Noah (2014) - A Movie Review by Andrew Lawrence

Source: http://darrenschalk.com/wp-content/uploads/2014/04/Noah-2014-Movie-Poster.jpeg

Director: Darren Aronofsky 

Screenwriter: Darren Aronofsky, Ari Handel

Stars: Russel Crowe, Jennifer Connolly, Ray Winstone, Emma Watson

Tailer link

IMDb page

Cinemaligious doubt:

When I first read that Darren Aronofsky was making a Noah biopic with Russel Crowe in the title role, I did not really know what to make of it. To be sure, Aronofsky is one of my all time favourite directors, but biblical movies are not exactly my cup of tea, the main reason being that the genre has a very limited pool of original stories to draw from. Almost everyone from the western world has heard the story of Noah's Arc on at least a few occasions, as is the case with any significant story from the bible. No matter how interesting or well told these stories might be, the fact that none of them ever really manage to surprise you more than once still remains, at least in my opinion. That being said though, the cast and crew that stood behind this adaption of the biblical tale easily warranted a viewing and a review of the film, predictable story or not. 

Teaching an old dog a few new tricks:

Seeing as the tale of Noah's arc is such a familiar one to most of us and because Aronofsky's film sticks to the "original material" pretty well, I will not delve too much into the plot of Noah. All the events that you would expect to take place in a film such as this do in fact take place (yes, the flood does come, and yes, Noah does manage to finish the Arc in time), and due to this element of predictability, Aronofsky had to tell his story in a way that would go beyond that which we already knew, and find something in the tale of Noa's Arc that we did not know we had missed. 

The director chose to focus on the inner struggle of his titular character in an attempt to find this element of originality, because as Russel Crowe said in an interview earlier this year, most people think of Noah as a wholly good and spiritual man, who had to have been a decent person simply because he saved the human race from extinction. However, this heavy focus on Noa's doubts and fierce devotion to his cause shows us that nothing in this world is that black and white, and the Noa we see instead is downright ruthless and intimidating at times. I personally enjoyed the direction that Aronofsky chose to take the story, and although a lot of religious people have whined and complained about the "factual inaccuracies" that this core element of the film causes, the movie would have been incredibly dull were it not for the fact that it tried to take its well known story in a somewhat unfamiliar direction.

A sufficient amount of sufficiency:

Noah does a pretty good job in terms of performances as well, although I do not think that any of them are outstanding as much as they are simply sufficient. Russel Crowe and Ray Winstone take turns at chewing up scenery and switching up their accents, Jennifer Connolly and Emma Watson cry most of the time in order to show us how hard it is to live on an arc, and Logan Lerman deals with a pretty severe case of "being trapped in an arc"-induced blue balls for most of the film. It is one of those cases where you can not really put a finger on anything and say that someone is doing a bad job, however you are still feeling as if there is something left to be desired. Jennifer Connolly just might be the standout performance of the film, but then again, she is not really given too much material to work with. She is very good a crying convincingly, but whether that is enough to elevate a performance from good to being great is hard for me to say.  

More money and less depth:

All in all, Noah was a pretty entertaining movie in my opinion, albeit a far less enthralling and emotionally punishing piece of work than most of Aronofsky's other films. He was given a much larger budget when making this movie than he has ever had before, and even though he did well with it and managed to make a grand movie with big action sequences and swooping shots of wast landscapes, his lower budget movies such as The Wrestler, Black Swan and Requiem for a Dream are far superior in my opinion. The most interesting element of the film is the character of Noah and the darkness that Aronofsky and Ari Handel allowed into to his otherwise predictable and sort of worn out story, which is pretty much how I feel about the film as a whole as well: predictable and kind of familiar, but with a few variations that makes it worth the watch .

Lawrence Uncut: Behind the Scenes of PTA's Magnolia

A true Paul Thomas Anderson fanboy:

As readers of my Magnolia film review will know (review here), Paul Thomas Anderson is one of my most cherished film directors at the moment. The fact that he wrote and directed three films before his 31th birthday, including such titles as Boogie Nights and the beforementioned Magnolia, is simultaneously the most scary and most inspiring thing in the world to me. Most directors would be more than happy to make just one film that is even half as important as either of those two movies, but PTA just keeps on creating one mesmerising masterpiece after the other, as if being the best filmmaker of his generation is no big deal at all. His upcoming film Inherent Vice starring Jauquin Phoenix has been my most anticipated movie of 2014 ever since it was announced, and although David Fincher's Gone Girl looks pretty great as well, I really hope that Inherent Vice ends up shining brighter than any other film come awards season.

That moment: 

Being my favourite film of his, I decided to look around for some Magnolia interviews and BTS clips last night, and came across the incredible documentary that you see above. I found that watching P.T Anderson doing his thing on set and at productions meetings was a very inspiring and entertaining experience, and the enthusiasm and emotion that he put into his work with his actors and his crew told the story of a man who truly loves his job and feels very passionate about his craft. I would highly recommend anyone who has not seen it yet to check out this documentary as soon as possible, because even if you do not love PTA's films as much as I do, it works brilliantly as a behind the scenes-look on how movies go from pre-production to shooting and editing before landing in out theaters. It also features a few hilarious and heartwarming conversations between Paul and Phillip Seymour Hoffmann, who was one of his favourite collaborators before his untimely death earlier this year. R.I.P. 

