filmbore pick of the week - The Motorcycle Diaries

The Motorcycle Diaries

Director: Walter Salles

Screenplay: Jose Rivera

Starring: Gael García Bernal, Rodrigo De la Serna

Language: Spanish

Year: 2004

UK rental release: December 2004

IMDb

LoveFilm

Rotten Tomatoes

Tonight, we delve deeper into the musings and evolution of one of the most infamous revolutionaries the world has ever seen. Even known for adorning the odd t-shirt from time to time, Che Guevara has shaken the world in his attempts to liberate the oppressed throughout the Americas, and The Motorcycle Diaries creeps into the moments just prior to these acts; at a time when he simply known as Ernesto.

Before completion of his medical degree, Ernesto Guevara (Gael García Bernal, Y Tu Mamá También, Amores Perros,), or "Fuser" to those close to him, needs adventure. Craving exposure of the unknown, combined with a journey of transcendence, his urge to travel across America with his exuberant friend, Alberto cannot be ignored. 

Alberto (Rodrigo De la Serna, Buenos Aires 1997, Tetro) is a biochemist himself, and their combined interest in the medical world will lead their travels to a leper colony to study and help the afflicted. Before this experience, however, there's some fun to be had.

Alberto is a charismatic soul next to Ernesto's more measured outlook on life. Yet together, their chemistry is absolute. They both share a passion for adventure and a desire to explore. The Americas will be their stomping ground for the coming months, and they intend to race through key towns, villages and cities all the way up the west coast of the continent to expand their minds and take in the cultures of Argentina and its sibling countries, covering over 14,000 kilometres, all the way to Venezuela.

They don't just venture alone, as they have 'The Mighty One' to accompany them: a Norton 500 motorcycle which will be their chariot throughout all of their encounters. Such an exciting escapade needs a thrilling means of transportation, and The Mighty One could be just that. Then again, it isn't so mighty, spluttering and breaking down now and then. These delays don't hinder their quest though, instead fatefully placing them within encounters with locals on their travels and enhancing their experience further. 

There is a goal to the trail however. Having already witnessed the depravity of some of their neighbouring cultures, unearthing the revolutionary within Ernesto, by the time they reach the leper colony their faith in humanity will be questioned. By seeing the lack of support to these ailed individuals, there becomes as an opening to a far greater adventure.

 

Predominantly adapted from the accounts of Ernesto himself, and extended from other works as appendices, filling in some holes in the story, this biopic of Ernesto Guevara is a revealing study of how, in the eye's of some, he was slowly built to greatness.

It's very personally shot, with plenty of handheld film work and some close ups to for that extra level of intimacy. It feels very immediate, absorbing you directly into the pair's adventure. What helps the film visually are the locations. We're graced with stunning landscapes of Argentina, Chile and Peru, including the breathtaking ruins and views of Machu Picchu, which are all delicately captured and laced within the film to drive the narrative. 

This ride is also helped along with chemistry between our two leads. Gael García Bernal is astonishing as always, gently portraying this lost soul and patiently unravelling the inner depths that will become his character in years to come. Yet, the key strength in this film comes from his support in Rodrigo De la Serna as Alberto Granado. Rodrigo won a "Best Debut Performance" at the Independent Spirit Awards for his execution of Ernesto's old friend, even receiving a nomination at the BAFTA's for "Best Supporting Actor. He naturally engulfs the part, seamlessly owning each moment on screen with effortless panache and showing Alberto as a wonderful muse for the brooding, sensitive Ernesto

The companionship on display also brings another gift to the picture. I always mention this as an aside in many of my reviews but it's so much more relevant in this film than most. With a biopic drama of a popular political figure you wouldn't expect the infusion of such a genre here...and that them is comedy. I'm so glad with the careful balance of humour used here as there are some great comic moments, tastefully handled when considering the overarching plot. And rightfully, the subtle laughs give way as the journey continues towards the pending frustration and looming misgivings that Fuser is starting to brew from within him.

Part of this transition is presented through voiceovers from our lead, with his musings adding extra brevity to the journey. Through these thoughts and observations, the film exposes his morphing from a young man to known activist; a formative time where he found himself and his true calling. No matter whether you are of the many who respect what Che Guevara stood for or not, of how you perceive his time as a Marxist guerrilla commander, there's no disputing how justified his initial path into this new life was, especially from seeing the level of despair he witnessed during his years travelling across Latin America.

