them), but something tells me it'll be more of the same (just like Seventh Son, which will be released next year). Maybe I should really reconsider watching the Percy Jackson movies, which I was planning to do next year...

The Tale of Princess Kaguya (2013) - 8.0 / 10

Finally! It has been almost two years since I've seen an anime movie that moved me. A Ghibli production, I should've known. While The Wind Rises did almost nothing for me, Isao Takahata's swan song maybe even trumped his debut (Grave of the Fireflies). It's almost impossible not to compare Hayao Miyazaki's final film to the one of Takahata. Both are founding fathers of Studio Ghibli and both announced their retirement in the same year. But unlike Takahata, Miyazaki's last work was a bit too much history and a bit too little fantasy. Something I really adore in Ghibli productions. Over all I like Miyazaki better than Takahata exactly because of the fantasy aspect in their works. Now the rolls are reversed: Miyazaki showed us his take on the interbellum in Japan through the eyes of Jiro Horikoshi, while Takahata brought us a captivating vision of one of the oldest Japanese folktales: "The Tale of the Bamboo Cutter" from the 10th century. His drawing is primitive and almost the antipode of Miyazaki's more refined style. Because of that I suppose some people will find this too childish or even amateuristic. I see it as an authentic and functional (an old tale requires not too sophisticated drawings) asset to this movie. For me it probably wouldn't have worked any other way. Last year I was a bit disappointed by the lack of truely majestic anime (referring to Wolf Children and A Letter to Momo) and after seeing The Wind Rises I gave up hope for this year too. Now that I've seen The Tale of Princess Kaguya, I again look forward to some new anime productions; Hiromasa Yonebayashi's When Marnie Was There in particular!

The Boxtrolls (2014) - 6.5 / 10

There weren't too many good English animation movies this year. The Lego Movie made an impression on me on a more philosophical way and I fairly enjoyed How to Train Your Dragon 2, but I think that's it. So when I heard Laika Entertainment (Corpse Bride, Coraline and ParaNorman) made a new production, it immediately got my attention. Not because Laika guarantees to bring us quality, but because I like their stop-motion approach. Over all I prefer it more than CGI. Although the screenplay of The Boxtrolls isn't that original (and actually the mid-credits scene is the best one of the whole film), it appeals to my inner child a lot. Especially the helpers of Archibald Snatcher (the bad guy) are fantastic. With the familiar voices of Ben Kingsley, Jared Harris, Nick Frost, Richard Ayoade, Tracy Morgan, Elle Fanning, Toni Collette and Simon Pegg, The Boxtrolls pleases audiences of all ages. For more original English spoken animation flicks, I guess I'll check out Cheatin', Rocks in My Pockets and Song of the Sea though.

The Drop (2014) - 7.5 / 10

There are so many reasons why a movie buff needs to see The Drop. It's James Gandolfini's last picture after his unfortunate death. It's Michaël R. Roskam's (Rundskop) second feature. It also has Tom Hardy, Noomi Rapace and Matthias Schoenaerts in it. The story is written by Dennis Lehane (Mystic River, Gone Baby Gone and Shutter Island). The cinematography is managed by one of Belgium's finest: Nicolas Karakatsanis (Linkeroever, Lost Persons Area, Rundskop, Violet and Welp). And, above all, when it comes to Belgian presence in Hollywood, The Drop transcends The Loft on every level. Especially the atmosphere (Roskam and Karakatsanis = win!) combined with Hardy's brilliant acting (together with Locke one of his best!) make an exceptional movie experience. Storywise it could've been a bit more interesting though. Just like Mystic River it's all too conventional for my taste. The moral ambiguity of Gone Baby Gone or the psychological twist of Shutter Island had a more enduring effect. While I love The Drop for its dreary mood, the narrative had more potential. Nonetheless a movie that I can highly recommend!

Weekly reviews #001

The Hobbit: The Battle of the Five Armies (2014) - 5.5 / 10

The Tolkien saga is finished. For now. As expected this trilogy didn't come even close to the original The Lord of the Rings trilogy. But, as an almost unconditional fan, I must admit I did enjoy every one of The Hobbit movies. The first one was a bit too slow and the second one made some narrative choices I didn't like, but in the end I just took it like a true fanboy. Unfortunately this wasn't the case for the final episode. Not that it didn't entertain. Not that it didn't have its moments. It just didn't do any justice to what I think is probably one of the best children's stories ever written. Bilbo was no more than an additional character, the special effects were - apart from Smaug - awful (the scene were Legolas walked over those falling bricks? no... just... no...) and almost the whole scenery took place in and between Dale and Erebor. The best scenes of the movie were those in Laketown and Dol Guldur, which is saying a lot. Apart from one scene at Gundabad and one in the Shire, there weren't even any other locations in this third installment. I know this has to do with the book, but that's just the problem: The Hobbit is shorter than every single book of The Lord of the Rings trilogy. The latter adaptations missed a lot of characters (most notably Tom Bombadil and Ghân, if I remember correctly), but nonetheless the films were diverse, exciting and not rarely very layered. Peter Jackson is a Tolkien lover and it may be that a dream came true for him, but I think Viggo Mortensen (who wasn't in any of The Hobbit movies) was right: Jackson sacrificed substance for technical and financial glory.