Bonus: My 100 % subjective ranking of PTA's currently released films: 

6: Punch Drunk Love

5: Sydney 

4: There Will Be Blood

3: The Master (review here)

2: Boogie Nights

1: Magnolia (review here)

Andrew Von Lawrence Presents: Benjamin har en drøm

A bunch of firsts:

"Benjamin har en drøm", or "Benjamin Has a Dream" in English, is a small skit I made with a friend of mine a couple of months ago. It was my first time working with "actors" on a "set" as well, so in a way, the filming of this video was my first outing as a "real" film director. The skit itself turned out to be pretty awful, which didn't come as a surprise to either me or Lasse, who is the friend I made it with. I didn't really care about the quality of the skit as much as practicing the process of writing, preparing, shooting and editing a scene, and even though it turned out to be a much lengthier process than I'd though, the challenge of making it all come together was very fun and rewarding in the end. 

You can find this video as well as a few others on my Youtube channel.

Andrew Von Lawrence Presents: An Inner Fruit Salad

A fruit salad buried deep within:

You see kids, this is what happens when you watch too many Terrence Malick movies. All that mumbly existential voiceover you heard while watching The Thin Red Line? It has forever changed your way of thinking about war stories and film in general, and you will probably have to go through a pseudo-philosophic period in your own filmmaking process, in order to "exercise" the Malick-demons from your brain. The last shot in this video specifically shows how one should go about separating flesh and consciousness from each other, creating an infinite loop in time and space, allowing you to see past the materialistic and superficial standards of postmodern society. This ability will come in very handy when trying to differentiate between right and wrong in tough ethical dilemmas, because if the passing of time has taught us anything, it is that nothing is so bad that it is not good for anything. Barf!

T. Malick and his teachings: 

All joking aside though, I threw this small video together in less time than it takes to make a cup of coffee, strictly because I wanted to try out my new voice recording software (The program is called Audacity, in case you are interested). As you probably have guessed already, I have been watching a lot of Terrence Malick films as of late (Badlands, Days of Heaven, The Tree of Life and The Thin Red Line), and having been very impressed by almost all of them, it felt very natural to try and rip off some of his narration techniques. I really dig the way in which he combines his poetic visual style with good old fashioned storytelling, and even though this is more apparent in his earlier work than in films such as The Tree of Life and To the Wonder, I still feel that these films can teach me a lot about visual storytelling and narrative structure as a whole. 

You can find this video as well as a few others on my Youtube channel.

La Haine (1995) - A Movie Review by Andrew Lawrence

Source: http://www.bonjourtristesse.net/2011/10/la-haine-1995.html

Director: Maihieu Kassovitz

Screenwriter: Maihieu Kassovitz

Stars: Vincent Cassel, Hubert Koundé, Saïd Taghmaoui
Traile link
IMDb page

Trapped on the bottom:

La Haine, or "Hate" as it is called in English, is a French movie about three rebellious teenagers from the Parisian slums, who find themselves caught in the middle of a violent struggle between the police and an angry mob of young, hopeless working class outcasts. The film is shot in black and white in order to capture the bleak and colorless reality that these individuals face on a daily basis, and as we follow Vinz, Hubert and Saïd while they work their way through the tough-as-concrete slums that they call "home", we begin to understand why they are as restless and as resentful towards authorities as they are. 

Old men in new clothes:

In terms of narrative structure and story arch , La Haine is not a very innovative or groundbreaking film. We have all heard the stories about social outcast and bad working class neighborhoods told many times before, but in my opinion, none of them manages to capture the harsh realities of life in the slums and everything that comes with it quite as accurately as La Haine. The tediousness and repetitiveness that the main characters in this film experience is so well visualized and executed that predictable endings and worn out plot devices go completely out of the window, and the way in which the movie takes old clichés and reinvents them is quite extraordinary in my opinion. Director Maihieu Kassovitz, who grew up in the projects himself, does a very good job of making his audience feel as if they are a part of actual events that are taking place right now, giving the film a strong sense of reality and authenticity, which ultimately is the film's most powerful attribute.  

Simmering anger:

The Italian film Gomorra from 2008 is another film that manages to tell a familiar story abut life in the slums in a very riveting and convincing fashion, and just like in La Haine, the anger and the hopelessness that boils just beneath the concrete roofs of the packed apartment complexes is strangely fascinating and scary at the same time. Both films manage to turn the tediousness and bleakness of their characters' situations into a powerful dramatic attribute, and in case of La Haine, the bad decisions and irrational behavior of the main characters becomes even more tragic and relatable as direct result thereof. 

Restlessness personified: 

Especially the character of Vinz, who is portrayed fantastically by Vincent Cassel, has a lot of built up frustration and anger that he has no idea what to do with. This restlessness is depicted by the way in which he keeps threatening to kill a cop with the gun he finds early on in the movie, a gun which he has no idea how to handle or where to keep on his body. He knows that he is angry and he knows that he wants to do something to improve his situation, but in spite of his numerous boats and his cocky attitude, he has absolutely no idea how to handle the situation or his newly found weapon. His conflicted mind and the journey he goes on was very interesting to me, and when he speaks the line "I feel like an ant floating around in an endless multiverse", we see just how lonely and lost he actually feels, in spite of his tough physical appearance. 