The evolution of his principles and very being are perfectly, even poetically demonstrated through the life cycle of 'The Mighty One', which slowly withers during the picture. It's health as a machine mirrors the resolve held by Fuser, which gradually erodes as he sees the atrociousness beset on the innocent throughout his journey.

This all sounds very deep, which it truly is but not heavily so. As important as this film is, it is a peaceful watch, allowing you to assimilate the feelings of a pre-Che Guevara. You get to see the man beneath the symbol, the real hero under the t-shirt; to understand the makings of the man at a younger age, to see the human within the soldier.

Many biopics try to hard to be entertaining, or fail at even trying to be enjoyable. There's no doubt that it's a difficult equilibrium to perfect. Yet, sometimes, a picture comes along that falls victim to neither of these fates. The Motorcycle Diaries is one such film, which calmly touches your soul and manages even further to honestly represent a genuine soul. A spirit who, through an adventure both on the road and through his very being, would reach a point in his life where his next choices could change the world.

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

filmbore pick of the week - Night Watch

Night Watch (Nochnoi Dozor)

 

Director: Timur Bekmambetov

Screenplay: Timur Bekmambetov, Laeta Kalogridis

Starring: Konstantin Khabenskiy, Mariya Poroshina, Vladimir Menshov, Viktor Verzhbitskiy, Dimitriy Martinov

Language: Russian

Year: 2004

UK rental release: April 2006

IMDb
LoveFilm
Rotten Tomatoes

Something of the fantastical this week. And if I'm delving into the world of the strange and wonderful, then I must be true to my filmbore roots and choose a picture a little under the radar, a little under the usual budget, a little over the top and a little bit unfazed by subtitles. Some of you will know of Timur Bekmambetov for such films as Wanted and Abraham Lincoln: Vampire Hunter. Before his foray in Hollywood, he made his name with Night Watch, adapted from the first novel in a trilogy, The Night Watch by Sergei Lukyanenko.

As far back as can be retold, there have always been humans who are a bit...different. Known as 'Others', they have abilities and awareness far beyond that of normal men. Yet, with any form of life, you will find opposites. Some 'Others' represent the Light, some stand in the Dark. As long as they have existed, so has their feud.

On a day of horrendous war, many Others fell so a truce was met. Geser (Vladimir Menshov, Möbius, Generation P) leader of the Light met with Zavulon (Viktor Verzhibitskiy, 12, Admiral), lord of the Dark and, with some simple rules, created an equilibrium for peace. Members of the Light would watch over the Dark during night time, to be named Night Watch; members of the Dark would watch over the Light during the day named as Day Watch. And so, this balance would stay for hundreds of years...

   

Moscow 1992, and Anton (Konstantin Khavenskiy, Wanted, The State Councillor) is visiting a medium for a special request. His wife has left him for another man and he's looking for any way of getting her back. Trusting in the powers of the paranormal may be one approach. He agrees to partake in the woman's spell in order to win back the heart of this loved one. However, there are darker forces afoot. The impact of the conjuring, not just for his woman's return but to murder her unborn child, awakens unknown senses buried deep within him. Life has changed forever for Anton.

Twelve years later, and Anton is now initiated officially into the Others. As a soldier of the Light he must do his part in the Night Watch, keeping a sharp eye on the Dark Others, ensuring that they do not stray and oppose the eternal truce between their factions. He has visions, which is a powerful ability for one of his kind to have. One day he gets a call to monitor a young boy, Yegor (newcomer Dimitriy Martinov) who is under the influence of a vampiric Dark soldier. Using his talent he will be able to locate the lad and save him from his fate.

He finds him on an underground train, but is confronted by someone he doesn't expect, Svetlana, (Mariya Poroshina). His encounter with her affects him, as he's swarmed by violent, catastrophic images of what seems like a thunderous apocalypse. Disturbing as this is, he must make chase and help Yegor before it's too late.

Anton starts to delve deeper into the meaning behind the portent in his mind and, as he understands more about Yegor's part in all of this, he'll begin to uncover a prophecy that may make maintaining peace a little tricky.
 

Firstly, even though you are reading my review which is, of course, a matter of opinion, I beg you not to listen to too many opinions of others on this movie. On it's release, there was some promotion in film magazines as a breakout film from Russia on a tight budget of $4.2million. Many of whom may be uninitiated in the colourful methods of film making in countries outside of the Hollywood machine watched the picture, but derided it as confusion and too unusual. I implore you to ignore these views, as this film is a rare gem.

