Reviews by yord

A deliberate, steadily-paced film that gives you just enough time to figure out the last clue before revealing yet another in George Smiley’s (Oldman) maddening search for a mole within MI5. Tomas Alfredson’s paranoid spy drama is soaked in lingo, leaving you puzzled as Smiley must have been. The gift here, alongside the already stellar ensemble cast, is the fine actor of Gary Oldman, who silently communicates with us, helping us piece it all together. He comes off as a brilliant man, thorough and subtle—completely committed to his profession of finding truth through the lies. You may want to come prepared, but I enjoyed having to work a little bit to figure out who the mole was alongside Oldman—it certainly helped gain a closer perspective of how it must feel to be in such situations with literally no one to trust and other people’s lives at stake. If you’ve got any envy for that, you may lose it after seeing this film.

Jim Jarmusch directs this indie gem in gorgeous black and white, and we feel his passion for his work: this is one of those wonderful films where the characters are tailor-made for the actors portraying them. And what fine actors they are—Tom Waits, John Lurie, and Roberto Benigni pour their essence into these three unfortunate men, and it is a treat to watch their personalities clash. But there is more beneath the surface. Each has their own story, their own reasons for innocence while in prison. It’s not their fault, they all say. And we can relate to them because, while flawed, they each have a spirit, a plan for the future if the world would get out of their way. We see them clash, but are they clashing? Or are they seeing their own flaws in each other and feel forced to grow? As they escape, we root for them not because we believe they will go back to their old lives of pimping, drinking, or cheating. We root for them because we want to leave our own flaws behind.

R.P. MacMurphy is sent to an asylum. He isn't crazy. Watch what happens. One of only three movies to have won "The Big Five" Academy Awards for Best Picture, Director, Actor, Actress, and Screenplay--yet this film is the only one that deserved them all. It is hilarious and often times frustrating to see MacMurphy struggle to connect with the patients in the ward. They are all just so used to droning away with their daily routine. MacMurphy (Nicholson) cannot and will not adhere to this and tries desperately to shake them free of it. He tries to teach them to take risks and stop being so afraid. Though at every turn, Head Nurse Ratched is there to reintroduce her brand of "therapy," pacifying any sense of defiance MacMurphy instills. This film delivers in every scene and has one of the most memorable endings ever.

An evolution, a challenge to the modes of traditional gaming, and an achievement unmatched by countless top-tier development studios—and it was all brought together by a small, independent game developer named Mojang. Yes, this little retro-gem that brought unexpected riches to a small deserving few also brings riches into every home it’s played in, because in this world, YOU are all that matters. Where other games try to hook you with a neat story or flashy cutscenes, Minecraft does not. Like all art, it imitates life, but in Minecraft’s case, much more literally. You are dropped into an infinite world made of small cubes and left to fend for yourself. In Minecraft, much like a silent film, a lot can be said without saying anything at all. There is no god directing you, no personified evil, no plot that threatens the beautifully styled world that you now gaze upon—nothing but the threat of starvation and shelter from the night. What is the point of life? Everyone has their own answers, based on their past and the way they were raised. Minecraft mimics this idea—along with your home and your tools, you forge your own destiny. Will you farm? Will you mine? Will you explore? Will you build? Will you kill? Will you destroy? Will you shepherd your earth, or will you rape it? Here, like in reality, there are consequences. Dig too deep, take too greedily and you may die in the lava-lit darkness under a pile of gold and diamonds, or drive a species to extinction. Minecraft will help you tell your story.

Director Nicolas Winding Refn tells the true story of Charles Bronson (formerly Michael Peterson)—Britain’s most violent prisoner—and does the impossible: with great ease, we are able to relate to Bronson not as the monster he is put forth as, but as the man behind it. Bronson wants to make a name for himself. This is not an uncommon dream among humans, however, his methods for achieving this dream is anything but. He views prison not as punishment, but, as he states it: it was an opportunity and a place where soon every native was gonna know my name. Passed from prison to asylum back to prison and even back out onto the streets, no one can or tries to understand him until he is allowed to express his ideas through art. This is a magnificent film, one that will unleash the Bronson within you—because believe me, sometime you will need it.

In the not-so-distant future, where women across the globe are infertile and humanity is witnessing its own dusk, Theo (Clive Owen) must help a pregnant woman escape from the oppressive British government and find the last glimmer of hope that is the Human Project. Cuaron shows his supreme skill in this nearly hopeless film, with long and masterfully executed scenes with no cuts or edits, building genuine suspense and surprise in real-time. In a world torn by war and sadness and depression, we are shown the power of the innocent laughter of children in the playground. Power enough to stop a war. Power enough to start one.

What can unite humanity? This is a question pondered by philosophers and leaders throughout history and, appropriately, one that Alan Moore deals with in this gritty take on the neurotic life of a superhero. And what a cast of heroes they are—Dr. Manhattan, Rorschack, Ozymandias—all illustrated and colored in a 1940’s retro style captured brilliantly by Dave Gibbons and John Higgins. Their lives are complicated, messy, and with the Golden Age of the superhero behind them, purposeless. Rorschack never gave up his dual life, and never would. Which, despite his slight insanity, is oddly comforting. But sometimes it takes a madman to see the truth that’s coming—a force so unknowably evil that it will inevitably bring humanity to the brink, pivoting on one final question: will we run away and live in fear, clinging to the last bits of our short lives, or will we unite?

All the warmth and illumination of This American Life without the high-brow commentary. Lurie takes a lot of risks in this innovative documentary-styled show, in which he and one of his celebrity friends go on a fishing trip. John is not a professional fisherman by any means, and the narration, while sounding like an official NOVA or Discovery channel narrator, often goes off on strange non sequiturs that makes for an entertaining and unexpected journey. With each trip, a different locale, and with every new locale comes a new celebrity guest with their own very distinct personality. Not everyone enjoys these trips, but along the way they all seem to learn something or feel a connection, which translates to an eye-opening experience that left me in a sense of wonder and oneness. These points coupled with the strange, jazzy songs and sounds—by John Lurie, who also takes on starring, directing, and writing roles—make for an all-around great show.

A terrible virus that causes people to lose themselves in an uncontrollable rage—released unknowingly by do-gooders—runs rampant in London. The few survivors left cling to the hope of a cure and that the remnants of the military can bring them safety. So with nothing to lose, they make their way to the encampment. So much more than a “zombie” movie, this is a gritty tale about the survival of humanity on the brink of oblivion—both humanity as a species and humanity as in human decency. The final act, following one of my personal favorite scenes ever (post-Frank), shows the traits of humans when their laws and luxuries are ripped away. They tear at each other, their morals slowly decaying with their dwindling food supply. Standing next to the rage-infected hordes—I see no difference. Gritty, bloody, touching—all filmed digitally by Boyle which gives it a home-movie-like vibe. It seems more frenetic. Close. Real. A modern masterpiece of horror.

What a riot! This movie has a premise that would make [Link removed - login to see]: two hillbillies named Tucker and Dale (Tudyk and Labine) set out on a fishing vacation in their wilderness cabin only to be mistaken as bloodthirsty killers by college kids, who take matters into their own hands when their friend is “kidnapped” by the pair. It’s one unfortunate misunderstanding after the next, with each hilarious mishap building on the next. Watching the dim-witted duo try to piece together their mystery is a gas, and I was roaring at how the college kids misinterpreted every innocent action by Tucker and Dale. While it sagged at times in the middle and the main “villain” is apt to overact, I found the chemistry of the three leads endearing and the dialogue surprisingly clever. This under appreciated gem will definitely have a cult following, and it deserves it!