Thor: The Dark World (2013) - 4.0 / 10

The Marvel Universe is without any doubt one of those Hollywood hypes I just can't get my head around. What is it that makes people fall in love with those superheroes who are no more than embodiments of the American value-system? And, even more so, why are the bad guys always in business with (semi-)communists, (Arabian) terrorists or evil (Russian or Asian) scientists? The clichés are too much for me. Maybe it's because I'm European. But that doesn't explain why so many Europeans dig this franchise. So maybe it has nothing to do with all that and it's just plain old Hollywood: looking for the greatest common divisor to capitalize on, in other words the best commercial formula for the highest profit. When realizing this it isn't all too bad to watch those Marvel films, 'cause it's only Hollywood numbness and as a viewer you just need to lower yourself to that level. It then also becomes possible to measure those movies against each other. When doing so the pattern - for me - gets quite clear: the second phase of the Marvel Cinematic Universe (Iron Man 3, Thor: The Dark World, Captain America: The Winter Soldier and Guardians of the Galaxy) is way better than the first one (which only had The Avengers that distinguished itself). I'm not anticipating any of the future Marvel films (at least 11 are in the running), but when seeking brainless entertainment, I suppose there's a lot worse out there.

Deux jours, une nuit (2014) - 8.5 / 10

This must be the biggest positive surprise of 2014. After years and years of overrated pictures, the Dardennes finally made a movie that is so heartwarming (in a melancholy way) and painful (in a provocative way) that I totally get what the fuss is all about. Especially after Le silence de Lorna and Le gamin au vélo I almost gave up on them. I'm glad I gave their most recent effort a fair chance, but must admit this probably wouldn't have happened if Marion Cotillard wasn't in it. She's one of those actresses I really like and in Deux jours, une nuit, I again realize why this is. Since Jeux d'enfants I've been watching her grow and get better with every movie. Now, her role as the depressed, burned-out Sandra is without any doubt one of the best acting performances this year. Not only that, but the Dardennes made one of the most topical movies of the 2010s. When governments, like the one in Belgium, decide to go for hard and merciless cuts in government spending because of an economic recession that is caused by the same people they protect, a lot of civilians become victims of this emotionless, inhuman practice that puts "hard work" before "life quality". The Dardennes have a history of making movies in this social realist style, but never have they made it this subversive. Actually it is quite sad that this kind of movie feels subversive. Everybody goes through hard times and has moments in her/his life where all things just seem pointless. Why is it still such a taboo to talk about these problems? Or are we all supposed to not think about life itself? Are we supposed to ignore the existential void and be happy in ignorant bliss? Deux jours, une nuit moved me on a very personal level. I hope it brings some warmth to those who need it even more, 'cause finally the movie ends with an optimistic note: regardless of how many people may pretend to be better or stronger than you, there will always be those who actually care. Even in the most bleak and dark periods.

22 Jump Street (2014) - 5.0 / 10

Phil Lord and Christopher Miller have been called transgressive directors, who bring movies in Hollywood format and at the same time spread an anti-capitalist message in a subliminal way. That might be said of The Lego Movie for example, but even in Cloudy with a Chance of Meatballs it is possible - with some imagination - to find this "hidden message". I, on the contrary, tend to agree with John Podhoretz, a conservative and republican journalist for The Weekly Standard who dismissed all the liberal (in the American way) and anti-capitalist interpretations of The Lego Movie and said they all fell into a marketing trap. 'Cause in the end it is the Lego Group who profit and the anti-capitalist who pays and spreads the word of the so-called subversive message, which makes other anti-capitalists pay. So that's why I, as an anarchist and anti-capitalist, won't pay to see movies of the Lord-Miller duo. I download them and rate them poorly. So suck it. In any case, while The Lego Movie was an enjoyable film, it's harder to enjoy the cynical tone and often easy humor of the Jump Street reboots. Although I must admit I did enjoy 22 Jump Street a bit more than the first one. There were some truely humorous moments which appeal to the liberal (again, in the American way) in me. But as with a lot of movies that aim at teenagers and twenty-somethings, it just fell short in so many ways that finally the short-lived moment of entertainment ended as soon as the credits rolled over the screen.