So, going in with an open mind and what are you to expect. The best way to summarise this piece is that it's an epic story expressed through a microcosm. You can sense the breadth of legend in the tale, even though draped in the modern surroundings of urban Moscow; isolated but powerful.

Bekmambetov understands how to portray this unconventional story, with a comprehension of how these two worlds collide. However, underlying this irregular is actually quite a conventional plot, one of prophecy and opposing forces, as explored in movies for decades. Yet, you pick up on the attention to detail in its look, colour and surroundings, almost neo-punk at times, and how these aesthetics influence this standard premise which, when infused by the originality scattered amongst the scenes, makes for a fresh experience for a movie go-er.

Deconstructing the ingredients to this appetising filmic treat reveals more than just a fantasy well told. How Timur has engineered this production is brave indeed, as a lot of the innards, like the abilities, the spells, the weapons, could make this picture farcical. In fact, at a superficial level it's easy to mistake Night Watch as ludicrous, hence why some may have scoffed at this on its initial release. Yet, pay attention and you'll see why this is unfair on two key accounts. 

Firstly, and on the main part, is the drama. The performances are assured across the board; from the leads all the way down to the small supporting roles, each actor executes their part with precision and care. Each is enjoyable and likeable for their very own reasons, especially main star Konstantin Khabenskiy as Anton, who pins the whole picture together. They all handle the source material with respect throughout, granting the film with a gravitas that may have been lost if left to weaker hands.

The other element is humour. There are some shades of comedy, but only at a minimal level. At brief points, the characters get to be a little extreme for our amusement. This is due, paradoxically to the above statement, to the film not taking itself too seriously at times, helping to balance off some of the darker elements of the tale, and mirroring the opposing factions driving the overall plot.

But these thematic delights are sometimes lost in translation. Speaking of which, if you watch the right version of Night Watch you'll be pleasantly greeted by some of the smartest subtitles you will ever see. Stick the Theatrical Version into your DVD player and you'll see what I mean. At points throughout the movie, the translations are placed nearer the actors' faces, so you can easily absorb their performances while reading the text in your peripheral. It's a genius approach, that is now used by many other filmmakers, engulfing you deeper into the story and thrills, without the distraction of slightly lowering your eyes to the bottom of the screen every few seconds. If you are a seasoned foreign language viewer like myself, this isn't such a problem, as extensive watching of world cinema makes this process second nature. But, no matter whether watching subtitled movies feels like a chore or not, this technique can be appreciated by all. 

Especially when it's taken a little further, when subtle effects help to emphasise the text, incorporating them into the tale even more. For example, when Yegor is swimming and gets a nose bleed: the claret drifts through the water like smoke, forming the words of the translations, then swiftly wipes away like unwanted steam.

Gentle as these effects are, there's a whole range of visual fireworks at play. Some of the stand out moments for the CGI comes in the form of one of Night Watch's trump cards...the gloom. This is a parallel dimension in which some of the Others are able to pass through in order to enter other rooms, or see deeper into realms to unravel hidden mysteries. Once you enter this supernatural domain, you're greeted with a plethora of mosquitoes, seemingly feeding on veins that fill the air around you. Physics change, as cause and effect take different meaning here. The subtle changes to the lighting and surroundings, accompanied with some dizzying filming techniques mildly create an alternate world without abruptly forcing it on screen, which is a nice touch.

Actually, all of the effects are excellent, when considering the modest budget. Over $4million isn't obviously a pittance, but in the movie industry it's still minute. And when you consider the level of production in this piece, the obscure plot to manipulate and the ensemble of characters to portray, it's mind boggling what Timur Bekmambetov has achieved with this.

Night Watch has received mixed reviews over the years. This is such a shame, as this will have marred the premature opinions of many and prevented even more from even entertaining the idea of watching it. Yet, I feel that this is purely a very misunderstood film, and carries an air of potential cult status about it. It's totally unique, fantastically brave, gripping, unusual and exciting. It's very difficult to think of any other picture like it and, with all of this achieved on such a small budget, that's why it's a travesty that it is ignored. If you are a fan of the bizarre, a craver of the original, a yearner for the eccentric you must see this film. And if you are not one of these people...well, you should watch it anyway! Challenge yourself! 


Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

filmbore pick of the week - Gomorrah

Gomorrah

Director: Matteo Garrone

Screenplay: Maurizio Braucci, Ugo Chiti, Gianni Di Gregorio, Matteo Garrone, Massimo Gaudioso, Roberto Saviano

Starring: Salvatore Abruzzese, Gianfelice Imparato, Marco Macor, Ciro Petrone, Salvatore Cantalupo, Carmine Paternoster

Year: 2008

Languages: Neapolitan, Italian

UK rental release: February 2009

IMDb

LoveFilm

Rotten Tomatoes

I've come to realise that, since the year or so that filmbore has been running, not once have I reviewed a film from one of the king's of European cinema: Italy! So, let's remedy this pronto with the epic gangster drama from Matteo Garrone, Gomorrah...

Starting in a beauty spa, some lads are getting pampered with tanning booths and manicures.Suddenly, there's a split in the group...some of these men have something else in mind! In seconds, four men get taken out at gunpoint. Time for a swift exit for our hitmen...

There's a war brewing between the two key factions, and this is just the start of the it. Entering a set of run down apartment blocks, introductions to our numerous leads begin:

Don Ciro (Gianfelice Imparato, My Mother's Smile, Il Divo) is a financier in the crime family. There's lots of money passing through the neighbourhood and Don Ciro redistributes this wealth to members of the clan. Even though he has been part of this crime family for many years, everyone is rude to him, paying him little respect. It's not long until he sees the affect of the crime war, starting to see a lot of people being moved. He's perturbed by all of this activity, draped in mystery.

Totò (newcomer Salvatore Abruzzese) delivers groceries around the estate for the shop owned by his mother. He knows everyone. He witnesses a police raid, erupting in a see of violence and anger, and spots a pistol and "stash" dropped across the courtyard. He takes the items to their original owners, raising his profile with the clan, putting some work his way.

Marco (Marco Macor) & Ciro (Ciro Petrone) a.k.a. Sweet Pea like to emulate the gangsters of Hollywood, like Scarface,. And like their idols, they are, most rebelliously at best, trying to do things under their own steam to the great annoyance of the local clan. And despite warnings from the boss, Giovanni, following a heist of a big bag of cocaine from a local African gang of dealers, they still want to keep running amok. But the Giovanni's crew are watching.

Roberto (newcomer Carmine Paternoster) has started working for Franco (Toni Servillo, Il Divo, La Grande Bellezza) in waste management. Franco is mentoring Roberto in his business, seeing huge potential in him. Learning how to pick the right spots, they must locate sites around the country to hide masses of toxic waste. It's an extremely lucrative business.

Pasquale (Salvatore Cantalupo, Fortapàsc, Lo Spazio Bianco) is a tailor, bidding with his boss for a large haute couture deal. No matter how busy this makes him, he gets offered an intriguing deal, teach his mastery in tailorship to members of a Chinese clothes factory. Greatly interested in this, he starts to discover how secretive his work for them will be and he's wary of the methods at hand here.

As our five factions of this culture continue down their darkening paths, they will all have to make a choice that will crush their being or elevate their soul. 

Based on the book by Roberto Saviano, Gomorrah takes it's material from stories related to the infamous Casalesi clan, a crime syndicate of Naples and Caserta. And taking these five interwoven stories and making them work is no easy task, especially when considering the angles of each tale, the plethora of personalities at play and how to capture all of this visually with enough unity to justify this is an overall piece and not just a jumble of edited vignettes.

What's great to see is that visually, this movie nails it! We're treated to some rich colour schemes that contrast against some of the other templates of smooth, natural browns and greys. This is a subtle mix that just tickles the senses enough to get your attention. The filming methods stand strong too, with a genius choice of using a style not far away from documentary film making, with lots of handheld work and close ups, creating a very intimate tapestry to appreciate.

The use of many various locations also gives the movie huge scope. This approach improves your awareness of this world, tapping into the inquisitive sensations found when trying to comprehend a story's spatiality. All of these elements blend perfectly into a beautifully delivered package. It's artful but doesn't hold any air of pretentiousness. In fact, it knows exactly what it is: dramatic, genuine, and seriously cool.

It feels very free flowing, and not just because of the camera styles at play here. The dialogue is both sharp and playful, with conversations darting around each other; sentences teasing one another joyfully in a dance of delivery and wordplay. A lot of this may be thanks to, not only the adaptation of Roberto Saviano's book but the fact that this has been achieved with great success by the same author and five other screenwriters, one of which being our director, Matteo Garrone. The script could have fallen down with so much creative input, yet instead we are presented with wonderfully colourful writing, ensuring that both poetic and naturalistic approaches are considered equally throughout the whole piece. This adds to Gomorrah's overall candid vibe, sucking you into its world with effortless magnetism.