A haze of hate:

Whether you see it as a a piece of social commentary or simply as a work of cinematic entertainment, La Haine has a lot to offer in my opinion, and its depiction of frustration and hate is very impressive and likely one of the most powerful and convincing ones I have seen. At one point in the movie, Vinz ask Hubert how he can tell the difference between right and wrong so easily. Hubert answers by saying that "hate breeds hate", and in a way, this simple statement is the key to understanding everything the movie tries to say about society and its flaws. Just as there are good cops and bad cops in the city, the slums contain violent and hateful people as well as goodhearted, honest and well meaning people, who want nothing more than to escape the hell that they are living in. Sometimes when we are not able to differentiate between good and bad due to the prejudice that comes with social gaps and ethnical differences, all we have left is a boiling grey blur of erupting hate, violence and anger, which I am sure is exactly what Maihieu Kassovitz wanted to say with this film. La Haine is a good, though provoking and very well made movie, and as time goes by, I find myself falling more and more in love with it.

Andrew Von Lawrence Presents: Fruit Salad

Chop chop:

In a way, this is my first video to be made on an actual budget (about 8$ was spent on strawberries, kiwis and bananas). The title of the vid kind of says it all, but in case you are curious, it does in fact not contain some sort of deeper meaning or rich and important message. I say this because when I revealed the title of the skit to my 16-year-old sister, she philosophically asked me whether we are dealing with an "inner" fruit salad or just a plain old literal one. I unfortunately had to inform her that this particular salad was quite straight forward and unambiguous in its development and characteristics, but who knows, maybe I will get around to making a more David Lynchian version some time down the road.

Behind the scenes:

In order to make this video work, I needed to have both my hands available and ready to grab, squeeze and move different types of fruit and kitchen equipment at all times. Since I do not own a tripod and had no idea that my stepdad had an old one lying around at the time of shooting, this meant that I had to come up with some kind of homemade installation in order to position my camera in the angle that I needed. Suspending my brand new 550$ camera off of a kitchen roll-holder which was tied to small chair positioned on an upside down basket on top of my kitchen table ended being the solution that I went with, and as you can see in the video, it ended up working out perfectly well. I do not know why I did not take any pictures of this spectacular contraption, but rest assured that it was quite a wonder to behold. 

Changing editing software:

I initially started editing this skit in iMovie, but in the same way that it happened with my first video Mokaface, it did not take long before something stupid took place. Half way though the painfully long and repetitive process of cutting together all the short clips of me shredding different types of fruit into small pieces, iMovie suddenly decided to crash. Thankfully the footage did not disappear entirely this time around like it did with Mokaface, although all the editing I had done up to that point sadly did. iMovie then kept on crashing every time I tried to reopen the program, and after a few minutes of trying, I uninstalled the program and decided to try out Final Cut Pro instead. This program turned out to be much more professional and easy to handle than iMovie ever was, and re-editing the video only ended up taking about two hours, which is just about as much time as I had already spent editing in iMovie. Having to start all over again obviously sucked, but transitioning to Final Cut Pro and discovering how much better that program is almost makes up for it. 

You can find this video as well as a few others on my Youtube channel.

Andrew Von Lawrence Presents: Mokaface

The synopsis:

So this is the very first video that I made with my new camera setup, so naturally, it is absolutely terrible. Making it was quite entertaining though, and I already feel much more comfortable with a camera between my hands than I did just 24 hours ago. The video in itself showcases the dramatic after-school routine of a 19-year-old cinephile, and it deals with classic movie themes such as indecisiveness, addiction, laziness and dreadful singing voices. 

The "production": 

Being the movie-making beginner that I am, I started off the editing process by accidentally deleting all of my footage, which meant that I had to shoot the entire thing all over again. The fact that it only took me about 60 minutes to do so made this slight bump in the road more of an inconvenience than a full fleshed disaster, and a lot of the shots ended up coming out far better during the second round of shooting than they did during the first. I guess this is pretty natural given how little experience I still have, so in a way, having all my clips disappear sort of was a blessing in disguise. As far as I can see, the shadow of my microphone is only visible once or twice during the whole 2-3 minutes of the video, which is pretty damn good if I have to say so myself!

You can find this video as well as a few others on my Youtube channel.

Update #7 - Andrew Lawrence the "Filmmaker"

Source: http://pawildlifephotographer.blogspot.dk/

A quick apology:
So it has been a while since I last posted an entry on this blog, and for good reason. In between schoolwork, visiting my father, toying around with my new DSLR camera and just being alive in general, I simply have not had enough time to sit down and spend four hours writing about a movie. That being said though, I really do want to get back into the habit of blogging, and I have got a great idea about how to do so.

New purchases:

As most of my active followers will have guessed (all three of them), I have an enormous interest in movies and filmmaking in general, which is why I recently went out and bought the camera that I mentioned just a moment ago. I used to make small crappy short films with my friends back in the day, and having been very itchy to get back into amateur filmmaking for quite some time, I have finally decided to do something about it. After many hours of researching the many corners of the vast interwebs, I finally decided to purchase a Canon Rebel T3i/EOS 600D along with a RØDE VideoMic Pro, which is a very good intro-level setup that I have been very satisfied with as of yet. I am still a giant noob when it comes to stuff such as aperture, ISO, shutter speed and all that jazz, but I am having a bunch of fun messing around with all the camera's many features and gizmos none the less. 