Defendor (2009) - 7.0 / 10

A superhero movie is best when it subverts the genre itself, like in Chronicle or Birdman. Defendor does just that. What happens when someone with a vulnerable mental state claims to be a superhero, fighting Captain Industry? They are looked down upon. They are seen as harmless and pitiful. Until they start to take action. Then they need to be contained and get psychological help. This movie tries to shine a light - through the psychologist - on that vulnerability and shows us there's something noble, even something pure in people who (try to) fight injustice. Woody Harrelson is in top form playing the protagonist Arthur aka. Defendor. His quest to defeat Captain Industry is a sobering and fruitless one, but the public begins to care for him. Maybe just because of Athur's general naivety. A graffiti artist paints a wall with his portrait, calling out to "fight back". That's what this movie was about for me. Fight back. Fight the self-righteous world who divide 'normal' people from those whore aren't according to some arbitrary measurement. Defendor is a warm eulogy for those defying normality and a subtle criticism on what is perceived as sane.

Teenage Mutant Ninja Turtles (2014) - 1.5 / 10

I should've known. Nostalgy is an ill advisor. But the TMNT were always one of those cartoons that I looked forward to as a child. I liked the atmosphere of superheroes that weren't actually superheroes but turtles with names of Renaissance artists (something I didn't knew then, of course). It was exotic and appealed to my imagination. The inner child in me convinced me to watch this real-live action film and remake. You never know, right? This was even worse than I expected. Maybe it's because Nickelodeon Movies and Platinum Dunes were the main producers, but it's not only that. The writing was awful, the action choreography way too conventional and the special effects not that impressive. I wonder if I would've enjoyed this as a child in the way that I enjoyed 3 Ninjas, 3 Ninjas Kick Back and 3 Ninjas Knuckle Up. That question will remain unanswered and it isn't even that relevant. Fact is this movie was utter crap with nothing whatsoever for adults or nostalgists to enjoy...

Zombeavers (2014) - 6.0 / 10

I'm not ashamed to admit: I love b-movies. Without the restrictions of living up to commercial success or financial gain, directors tend to have a lot more creative freedom. This is definetely the case for Zombeavers. Forget special effects, these beavers are just handmade puppets who look godawful (which is a good thing). Any idea how many beaver-puns (concerning female genitalia) that can be made when talking about zombeavers? Right, they're endless. And I laughed with almost every single one of them. I wouldn't recommend this kinda movie to a lot of people. The standard of what is perceived to be good has no room for bad taste. I say bad taste is good in and of itself, because it differs from good taste and at the same time makes good taste applicable to bad movies. I'm not talking about "so bad they're good" films, 'cause more often than not that claim is used to describe movies who were intended to be good in the first place: they failed at being good and because they failed they are good. I'm talking about movies that are deliberately bad (compared to what's perceived as good taste) because they want to subvert the way we enjoy movies. Those filmmakers know there is an audiance that likes this stuff, like myself. Even entertainment can be subverted, as Zombeavers shows us. Next up: Zombees!

Super (2010) - 7.5 / 10

Another transgressive superhero movie! After watching Guardians of the Galaxy and noticing that James Gunn made a name for himself with Super, I needed to watch this. The result is wonderful! With Ellen Page, Kevin Bacon, Liv Taylor en Rainn Wilson among others, it is clear this isn't a movie that came into existence in a very alternative circuit (Gunn's screenwriting history suggests this as well). Nevertheless this whole thing screams out "b-movie!". A superhero flick with splatter and gore? Where the hero of the story just wants to kill, not punish? Come on, what's not to love about that?! Super felt a bit like God Bless America only a bit less well-aimed. A minor criticism for an otherwise enjoyable and highly crude movie. It's a bit sad that Gunn didn't bring some of this self-conscious amateurish feel and look into Guardians of the Galaxy. It could've spiced the Marvel Universe up a little.