What also appears fluent is how the touch points between each tale are slowly unveiled at key points. It feels very matter-of-fact. The story eases itself smoothly into your consciousness as you absorb its many layers, that jostle in such a relaxed manner they bring none of the confusion that you would expect. Ensemble, multi-chaptered films commonly fail in this area and Gomorrah, thankfully, is a lesson in how to juggle intertwined stories; to present them befittingly as a whole.

This may be partly due to its bravery in its timing. This is a patient film, unravelling and re-interweaving each character's chapters with delicate grace, while still infusing deep plot lines. This depth is easily recognised through the separate story lines when illustrating the dilemmas of each main character: Don Ciro is deeply affected by clan members going to the other family in the war, further exposing his partly sheltered vulnerability; Roberto has to face the cruelty within the business he is trying to absorb and learn from; Pasquale is overwhelmed by the admiration of his new students and the drawn in by the temptation of improved finances, despite marring the long-term loyalty he has shown his boss over the decades.

All of the characters are beguiling, each in their own special way: Totò is aloof and impressionable; Marco and Ciro are boisterous and volatile, Don Ciro is considerate yet both reflective and defensive. Their traits should oppose drastically, instead attuning themselves to their respective plot lines and paying dividends to the collective tale overall.

These character exposition uncover many themes are at play here, addressing numerous emotions and principles at the behest of each other...there's both fear and courage, revenge and forgiveness, honour and deceit, redemption and damnation.

Behind all of this, however, is one key theme that's the spine of the movie, and that's peer pressure. This affects all of our leads, no matter what their background, age or quality of life, they all fall victim to influence and temptation. Question is, who has the fortitude and foresight to come out the other end and who will succumb to the unabating inevitability of temptation?

Gomorrah is, first and foremost, a crime drama. Yet, when you delve into it's ingredients you'll be pleasantly surprised to find numerous filming methodologies at play, both in its craft and courageous approach. Each morsel is perfectly enhanced, without a single flavour overpowering the next. It's rare to see such a gentle interfusion work so brilliantly turning this modern Italian cinematic treat into more than your standard gangster film. This is a subtly artistic piece that taps into your own scruples and shortcomings. There's something for everyone here.   

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

filmbore wants you! Flashback to February 2013

filmbore wants you! February 2013

We're getting close to the finishing line for this now, so you have but days to cast your votes and views on the first 52 reviews posted on filmbore from June 2012 to May 2013. Each pick-of-the-week is in with the chance to be in a special Top 20, listing the best of the bunch...  

Let's flashback to February 2013!


filmbore went all newsy in February this year. First, I gifted you all with some special behind-the-scenes shots on the filming of the sequel to the Raid, Berendal (you can also read my review of the first outing The Raid here). Amazingly, I'm still on page 1 of a Google search if you type in "Berendal", about fifth the last time I checked (the other week I was second!). Also, I posted an article on an incredible new method of experiencing film with the launch of many worlds. 

But the greatest news of all came int he form of worldwide success at one of the most moving documentaries I've seen in years, with awards galore going to the beautiful Searching For Sugar Man. Not only did the film sweep the documentary gong at the BAFTA's this year but it managed it again at the Oscars too! In fact, this just happens to be one of the picks for February, so let's take a look at those now...that's why we're here after all!

So, from the four chosen for February 2013, so any take your fancy for the ultimate Top 20? We're you surprised and moved by Van Damme's performance in the hugely misunderstood comedy drama JCVD? Or did the success, as mentioned above, of Searching For Sugar Man tempt you into it's grip, to learn of one of the most touching stories the music industry has ever seen? Then again, you rarely get more emotional than the raw thriller by Shane Meadows, Dead Man's Shoes, with Paddy Considine's strongest performance to date. Or are you more from the avant-garde crowd, totally captivated by the spinning web of vignette's of Leos Carax's sensational return to film, Holy Motors? 