The master plan:

Since I am enjoying my new hobby as much as I am but also kinda feel bad about putting blogging on hold, I have come up with an ingenious plan that will hopefully allow me to combine both things into one great basket of internet goodness for you and I to enjoy. I have been posting the videos I have been making with my new camera on my YouTube channel (link), and from here on out, I will be posting a link to these vids here on my blog every time a new one is uploaded. Along with the video itself will be a written description of the process I went through when making it as well as all kinds of other interesting stuff, such as the obstacles I met with different pieces of gear or software, what I would have liked to change or improve, my thoughts on the over all product, and so on and so forth. By doing it this way, I get to keep a sort of diary about my filmmaking process, which I think could be really cool both for myself and for the few people who take an interest in what I do.

Introducing a new segment:
So yea, that is basically it. I truly cannot wait to get this new video segment going, and I think it will be a great counterpart to the two established segments that I already have (Movie Reviews and Lawrence: Uncut). Keep an out out for the first edition of "Andrew Von Lawrence Presents", and until then, thank you very much for reading.

/Andrew

YouTube channel link here
Canon Rebel T3i DP.com review here
RØDE VideroMic Pro link here

The Wrestler (2008) - A Movie Review by Andrew Lawrence

Director: Darren Aronofsky
Screenwriter: Robert D. Siegel
Stars: Mickey Rourke, Marisa Tomei and Evan Rachel Wood
Trailer link
IMDb page

Two different movies with the same general theme:

As I am writing this review, Darren Aronofsky's new film Noah is just about to hit theaters all over the globe. It stars Russel Crowe in the titular role as the famous biblical character, and being a huge fan of both Crowe and Aronofsky, Noah is one of my most anticipated films of 2014. My personal favourite Aronofsky film is Black Swan from 2010, a movie which focuses on the physical and emotional punishment that is associated with being a ballet dancer. In The Wrestler from 2008, Mickey Rourke does not exactly dance ballet, but his character is extremely similar to Natalie Portman's character from Swan, in the fact that his profession has become much more than just a regular job. Black Swan is about an entertainer who is just about to make into the big leagues, and The Wrestler is about an entertainer on the decline, who has already had his moment, and who has to deal with the consequences of having worked in the entertainment business for way too long. 

Burning the candle from both ends:

The Wrestler opens with a long panning shot of different newspaper cut-outs from the 1980's. This opening tells the tale of Randy "The Ram" Robinson's time as the most famous and successful professional wrestler in America, and after a brief cut to black, we see The Ram of today, sitting in a children's class room in some local high school. He is battered and bruised from his latest match against a young local hotshot, who just might be the next big thing in the world of wrestling. Since the 80's, The Ram has become a broken down, physically deteriorated wreck of a man, who sleeps in the back of his equally dented van, whenever he does not have enough cash to stay in the dirty, miserable trailer that he calls his home. The Ram has no friends worth speaking of, no wife, no girlfriend, and no family besides a grown up daughter who hates him, because he was not there for her during her early years. The Ram, Randy Robinson, Robin Ramzinsky or whatever you want to call him, basically lives a lonely and depressing life, and when a heart attack threatens to take away the one thing he has ever been good at, our hero's past finally seems to have gotten the best of him. 

An actor is reborn in Aronofsky's darkness:

Aronofsky has a tendency to make extremely bleak movies, and The Wrestler is not any different. This movie is probably the director's most somber movie since the black hole of hopelessness that is Requiem for a Dream, which is the most beautiful movie that I never want to watch again, but whereas that movie consists of 100 % depression, The Wrestler has an enormous amount of heart and emotional staying power as well. Mickey Rourke's real life career has been very similar to The Ram's, and he channels so much of that personal experience and heartbreak into this role, that you eventually start to care just as much about him as an actor as you do about the character that he is portraying. Rourke was born to play this role, and he does it phenomenally well, delivering a subdued yet tremendously powerful performance, that will go down in history as one of the best and most personal physical performances of all time. I have seen Milk, and although Sean Penn was great in it, Micky Rourke should have won the Oscar for his heartbreaking portrayal of Randy "The Ram" Robinson in The Wrestler.  

Career-based drama:

In the middle of all his misery, The Ram actually has one person whom he can go to in search for comfort. Her name is Cassidy, she is a stripper, and she is the type of character who normally stays flat and uninteresting throughout a film, and whose only purpose is to act as a brick wall which the main character can express his feelings to. However, in case of The Wrestler, this supporting character is everything but a cheap plot device. Thanks to Robert D. Siegel's incredible script and Marisa Tomei's wonderful performance, Cassidy becomes a mirror in which The Ram sees himself and finds some peace of mind, albeit a fragile and somewhat fake peace. The gap that exists between a professional wrestler and his audience is just as big as the one that exists between a stripper and her customers, and even though Rourke is fully aware of this thanks to his long career in entertainment, he can not help himself from falling for Cassidy. Her character is very similar to Randy "The Ram" Robinson and Nina from Black Swan in terms of profession, identity, facades and sadness, and she could easily have carried a standalone film on her shoulders.

Praise where praise is deserved:

Darren Aronofsky has been one of my favourite film directors for a long time now, and even though I have yet to watch Pi, I do not believe he has made anything but incredible films as of yet. With The Wrestler, Aronofsky and Mickey Rourke have created a sports movie unlike any other, and in spite of its very limited budget, it manages to enchant and haunt me every time I watch it. 