My Sweet Pepper Land (2013) - 9.0 / 10

Best movie of the week! This marvelously shot film will probably end up in my "best of 2014" list. Hiner Saleem brings us a beautiful blend of spaghetti western and political drama, not without some witty humor and satire. Genre-bending cinema always scores high with me, especially if it has such a wonderful aesthetic. The landscapes of Eastern Turkey and Northern Iraq are magical in their desolation and fierceness. On top of the majestic cinematography and the brilliant playing on genres, the acting of Korkmaz Arslan and Golshifteh Farahani is superb and the soundtrack (including the music played on the Hang) is one that I would listen to for hours on end. The film reminded me of Tepenin ardi, a Turkish western tragedy directed by Emin Alper, which also had this wonderful aesthetic. Since I saw Tepenin ardi I realized there's more to Turkish cinema then the commercial Yeşilçam industry and the arthouse master Nuri Bilge Ceylan. Hiner Saleem might do this for Iraqi cinema. Or must I say Kurdish cinema? 'Cause let's be fair: this movie breaths Kurdish sentiment and passion through all its veins; Saleem might have more in common with the Turkish Kurd Yılmaz Güney (Yol) and the Iranian Kurd Bahman Ghobadi (Turtles Can Fly and No One Knows About Persian Cats). In any case, My Sweet Pepper Land is a masterful film that didn't get the attention and distribution it so obviously deserves.

Ink (2009) - 6.5 / 10

The weirder a movie gets, the more I'll like it. Not unconditionally, but close. My expectations for Ink were extremely high so it's pretty astonishing that it took my several years before watching it. Now that Jamin Winans released his third movie recently, Ink got my attention again. After watching it my feelings were mixed. Although it is a very strange story indeed, a lot of the movie felt very conventional. The acting was pretty mediocre (as if the movie was made for television in the 1990s), the storyline was drenched in too much pathos (with a soundtrack that magnified this feeling a lot) and the visual style felt all a bit too much "post-production editing". I get why Ink is labeled a cult movie, as I think its following is indeed very small yet passionate, but it didn't do all that much for me. Too bad, 'cause I really wanted to like this film a lot...

The Frame (2014) - 5.0 / 10

To prevent me from making the same mistake I made with Ink, I watched The Frame without any procrastination. Just like with its predecessor I didn't feel anything for this movie. Again, the concept is without a doubt very intriguing, but the same criticism I had for Winans' previous film applies for The Frame in twofold. Maybe the acting was somewhat better and the visual style a bit moderated, yet it all felt too epic for my taste. I think Winans' following is deserved although I will not become one of those followers. Nevertheless I'd recommend both Ink as The Frame to those who like bizarre and exceptional cinema.

Predestination (2014) - 8.0 / 10

Movies that depend on plottwists are always valued better after a second viewing. Is it only the twist that numbs your judgement or has it more to offer than only an interesting narrative? In the case of Predestination I'd definetely answer with the latter. Even more so, after a second viewing it got better! Once you know what is about to happen you don't have to worry anymore about so-called predictability and the tiresome competition to guess how the movie is going to end before the actual end. This ennoying trend never appealed to me and I like to be flabbergasted without dozens of suggestions about what might happen. I don't measure these kind of movies on my own capacity of how super awesome I am when guessing the end before everbody else does, proclaiming afterwards that it was just all too predictable. When valuing Predestination I like to take into account the provocative way it incorporates a brilliant gender-bending experience (thanks to the amazing Sarah Snook) and how the metaphysical inclinations of the story open the way to more philosophical questions about determinism and free choice. The movie never is the end of the thought process of the viewer. It doesn't stand or fall with its possibly (un)predictable plot. Predestination might appeal to fans of Looper, Minority Report, The Adjustment Bureau and the Wachowski's. Those who deem themselves of superior intellect, refrain yourselves from watching this. The world doesn't need more conceited losers.

Feuchtgebiete (2013) - 7.5 / 10

This is probably the most raunchy picture I've seen all year. Maybe ever. It disgusted me more than, say, The Human Centipede II. No kidding. It might be 'cause I'm gay and have no affinity whatsoever with the female body, its smells, its peculiarities and its specific organic functions. If you think you've seen it all, then I suggest you watch this movie. An atmosphere that'll amuse the punk in every one of us, but nauseate our affinity with common decency. We not only get to hear a lot about intuitively nasty stuff (shit, cum, piss, sweat, vaginal discharge, snot, anal blood,...), we also see a lot of it. Yes. See. This movie is very visceral. Some might say too visceral. I'm inclined to say the same. On the other hand, I'm just too fascinated with the (sick) way David Wnendt dares to confront us with what we all know and have. Stuff that we usually accept as extremely private and even embarrassing is brought to the center of the stage. While doing this, the movie tells the story of a girl in puberty and her desperate need for attention since her parents don't give her any. This movie transcends its mere shock value to an authentic subversive work that will claim a cult status rather sooner than later. Add some sleazy garage music from Thee Headcoatees, Joan Jett and Peaches and you've got yourself a movie like nothing you've ever seen before!