It's a touch choice...but without your voice they may not get noticed. Should one, some or all of these films be considered in my ultimate Top 20 of the first year of filmbore? You must choose...so comment below!

filmbore pick of the week - Paprika

Paprika

Director: Satoshi Kon

Screenplay: Satoshi Kon, Seishi Minakami

Starring: Megumi Hayashibara, Akio Ôtsuka, Tôru Emori

Year: 2006

Languages: Japanese (English dubbed)

UK rental release: January 2008

IMDb

LoveFilm

Rotten Tomatoes

It's been well over a year that this site has been running now and, even though I have already reviewed some animated features (such as A Town Called Panic, Waltz With Bashir and Tales Of The Night) I'm surprised myself that I've never picked any movies from a genre that I have always had a great fondness of...anime. But let's not select an obvious one here, choosing something unusual in true filmbore style. For this, it has to be Paprika. 

Detective Konakawa (Akio Ôtsuka, famous for the voice of Batô in Ghost In The Shell) is on the lookout for someone. He's scanning the patrons of a travelling circus, passing details to nearby undercover operatives. 

Suddenly, through the means of some surprising magic, he is conjured up by the ringmaster into a cage in the centre of the "Big Top" to the cheers of the baying crowd. As he desperately tries to perceive what's happened to him, audience members begin to swarm towards him frantically. But...why do they all have his face?

Seconds later, he is rescued by the redheaded heroine, Paprika (Megumi Hayashibara, Cowboy Bebop, Neon Genesis Evangelion), emerging Tarzan-like into the Amazon jungle. Before he can get his bearings, Konakawa is now on a speeding train, preventing his target from garroting him. We shift once again, where we find our troubled agent on a boardwalk taking photos. But Konakawa must drop what he is doing and make chase again, following his quarry into a corridor, where an innocent victim falls to his death in slo-mo. This cannot be real...can it?

This is not reality as we know it. Instead, we have been cordially invited into Konakawa's dreams by the means of a device known as the DC mini - a key to the subliminal pathways while you sleep. Konakawa may be suffering from severe anxiety from an unsolved homicide case, that seems to be manifesting inside his mind while in a slumber, and Paprika is here to psychoanalyse him as a genius psychologist of the nether-state.

Back at the laboratories that birth the DC mini, it's vastly overweight but genius inventor Tokita (Tôru Emori, Tokyo Godfathers) is concerned. Relaying the news back to his friend and work colleague Dr Atsuko, they are both distraught to here that three DC mini units have been stolen from the company. The secrets behind this incredibly advanced technology must not get out and misuse of the device's abilities could be catastrophic.

Investigating further as they continue to worry what the thief's motives are, they learn that a maverick scientist, now rebelling, Himuro, could be the culprit. The abuse of the machine by this larcenist of lethargy allows for dreams to be implanted onto the conscious mind of a subject that has been in near contact with a DC mini, meaning they will fully experience the reverie of a crazed patient while still awake. And such incidents are increasing.

Has Himuro become a terrorist of the mind? Or is he a victim too? It's up to Paprika and the others to ride the never-ending wave of dreams to uncover the scary truth.

From Satoshi Kon (who brought us Perfect Blue and Tokyo Godfathers) this is the final and, sadly, only fourth film from the anime genius before he died tragically from pancreatic cancer in 2010, to the shock of his adoring fans worldwide. Fittingly, this is his greatest piece of work and a touching swansong before leaving our world and entering a peaceful reverie of his own.

When I say this is his finest output, I really don't mean this lightly either. This movie is a kaleidoscope of visions, colours, music, themes and plot, all constructed perfectly in a manner deservingly mystifying. Only one minute into Paprika and you'll be perplexed, but delightedly so. A cocktail of brief vignettes of events surrounding Detective Konakawa dart across your eyes, taking you through the dance of his dream state.

These early scenes highlight the cinematic pedigree this piece bestows. The animation is so beautifully stylised, as with most decent anime, but it's the artwork by the animation unit Madhouse that puts this a cut above the rest. The template is instantly recognisable, especially to anime fans like myself. With its striking colours and wonderful, unrepressed use of perspective, even in close-ups and claustrophobic shots, this is a collection of exquisite renders, using a mixture of graphic techniques both new and old. In fact, it's quite rare to see an animated film blend pencil drawn and CG artwork so seamlessly.

Visually, the whole picture is stunning but this isn't wholly what you take away with you. It's the original designs in some of the dream sequences that sear into your mind. Sometimes ethereal, sometimes nightmarish, nearly always intangible, it's difficult to disagree that there is some level of genius at work here. At points, the unique quality of some of these moments are truly extraordinary, drawing you into this sub-cerebral adventure. The headline act of these dizzying images is the "parade": an unforgettable, heady concoction of characters and appliances, the imagery feels unearthly exclusive. And as as we entertain this rabble of the peculiar, they continue to march perpetually, dancing to some crazily brilliant music.