Lawrence Uncut: My Top 10 Favourite Movies of 2013

Better late than never:

So yea, I know that 2013 is long gone by now, but I still really want to make one of these lists. I did not get to review every good movie I saw last year, and even though I will not get the chance to go into very great detail about them, I still feel as if writing a top 10 list will give me the opportunity to express my thoughts on a lot of really good films, that definitely deserve to be talked about. As with everything else I write here on my blog, this top 10 will be extremely subjective and personal, and it will probably piss a lot of people off as a result thereof. It is also important to keep in mind that I did not get to watch every single movie from 2013, so if you wonder who titles such as Frances Ha, Frozen, Lone Survivor, Osage: Orange County, Philomena, The Wind Rises and The Hobbit: The Desolation of Smaug are not anywhere to be found on the list, it is simply because I have not seen them yet. However, as an added bonus to those who read the entire list, I have included a list of honorable mentions at the bottom of this post, which contains the movies that I wish could make it to the list, but just did not make the final cut. With all that boring stuff out of the way, I think it is about time we get into my top 10 favorite movies of 2013.

#10 - The spectacular now

To start off the list, we have James Pensoldt's adaption of the writers of 500 Days of Summer's third screenplay. Not only is this film one of the best teen romances of 2013 in my opinion, but also one of the most realistic and relatable romantic movies that I have seen for a long time. I vividly remember watching this film a cold Wednesday afternoon whilst feeling a little sick, and being in the fragile state that I was, this film's honest and emotionally draining story swept me off my feet even more than 500 Days of Summer did. Miles Teller and Shailene Woodley play the two main characters in this indie coming of age high school love story, and both of them deliver the performances of their careers in my opinion, especially Woodley, who I am sure has a long and bright acting career ahead of her. Being at a very similar point in my own life as the two main characters are in this film, I felt a strong connection to both of their characters, and after the film had ended, I just sat still and stared at the screen with wet eyes for more than ten minutes. The Spectacular Now is one of the best romances of 2013 for sure.

#9 - Nebraska

Nebraska is director Alexander Payne's latest movie, and even though I personally think that The Descendants is his best movie yet, Nebraska is one of the funniest, most engaging and most well created movies I saw in 2013. In this film, Bruce Dern plays a drunken old man by the name of Woody, who struggles with a lot of regret over what he has and has not achieved throughout his life. As he embarks on a road trip to his home town along with his youngest son, played brilliantly by Will Forte, Woody gets a chance to fix some of the broken relationships and settle some of the disputes that have been troubling him for many years. Shot beautifully in black and white, Nebraska is one of the most personal movies I saw in 2013, and I almost felt as if I could reach out and tough its many-layered characters whilst watching the film. Dern is brilliant in this film, and so is his wife played by June Squibb, who delivers one of the funniest performances of the year. Please, do not let the black and white fool you, because Nebraska is one of the most strangely heartwarming and colorful movies of 2013. 

#8 - Fruitvale Station

This one is a true gutwrencher. As I said in my review of the film, Fruitvale Station is based on the real life shooting of 22-year-old Oscar Grant on the last day of 2008, and it is one of the most harrowing films of 2013 for sure. The amount of emotional attachment I felt towards this individual, no matter how many wrong choices he might have made throughout his life, was stronger than almost any other connection I felt towards a film character from last year. This is largely due to newcomer  Michael Jordan's phenomenal performance and first time director Ryan Coogler's extraordinary directional effort, and I absolutely cannot wait to see what the two of them come up with next. The most impressive thing about this film, is the fact that Coogler managed to make a very open minded and neutral film based off of a story that very well could have turned into an extremely one-sided affair, which is a feat that a lot of more established Hollywood directors do not always manage to pull off. You can read my review of Fruitvale Station here.

#7 - Inside Llewyn Davis

In my opinion, Ethan and Joel Coen are the two of the best living screenwriters, if not the very best, as well as two of the most reliable directors who still make movies. These two incredible filmmakers just keep on surprising me with their darkly funny, strangely poetic and flawlessly crafted films over and over again, and the way I see it, Inside Llewyn Davis is their best movies since No Country for Old Men. It might not be all the way up there with No Country, Fargo and The Big Lebowsky, but it is still one of the most catchy and melancholically entertaining films of 2013. I usually never listen to music on my own and do not fancy myself a music enthusiast, so the fact that I have listened to all the songs from this movie almost every day for more than a month, should tell you something about how much I loved watching it. The Death of Queen Jane and Please Mr. Kennedy, although very different in tempo and subject matter, are two of the best movie soundtracks I have heard since Ben Nichols' Shelter from the movie Take Shelter, and are just two of many reasons as to why I cannot wait to revisit Inside Llewyn Davis on BluRay. 