Gerontophilia (2013) - 7.0 / 10

More transgressive cinema, this time by enfant terrible Bruce LaBruce. Although Gerontophilia is without any doubt LaBruce's most conventional movie, it shocks through its content. A young man is attracted to an 82-year-old man and starts a (sexual) relationship with him. How's that for ya? Without much explicity LaBruce aims, shoots and hits - the debate about gerontophilia can be addressed. Mission succeeded. Well, for the very limited audience that ever gets to see this movie of course. By the way, a film where the SCUM Manifesto gets mentioned? That is just absolutely awesome!

Tusk (2014) - 6.0 / 10

"This could've been way better." That was the first thing that went through my mind after seeing this. It's something I've experienced several times with Kevin Smith (except for his debut Clerks, which was just perfect). Tusk, the first part of a conceptual trilogy, is funny and inventive, but misses an original approach in writing. The unexpected take on body horror by Smith was something I loved very much, as well as Johnny Depp's quirky character Guy Lapointe. However, in general the movie was a bit too much hit and miss, especially in dialogue. Definetely one of those films that will generate its own following (like with everything Smith directs) and be called "underrated" several times. Not by myself though. Nevertheless I'm looking forward to the next two episodes: Yoga Hosers and Moose Jaws.

The African Queen (1951) - 5.0 / 10

John Huston has made some brilliant films (The Treasure of the Sierra Madre and The Maltese Falcon), some moderate films (The Asphalt Jungle and The Man Who Would Be King) and some terrible films (The Misfits and Annie). The African Queen is definetely one of those moderate films. A bit better than The Man Who Would Be King, a bit lesser than The Asphalt Jungle. In any case nothing to write home about. Nonetheless I was a bit disappointed. Not because it's Huston directing (he's too precarious to rely on), but beacuse it's Humphrey Bogart and Katharine Hepburn acting. I love both of them. Like, really, adore. Especially Hepburn. It might be because of misguided romantic ideas of a lost Hollywood era. Or it might be just because I like the sight and style of them both. Anyway, both Bogart (who won his first and only Oscar for this movie and called it the best acting he had ever done) as Hepburn were not on their best. By far. Did Bogart get the Oscar because it was the first time he was seen in colour? He certainly makes a different impression when seen in colour... I liked him better in The Maltese Falcon, Casablanca, The Big Sleep and especially in The Treasure of the Sierra Madre. Same with Hepburn, who just seems sick all the time (which she partly was during the recordings). Compared to Bringing Up Baby, The Philadelphia Story, Adam's Rib and even The Lion in Winter her acting was often annoying and laughable. I get why this movie is seen as a classic, but a classic doesn't necessarily mean a good movie. This was just okay. No more, no less.

WolfCop (2014) - 8.5 / 10

Another b-movie! Yet again I found myself watching one of those movies where almost everyone looks aghast, asking themselves: "Why?" And then there's me. 'Cause it's about a cop. That's a wolf. That kills bad guys. Who are shapeshifters. And have a kind of satanic cult. With a soundtrack composed by RidingEasy Records (the heavy psych / fuzz label that signed awesome bands like Black Prism, Salem's Pot, Electric Citizen, Albino Python and The Picturebooks and (re-)released tapes of Saint Vitus, Graveyard, Witchcraft and Orchid). Oh, and it has tons of blood, gore and splatter. And to top it all off, it has an awesome looking werewolf reminiscent of those in Werewolves on Wheels, not that over-stylized Twilight shit. I can keep on going. The only question to ask yourself is: "Why not?" This is the sort of movie that's the ultimate kind of entertainment for me. Compared to Hollywood this Canadian movie is low budget, but don't be fooled, the total cost still is around €700.000. However, when you see the trailer of that other, insanely stupid looking, Canadian werewolf movie Wolves (which actually will get a theatrical release in Belgium) and know that one cost almost 15 million euro's, one can wonder why WolfCop doesn't suffice. To throw in some other numbers: the Danish werewolf (art)movie When Animals Dream had a budget of around 2.5 million euro's and the latest American blockbuster about werewolves (The Wolfman, 2010) cost 123 million euro's. I only want to point out the ridiculous waste of money when it comes to some movies. If an entertaining movie (WolfCop) costs €700.000 and a more highbrow movie (When Animals Dream) costs €2.5 million, isn't that enough? Why must entertainment be funded by such capital when it can be made with much less? Such capital prevents true creative freedom, 'cause money is restrictive, not liberating. Above all, it's not that this kind of capital is needed for technical progress, 'cause we're not looking at themes like in Avatar, Gravity or Interstellar. This is horror. Pictures like Wolves and The Wolfman are redundant and therefor waste. We need a wolfcop to prevent this crap from happening in the future!