This is thanks to some incomparable compositions from Susumu Hirasawa. Being the first feature film to use Vocaloid voice synthesising software, and to fantastic effect, the entire picture is graced with modern music throughout, each melody infused with different genres. There really is some awesomely bonkers music at play here...hauntingly beautiful, dramatically powerful and altogether alien. A genius blend of classic sounds and modern beats.

Through the insanity of the sounds and visuals, there is still time for the odd token anime comedic moment, yet thankfully these are both brief and tastefully managed so that they partake equally in the film instead of marring it. This keeps Paprika's funny bone in its socket but still loose enough to don the odd hat here and there. There's even a nice nod to the crazed Japanese TV series Monkey! in the cloud-flying opening of a key action sequence.

There are deeper themes than references, odd jokes and striking music though, as in its many forms this movie tries all manners of exposing the fragility of the human psyche.

What you may notice mainly is the frequent use of corridors throughout the tale. What these represent is obviously at the viewer's discretion, but some may view them simply as a pathway, a journey, into the next chapter in this tale, as we slowly uncover more truths behind the conspiracy of the DC mini theft. You may even perceive them as representing the synaptic links between our dreaming moments, mirroring the slow crumbling of the lead characters mental stamina.

Duality is strongly addressed also (partly learnt through the identification of Paprika), suggesting how our dreams and nightmares illuminate elements of our being that our conscious self is too terrified to confront and reveal. The key theme amongst the subliminal and surreal, however, is jealousy. Each character is either consumed by envy or doomed to acquire it from their aggrieved peer, yet this premise is demonstrated in such a beautifully poetic manner as the story unfolds...Admiration is truly a misunderstood beast.

It's rare for a movie to truly encapsulate what really happens in our minds while we slumber. What Paprika achieves so creatively is a brave, yet directly obscure approach, closer to our dreams than we may realise. Plus, due to the freeing construct of the medium of animation the film takes it to another level, by accentuating these visions beyond the expected boundaries and presenting us with a true spectacle!

There gets to a point in Paprika when you think you've seen it all. That is until it unexpectedly expands its imaginative reach to absolutely breathtaking levels, delivering an artistically astounding piece, with a gripping storyline and imagery so unique nothing has looked anything like it before or since. A complete original! 


Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

An overdue overview!

Two overviews for the price of one!

Wow. Okay. It's been an entire month of filmbore since July, but due to some hectic happenings in my personal life it's been a struggle to get to the keys and talk through the articles at hand. So, to make up for it, this is a double overview...July and August in one sitting...that's two for the price of one!

So let's look back at what's been happening on the site for the last two months, starting with July...

The usual four reviews blessed this summer month, covering some very original film-making, plus I commenced the countdown to the ultimate list; for the Top 20 filmbore picks from June 2012 to May 2013. The first 52 reviews are there for you to vote for, while recaps on each month of filmbore's inaugural year have been posted for you to comment on.

Moving on to August, not only did the Top 20... posts continue, but due to some lucky timing we also got five reviews. Nothing like a bonus film to boost a hot summer month!

So, without further ado, let's skim over the picks and get back to action:

Pick of the week - Recap of July

A powerful and movie film started off July, with the Canadian-French masterpiece, Incendies. Addressing deep-rooted ties to an emotional struck family, it spans over two generations, with two siblings on the hunt for a long lost brother and a father they thought die, with some incredible reveals.

A huge change in tone cam in the following week with Takeshi Miike's brilliant samurai epic, 13 Assassins. A solid remake of a classic chambara, with tones of Seven Samurai thrown in for good measure, it's a breathtaking thrill ride, with inventive set pieces and some wonderful performances from the ensemble cast.

Based on a true story, Untouchable is wonderfully sweet while bravely challenging comedy-drama of an aristocratic paraplegic employing a boy from the french projects to be his carer for a month. It's rare to see how unusual friendships grow in such a rich and touching way in cinema, but this movie manages it effortlessly, thanks to the astounding portrayals from our leads.

The final film of July couldn't be more different from these. Wheatley's most recent foray into his experimental realm is A Field In England. Experimenting with camera lenses and ripping apart the conventions of storytelling allows for a bizarre and exhilarating ride into the psyche of this genius director...one for the UK to be proud of! 