#6 - The Way Way Back

The Way Way Back is one of those movies that you can watch over and over again and never get bored of. Not only is it the funniest movie from 2013 in my opinion, but it is also one of the most heartwarming, loving and honest films I have seen in quite some time. It focuses on a young awkward teenager by the name of Duncan, who is having the worst summer of his life in his douchy stepdad's beach house. Duncan eventually meets Sam Rockwell's character and starts hanging out with him in a water park nearby, which is where he starts learning what growing up, being yourself and falling in love really means. The Way Way Back truly is one of the sweetest, funniest and most loving films I have seen for as long as I can remember, and it captures the essence of teenage mystery, awkwardness and excitement better than most movies in its genre. In my opinion, Sam Rockwell also delivers one the best performances of the year in this film, and even just thinking about his monologue about the reason as to why the water park was founded still cracks me up even today. In short; please, for the sake of your inner child, watch this movie.

 #5 - Mud

As far as I am aware, 36-year-old writer/director Jeff Nichols is going to be remembered as one of the very finest filmmakers from our generation. Shotgun Stories is great, Take Shelter is a timeless masterpiece, and Mud is almost just as good. This film is a coming of age story just like The Spectacular Now and The Way Way Back, but more so than those two other films, Mud is an incredibly profound, many layered tale about love, friendship, mystery and the path to becoming a grown up human being. It features the two best performances by young actors from 2013 in Tye Sheridan and Jacob Lofland, as well as the crown jewel in Matthew McConaughey's career comeback as the titular character "Mud", and the three of them make this film one of the most engrossing movie going experiences of last year. I absolutely cannot believe that Nichols was not nominated for best original screenplay at the latest Oscar ceremony, because the way I see it, Mud's phenomenally well told story, engrossing themes and fateful atmosphere makes it the most well written movie of 2013, even better than Spike Jonze's Her. You can find my full review of Mud here, but please keep in mind that my opinion on the film has changed a lot since I wrote the review. 

#4 - All Is Lost

This film truly amazed me. Although All Is Lost only features one character, has next to no dialogue and takes place almost entirely on a small boat, it is one of the most exiting and nerve wracking films from 2013, as well as the single scariest movie I saw last year. Although Gravity probably will go on to become the most well remembered survival movie from 2013, All Is Lost had me much more engaged and much more worried about its main character. Robert Redford is flat out phenomenal in this film, and if I had to choose a favourite male performance from 2013, I would have to go with his heartbreaking and surprisingly physical portrayal of the unnamed main character in All Is Lost. The fact that writer/director J.C. Chandor and Redford managed to create such a thrilling and crushing movie with as small an amount of scenery and diversion as they did is a remarkable feat, and I still get goose bumps from thinking about the way in which the film concludes. In my opinion, All Is Lost is high concept filmmaking at its very best. 

 #3 - Only God Forgives

Kicking off the top 3, we have the most "controversial" pick on the list. Only God Forgives was absolutely crushed by critiques and audiences all over the world upon its release, but in my opinion, it is one of the most atmospherically pleasing and visually stunning movies that I have ever seen. Yes, it does feature a lot of very slow paced walking and a huge amount of melancholic staring, but no film from 2013 managed to keep me enthralled, riveted and mystified as much as Nicolas Winding Refn's Only God Forgives did. Refn has a very distinctive visual style which borrows a lot of elements from directors such as Stanley Kubrick and David Lynch, and as a direct result thereof, this film feels more like a fever dream than an actual movie. Refn does not waste a single frame in this film, and as much as I hate to be the asshole who says "pfft, you just don't get it!", the people who claim that Only God Forgives does not make sense and has no character progressing or story arc, just did not fucking get it. I personally bought it on BluRay as soon as I got the opportunity, and luckily enough, Only God Forgives only gets better and better the more I watch it. You can read my review of the film here.

#2 - The Great Beauty

The Great Beauty is an Italian film, and it is nothing short of spellbinding. It won the award for best picture in a foreign languae at the Oscars, but in my opinion, only one film from 2013 spoke the language of film better than this aesthetic masterpiece. The movie takes place in Italy, where 65-year-old playboy Jep Gambardella has been navigating the superficial and materialistic highlife of Rome for almost 40 years, without ever having felt happy or fulfilled. He seems to be the only person in his circle of "friends" who actually know that everything they say and do is complete and utter bullshit, and the film goes on to depict how wealth, art and social status has become a hollow shell of nothingness and stupidity for Jep and the people around him. Director Paolo Sorrentino tells this satiric story with some of the most gorgeous and visually pleasing images I have ever seen on film, and the movie contains several of the deepest and most telling sequences I have ever seen in any sort of visual artform. I am ashamed to admit that I have never seen seen a film made by Federico Fellini, but the fact that Sorrentino and The Great Beauty is being compared to Fellini and his work, makes want to change that as soon as humanly possible. You can read my in-depth review of The Great Beauty here.

#1 - Blue is the Warmest Color

When I said that The Great Beauty was my favourite film of 2013 back when I originally reviewed it, it was because I had not seen Blue is the Warmest Color yet. I decided to give it a go out of pure coincidence, and never in my life had I thought that a three-hour-long French movie about a lesbian couple would end up becoming the best film about love and sexuality that I have ever seen. As the poster truthfully states, this movie is absolutely shattering in more ways than I can describe. Not only it a gripping coming of age story about a young girl's personal struggle with friends, school, parents and herself, but it is also a genuinely heartbreaking, honest and realistic depiction of self discovery, homosexuality and love. Adèle Exarchopoulos plays the main character in the film, and she gives the best performance of any actor or actress in any film from 2013, making her character the single most emotionally engaging film persona of the year. I knew within very few minutes that this film was something special, and by the time it ended, I cared more about Adèle than any other fictional character I have encountered all year. Blue is the Warmest Color broke the barrier between fact and fiction more effectively than any other film I have seen for a very long time, and that is why it is the best film I saw in 2013.