Weekly reviews in English

Due to unemployment there's a lot of time to watch movies. Since it is impossible to elaborate on every of those movies, I will start writing shorter reviews in English on a weekly basis. Maybe this will only last for a month or two. Maybe it'll carry on for much longer. Nothing is certain at this point. But then again... When is it ever?

"Why English?", you might wonder. I won't stop writing longer reviews in Dutch (and posting them here as well as on TheObservants.be and DeWereldMorgen.be), but I use a lot of English film media and websites also. A more efficient way of coping with that, is starting to write some stuff in one of the most commonly written and understood languages on the web: English.

It has been a while since I've written in another language than my own, so forgive me if I make some mistakes at first. My vocabulary and grammar tend to broaden once I start using and thinking in another language, but it might take some time. Especially to get rid of literal translations and expressions.

In the meantime I hope my reviews will entertain, inform and provoke you. The goal is to write short reviews of all films I've watched the passed week and post these every Monday. Sometimes this will be a lot, sometimes it'll be almost nothing.

Anyhow, I hope everyone will enjoy this next chapter on my blog!

Waste Land (2014)

Score:  6.5 / 10

Eén van de grote Belgische premières op het Film Fest Gent dit jaar was de nieuwe langspeler van Pieter Van Hees (Linkeroever en Dirty Mind). Naast The Loft, Welp, Violet, Lucifer en Eau Zoo was het ook één van de films waar een Vlaamse regisseur aan het roer stond. Waste Land is opgenomen in Brussel en toont een stukje van onze hoofdstad waar de nasleep van Belgiës koloniale verleden nog erg voelbaar en aanwezig is.

Politie-inspecteur Leo Woeste (Jérémie Renier) stoot op een moord die hem onder het vel kruipt. Al snel verliest hij zich in de zaak en gaat hij er psychologisch helemaal onderdoor. Wat aanvangt als een zoveelste Belgische politiefilm, evolueert op die wijze naar een sfeervolle en duistere paranoiathriller, een Belgische neo-noir zelfs. Tegen de achtergrond van de Congolese gemeenschap komt Woeste in contact met de Afrikaanse schone Aysha, bizarre voodoo rituelen en mysterieuze artefacten, intense en uitbundige feestjes, illegale en brute worstelwedstrijden en stoot hij tegen de muur die gecreëerd werd om het imperialistisch opportunisme van de bourgeoisie te verdoezelen. Als klap op de vuurpijl blijkt zijn vriendin Kathleen zwanger te zijn. Al deze ingrediënten doen de sowieso al emotionele Woeste wankelen en voor hij het weet is niets nog wat het lijkt. Ook als kijker verlies je al snel vat op wat reëel is en wat niet.

Het is, voor de tweede keer (na Linkeroever), de verdienste van Van Hees dat hij de typische genrekenmerken uit Belgische cinema zodanig weet te benutten dat het een atypische film oplevert. Het beklijvende acteerwerk van Renier (die we vooral kennen uit het oeuvre van de Dardennes) en karakterkop Natali Broods (Any Way the Wind Blows, Een Ander Zijn Geluk, De Helaasheid der Dingen, Swooni en de series David, Met Man en Macht en Zone Stad) zijn echter de sterkste kwaliteit van de prent. Vul dat aan met de uitstekende Guinee-Bissause Babetida Sadjo en een prototypische, maar geknipt-voor-de-rol zijnde Peter Van den Begin, en je zit met een cast die zowat de hele film draagt. Niet dat Van Hees de controle verliest, maar sommige plotlijnen zijn toch wat weinig uitgewerkt en de exclusieve focus op Woestes psychologische terreur zorgt ervoor dat alles er rond wat te weinig diepgang mee krijgt. Een tekortkoming waar Van Hees ook al aan leed in Linkeroever trouwens.

Waste Land wordt beschouwd als het slotstuk van Van Hees' trilogie van de Anatomie van Liefde en Pijn. Niet dat de films voor de rest enige betrekking op elkaar hebben. Conceptuele trilogieën zijn de Belgen duidelijk niet vreemd, want ook Gust Van den Berghe maakte met Lucifer een einde aan zijn trilogie van vergeten literaire grootheden uit de Lage Landen en, twee jaar geleden, deden Brosens en Woodworth hetzelfde met hun ecologische trilogie. Ik ben alvast benieuwd wat al deze cineasten in de toekomst voor ons in petto gaan hebben!