Pick of the week - Recap of August

As August popped up, we kept it British with Shane Meadows' awesome mockumentary about an arrogant roadie and his protege emcee, Le Donk & Skor-zay-zee. With Paddy Considine finally putting his troubling meddler on camera after years of mucking about on set, it's a genuine piece that will reach any of you.

Back to Canada again, with another French speaking piece, 7 Days. This hard-hitting, emotionally challenging movie digs deep into the lengths you could go in order to seek revenge, where there's not turning back even for a chance at redemption. 

The claustrophobic world of the tank soldier came next in the incredibly well shot Lebanon. On a tiny budget, very little stimulus and even less space, Samuel Moaz has crafted a truly energetic war film that will keep you at the edge of your seat. The clever camera work and moving performances elevates this film from great to excellent. 

Keeping the tension up but adding plenty of the fantastical, I selected the fantastic South-Korean romp, The Host. One of the most exciting and superbly executed creature-features you are ever likely to see, it combines action, thrills, humour and drama in a refreshingly perfect balance. This is a film for anyone.

And finally, the bonus film. And what a choice. The feature length debut of Jean-Pierre Jeunet and Marc Caro, Delicatessen is so beautifully unique it's difficult to forget. The quirkiest post-Armageddon piece you will ever see, it's sensationally lighthearted for a story so full of horrific desires for "interesting" meat and its apocalyptic setting.

filmbore wants you!

The other major work over the past two months is collating recaps of the first twelve months since the birth of filmbore. Each of the films selected for pick of the week, like those above, from the months of June 2012 to May 2013 are candidates for a special Top 20 listing the best of the best. But, this list is not just by me...

That's right...filmbore wants you! You're involvement is key, so cast your vote on the films up for the cup. There's no limit to how many you choose, you just need to add a line or two as to why you want the movie to be considered.

 

Your views are important and I value the support you've all given me over the last year. If you comment on why you feel a film should be on the list, I will take serious consideration to your vote. You can add your points in the comment box below, email me on Top20@filmbore.co.uk, tweet me @filmbore, or post on the facebook fan page here. 

And any opinions are welcome!

 

So, as a reminder before the final summaries to come through, here's the full list of candidates. Get voting!

May 2013

• Run Lola Run (Germany)
• The Imposter (UK)
• Let The Right One In (Sweden)
• V/H/S (United States)
• A Tale Of Two Sisters (South Korea)

April 2013

• Switchblade Romance (France)
• Grabbers (Ireland)
• Berberian Sound Studio (UK)
• Amour (France)

March 2013

• Sightseers (UK)
• Tales Of The Night (France)
• Beasts Of The Southern Wild (United States)
• Rust And Bone (France/Belgium)
• Twin Town (UK)

February 2013

• Holy Motors (France/Germany)
• Dead Man's Shoes (UK)
• Searching For Sugar Man (UK/Sweden)
• JCVD (Belgium)

January 2012

• Bronson (UK)
• Goodbye Lenin! (Germany)
• The City Of Lost Children (France)
• The Secret In Their Eyes (Argentina)

December 2012

• Timecrimes (Spain)
• Brick (United States)
• Wild Bill (UK)
• Breathing (Germany)

November 2012

• Hidden (Austria/France)
• Battle Royale (Japan)
• Infernal Affairs (Hong Kong)
• Pi (United States)
• Once Were Warriors (New Zealand)

October 2012

• The Raid (Indonesia)
• Down Terrace (UK)
• Avalon (Poland/Japan)
• The Kid With A Bike (Belgium)

September 2012

• A Room For Romeo Brass (UK)
• The Devil's Backbone (Mexico/Spain)
• Headhunters (Norway)
• Waltz With Bashir (Israel)

August 2012

• Bunny And The Bull (UK)
• Brotherhood (South Korea)
• Das Experiment (Germany)
• Intacto (Spain)
• Neds (UK)

July 2012

• Troll Hunter (Norway)
• Primer (United States)
• A Town Called Panic (Belgium)
• I'm A Cyborg, But That Okay (South Korea)

June 2012

• Tell No One (France)
• Kill List (UK)
• Tyrannosaur (UK)
• Cell 211 (Spain)

I look forward to your choices.

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here.

Or, you can email me directly at overview@filmbore.co.uk.