Honorable mentions:

The Act of Killing

Out of the Furnace

Rush

Star Trek into Darkness

Filth

Dallas Buyers Club

Short Term 12

Blue Jasmine
Behind the Candelabra

The Kings of Summer

12 Years a Slave

Prisoners

Her

American Hustle

Place Beyond the Pines

Upstream Color

Gravity

Ain't Them Bodies Saints

The Constant Gardener (2005) - A Movie Review by Andrew Lawrence

Director: Fernando Meirelles

Screenwriter: Jeffrey Caine

Stars: Ralph Fiennes, Rachel Weisz, Danny Huston, Bill Nighy

Trailer link

IMDb page

One author, two different stories:

The Constant Gardener is a movie from 2005 based on a novel by author John le Carré, the man who also wrote the source material for Tinker Tailor Soldier Spy, a movie which I recently reviewed here on my blog. Whereas I did not have many bad things to say about the adaption of Carré's spy novel, The Constant Gardener is a totally different beast, and the subject matter of the two films could not have been more different. In this film, Ralph Fiennes plays an English UN diplomat who lives in Kenya. Fiennes used to be a modest, calm and hard working man, but when his wife, a hotheaded political activist played by Rachel Weisz comes close to uncovering a gruesome conspiracy and ends up getting herself murdered in the process, Fiennes embarks on a quest to find out what actually happened to his wife, and find out why someone had her killed. 

Politically correct subject matter = great movie?:

Even though The Constant Gardener scored very high ratings on sites such as rottentomatoes.com and metacritic.com, I personally had a very hard time describing my feelings about the film immediately after watching it. It seemed to be one of those movies that was destined to garner a lot of attention at the award ceremonies strictly because of its politically and morally challenging subject matter, in this case big medical companies who test their unsafe drugs on sic and poor Africans, but not because of the craftsmanship, storytelling and actual cinematic weight of the film. Disagreeing with the fact that corporate murder and abuse of the poor living standards in Africa is a horrible crime is very hard to do, and as such, I have a sneaky suspicion that this film got a lot more praise than it actually deserved. In general, it is important to remember that just because the subject matter is important and urgently needs to be discussed, the film is not necessarily either important or well made. 

A struggle to choose between two identities:

One of the things that that I disliked the most about this movie, is the way in which it was shot. The entire film seems to be filmed with handheld cameras in an attempt to make it feel more like a documentary than a factional movie, but in my opinion, this element largely just served to make the film very annoying to look at. Sure, it might add a bit a realism to the over all product, but constantly having the picture shake like a chiwawa with Parkinson's decease gets very frustrating to look at extremely quickly. More importantly however, this documentary-esque feeling made the film seem very conflicted with itself, for more than one reason. If you are so obsessed with pointing out the realistic aspects of your film that you make half of it feel like a documentary and all of it look like a documentary, then why the hell not just make a documentary? You simply can not mix a slightly unbelievable and melodramatic love story about a guy who tries to uncover the nature of his wife's death with serious and hyper realistic depictions of the real world, without making your film seem totally self-conflicted and fragmented. 

Realism or caricature?:

The Constant Gardener's main political agenda is to depict how big medical companies test their unfinished products on sic Africans, and shrug off the moral responsibility by telling themselves that "they were going to die anyway". Although this subject is both horrifying and interesting, the film depicts these companies and their representatives in such a cartoony and caricatured way, that I ended up laughing instead of trembling in moral outrage. Bill Nighy plays the most one-dimensional and stereotypical corporate big-boss that has ever been put on screen in this film, and this character's ridiculous behavior and over the top attitude completely obliterated the small amount of realism that the film had gathered through its documentary-like visuals. You can have as many shots of starving African kids waving at the camera in their torn clothes as you want, but when you put so much work into depicting how horrible a situation is that you forget how to tell a realistic and compelling story, your film is bound to feel conflicted and poorly made.

A most difficult genre:

In my opinion, this is one of those movies where the director and the crew behind the film cared so much about the subject that they were dealing with, that they lost the ability to tell the story they wanted to tell with an objective and sober attitude. I can easily see why someone would call this movie a masterpiece simply because of how morally challenging its subject matter is, but to me, The Constant Gardener relies way too heavily on its political agenda and way too little on actual cinematic craftsmanship to be hailed as being anything more than mediocre. The film reminded me a lot of Stephen Gaghan's Syriana from 2005, a movie which deals with international terrorism in a convoluted, one-sided and very subjective manner. In my opinion, both of these films got a lot of attention from the different award associations even though they were not very great movies, as a direct result of their political and internationally relevant subject matter. I personally do not think that the format in which these movies tell their stories work at all, and would much rather prefer to watch a documentary about their undeniably important and interesting subjects instead. 

PS: I promise not to use the expression "subject matter" ever again. 

Lawrence Uncut: True Detective *SPOILERS*

True Television:

In honor of one of the best season of TV I have ever seen coming to an end quite recently, I have decided to break protocol and talk about True Detective, which is an HBO series that I am sure most people on earth must have heard of by now. This episode of Uncut will feature major spoilers for the entire season, so if you have not seen this show yet, please, do not read any further. 