Hoe dan ook, met Waste Land speelt er momenteel een interessant stukje vaderlandse cinema in de zalen. Persoonlijk hadden Welp, Je Suis à Toi, Violet en L'Étrange Couleur des Larmes de Ton Corps een grotere impact op mij, maar Waste Land mag toch op de vijfde plaats gaan staan wat Belgische releases uit 2014 betreft (van de elf die ik reeds zag). Anderzijds moet ik wel bekennen dat ik The Drop, Alleluia, Image, Halfweg, Seuls à Bord, Todeloo, Tombville, Colt 45 en Deux Jours, Une Nuit nog niet zag. Geen meesterwerk, maar een frisse film uit het Belgische filmlandschap.

Trailer WASTE LAND

Interstellar (2014)

Score:  8.0 / 10

Ruimtevaart, elke regisseur die vereeuwigd wil worden in de filmannalen waagt er zich wel eens aan. Nadat J.J. Abrams de Star Trek franchise een reboot gaf en James Cameron met Avatar het sci-fi genre de visueel-technische boost bracht die in deze hypermoderne tijden niet kon uitblijven, was het maar een kwestie van tijd alvorens andere "grote" regisseurs ons hun kijk op het universum zouden meegeven. Na een hoogst geanticipeerde maar uiteindelijk behoorlijk flauwe poging van Ridley Scott om ons een nieuwe Alien te brengen met Prometheus in 2012, wou men ons in 2013 de heropleving van de ruimtevaart niet doen vergeten: M. Night Shyamalans After Earth, Joseph Kosinski's Oblivion en Neill Blomkamps Elysium deden alle, met wisselend succes, hun intrede. Ook Ender's Game, Star Trek Into Darkness en Riddick voegden zich, minder origineel, in het rijtje. Onder de radar passeerde dan weer het straffe kleinood Europa Report. Allen verbleekten ze echter bij Alfonso Cuaróns Gravity. Een film die, vooral door zijn technische vernuft, voor het eerst sinds Avatar prompt tot sci-fi klassieker werd omgedoopt. 

Gravity bracht een jaar doodse stilte met zich mee. Ruimtevaartfilms kregen opeens een nieuwe standaard waar men zich schijnbaar niet aan wou meten. Tot nu. Opnieuw een grote naam. Opnieuw een instant klassieker. Christopher Nolans Interstellar werd reeds zijn 2001: A Space Odyssey genoemd in binnen- en buitenlandse pers. Dat zijn grote woorden. En ze zijn niet geheel onterecht. Net als Kubricks meesterwerk, dat het in de eerste plaats van sfeer en cinematografie moet hebben, is ook Nolans jongste een stukje cinema dat een (te) rechtlijnige inhoud schuwt. Nolan is dan ook een Hollywoodregisseur die verschilt van vele van zijn collega's door zijn kijkpubliek nooit te onderschatten. Meer zelfs, een film van Nolan vraagt toch enige inspanning van de kijker. In Interstellar is dat meer zo dan in gelijk welke andere prent uit zijn oeuvre.

Die inspanning loont. De dystopische toekomst die Christopher Nolan en zijn broer en co-scenarist Jonathan schetsen, voelt akelig reëel aan. Geen robots, virussen, asteroïden of aliens die de Aarde overnamen of verwoestten, maar een gestage ecologische teloorgang. Boeren en landbouwers zijn het knelpuntberoep van de toekomst en de geschiedenis wordt herschreven om de bevolking in het gareel te houden, dat is alles wat we te weten komen. Er heerst geen post-apocalyptische sfeer, alleen een berusting in een nieuwe realiteit. Cooper (vertolkt door een, na Dallas Buyers Club en True Detective, alweer verbluffende Matthew McConaughey), een ex-NASA piloot, werkt als maïsteler en probeert zijn beide kinderen en schoonvader te onderhouden in een door stof- en zandstormen getroffen Midwesten. Een uur later bevinden we ons in de ruimte. Meer ga ik niet vertellen omdat het toch alleen maar de kijkervaring zou ondermijnen. Nolan zou het niet anders willen, zoals af te leiden valt uit de eerder cryptische trailers die de ether werden ingestuurd.

Net als in Nolans vorige werk, zijn plottwists een cruciaal aspect van het verhaal. Al moet gezegd dat Interstellar het duidelijk niet moet hebben van deze twists. Wat inhoudelijk interessanter is, zijn de filosofisch-wetenschappelijke assumpties. Of die allemaal realistisch zijn, vraag je beter aan mensen die Albert Einstein, Stephen Hawking en Brian Greene wat beter begrijpen dan ikzelf. Wat de circulaire ondertoon betreft, die van Interstellar een bijna ondoorgrondelijke prent maakt indien je zoekt naar een lineair verhaal, kan ik daarentegen wel zeggen dat er een rationeel-filosofisch draagvlak voor is. Ons hedendaagse (populistische) wetenschapsparadigma houdt zich sterk vast aan lineaire oorzaak-gevolg relaties en de, niet zelden hieruit volgende, paradoxen die men poogt weg te werken. Het theoretische karakter van paradoxen vergeet echter dat in de realiteit zo'n paradoxen vaak irrelevant zijn en we op veel vlakken sowieso circulair denken en daarnaar handelen, zonder enig probleem. Wanneer je de film bekijkt vanuit die filosofische assumptie (je hoeft écht niet thuis te zijn in metafysische ideeën daarvoor), krijg je een mooie ode aan een alternatieve zienswijze (circulariteit) die zich, ironisch doch onvermijdelijk, manifesteert in een lineaire film. Als ik deze alinea evengoed in het Swahili had kunnen schrijven, kan ik u alvast beloven dat de film, zoals ik reeds zei, van u toch enige inspanning zal vragen.

Wat veel dominanter is dan de verhaallijn, is de donkere sfeer die deze keer veel sterker naar voren komt dan in andere Nolan films. In eerste instantie dankzij Hans Zimmer die voor de gelegenheid in Philip Glass modus componeert. Minstens even belangrijk is natuurlijk het visuele aspect. Net als Gravity is Interstellar een cinematografisch pareltje. Hoewel Nolan geen Emmanuel Lubezki in zijn crew had zitten, is het werk dat Hoyte Van Hoytema aflevert, zeker even straf. Wat Lubezki met digitale fotografie deed voor Gravity, weet Van Hoytema met pellicule te doen voor Intersetellar. Niet exact hetzelfde, wel een technisch equivalent. Het gebeurt dan ook meer dan eens dat je vol van ontzag zit te staren naar het scherm. De landschappen van IJsland vormen bovendien de ideale locatie om dat ontzag te maximaliseren naar een staren-met-open-mond houding.

Uiteraard zijn er ook wat minpuntjes. Zo is de doeltreffendheid van het scenario niet zo verbluffend als in Memento, The Prestige, The Dark Knight of Inception. Net zoals The Dark Knight Rises duurt de film ook gewoon te lang. Niet iedereen zal dat zo aanvoelen, maar net geen drie uur is me toch wat te veel van het goede en komt - wat mij betreft althans - te dicht in de buurt bij de vermoeiende hype om films onnodig lang te rekken. Niet dat Interstellar op de zenuwen werkt of verveelt, alleen is de sfeer wel erg duister en de soundtrack wel erg minimalistisch, waardoor je als kijker soms geen adempauze meer krijgt. De robots TARS en CASE zorgen bijvoorbeeld voor de enige humoristische noten tijdens deze epische trip doorheen ons universum en daar had Nolan toch wat minder spaarzaam op mogen zijn.

Daarnaast wordt de cast, op Matthew McConaughey na, zwaar onderbenut. De meeste personages zijn eigenlijk, ondanks de lengte van de film, te oppervlakkig om echt mee te voelen. De relatie tussen Cooper en zijn dochter Murph (Jessica Chastain) is nog net tastbaar, maar met hun zoon / broer Tom (Casey Affleck) en schoonvader / grootvader Donald (John Lithgow) is er al heel wat minder affiniteit. Hetzelfde geldt voor de relatie tussen Amelia (Anna Hathaway) en haar vader dr. Brand (Michael Caine), de eenzame dr. Mann (Matt Damon) en Murphs vriend Getty (Topher Grace). Door het gebrek aan emotionele draagkracht gaan sommige verhaallijnen (minstens gedeeltelijk) de mist in. Het wow-effect is er wel, maar het gebeurt op eerder rationele dan gevoelsmatige wijze.

Dit zijn tekortkomingen waarmee Nolan wel eens vaker te kampen heeft. Soms is het verhaal zó sterk dat je die door de vingers ziet. Bij Interstellar moet je daarentegen al een echte techneut of een fotografie-passionista zijn om er niet over te struikelen. Dat neemt niet weg dat de beleving en sfeer een erg uitzonderlijke filmervaring maken. Dat memorabele gegeven, een film die onder je huid kruipt zeg maar, verantwoordt de instant klassieker status ontegensprekelijk. Alleen zijn instant klassiekers niet noodzakelijk de beste films. Laat het er ons op houden dat Interstellar misschien wel de film van 2014 is waar je niet om heen kan, maar het is alvast niet dé film van 2014.

Trailer INTERSTELLAR