About the investigation:

One of the things that I was most worried about going into the season finale of True Detective, was whether or not Cary Fukunaga and Nic Pizzolatto were going to be able to wrap everything up in a way that felt both satisfying and exiting. There has been a ton of different timelines, perspectives, plot points and story/character arcs in play at all times throughout the entire show, and I am pleased to say that even though some of them were not wrapped up very tightly at all, the conclusion of True Detective really hit the nail on the head. I love the fact that Marty and Rust did not end up taking down the entire cult of nutbags in a blazing raid of led, blood and rock music, but that they just barely managed to erase their own debt, and had to accept the fact that there were powers beyond their control at play. This ending felt very un-hollywood to me, and even though I know that it is going to piss a lot of people off, I really enjoyed the conclusion to the 20-year-long investigation. 

About Marty:

As to what happened to the characters of Rust and Marty, I feel as if this is where the season finale of True Detective shines the most. After the incident in 2002, both of these men have been lonely, drunken and miserable, and the way in which they end up bonding over the Yellow King investigation was very heartwarming and satisfying to me. After all, this series is not a regular cop drama, but a character study unlike any other character study ever put on screen. The scene in the hospital where Marty is overwhelmed with joy when his family shows up is incredible in my opinion, because not only is he very happy to see them, but he is also painfully aware of what his character flaws have cost him. This is the moment where Marty realizes what he could have had but ultimately ended up distancing himself from, and this emotional breakdown is both heartbreaking and strangely fulfilling. After this scene, his character is surrounded by an incredible sense of peace and calm for the rest of the episode, which tells us that Marty has finally come to terms with what he has done, and has accepted that life moves on. It is a bittersweet ending to a bittersweet character's journey, and I loved it so much.

About Rust:

In terms of Rust's fate, this is where some people have expressed a sense of disappointment with the season finale. After everything that this sorry individual has been put through and after all his talk about death and the meaninglessness of life, it would seem as if the only way for him to find peace would be by dying, and a lot of viewers have speculated that Rust would need to die in order to give the show a meaningful ending. As it turned out though, both of our heroes ended up surviving the descent into hell, albeit with an axe in the chest and a knife in the gut respectively. I personally do not mind that Rust ended up living, especially after his heartbreaking account of how he felt the presence of his deceased daughter during his near-death experience. This final scene was very tough to watch, but the fact that Rust seems to end up leaving the hospital with a new, slightly more positive outlook on life, totally makes up for it in my opinion. He has been such a miserable and dark person throughout the entire show, and even though we do not know exactly how happy and/or depressed he is going to be in the future, that small amount of warmth he felt when he was so close to dying seems to have sparked some kind of fire inside him. Even though he had his stomach ripped open with a knife and was seconds away from dying a horrible death, being stabbed by that child murderer might have been the best thing that ever happened to Rust. 

In conclusion:

In the end, I feel as if this first season of HBO's newest smash hit was one of the best experiences I have ever had with a TV show. Watching this series was an entirely new experience to me, because instead of watching the entire season over the cause of a couple of days, I had to wait an entire week between watching each episode, which is something that I have never done with a show before. True Detective also featured quite a few of those unforgettable magical moments that I talked about in my review of The Great Beauty a little while ago, such as the "you should kill yourself if you get the chance"-scene, Marty's reaction to watching the Marie Fontenot tape, Marty Breaking down in the hospital, and of cause the uncut 10-minute scene at the end of episode 4. Even though the show was not as beautifully filmed as Breaking Bad or House of Cards, True Detective might very well be the most well-written show I have ever seen, and it certainly features two of the best characters that have ever been featured in a police investigation story. On a final note, I firmly believe that Matthew McConaughey and Woody Harrelson both deserve some kind of flashy statuette for their performances in this show, and Cary Fukunaga and Nic Pizzolato, the guys who directed and wrote the entire series respectively, do as well. Here is to hoping that season 2 will be just as great.  

Tinker Tailor Soldier Spy (2011) - A Movie Review by Andrew Lawrence

Director: Tomas Alfredson
Screenwriters: Bridget O'Connor, Peter Straughan
Stars: Gary Oldman, Colin Firth, Benedict Cumberbatch, John Hurt, Mark Strong, Tom Hardy
Trailer Link
IMDb page

A great film with steep competition:

Tinker Tailor Soldier Spy came out in 2011 to great critical, financial and public acclaim, and became one of the most successful films at the British box office from that year. 2011 was a fantastic year for movies in general, featuring incredible pieces of cinema such as Shame, The Descendants, 50/50, as well as Drive and Take Shelter, which are two of my personal all time favourites. Because of this plethora of great films to choose from, Thomas Alfredson's Tinker Tailor Soldier Spy sort of went under my radar for a long period of time, and it was not before recently revisiting it on BluRay, that I realized how solid a piece of movie making it actually is. 

A realistic depiction of the war for intelligence: 

The film takes place in 1972 during the height of the Cold War, in a bleak, somber, depressing and grey version of London, where George Smiley (Oldman) has been tasked with identifying a double agent from within the heart of the MI6, who has been delivering vital British intelligence to the Soviet Union for years. This film is a true spy-thriller if ever there was one, and Alfredson goes to great lengths in his attempt to emphasize what it meant to be a British spy during the Cold War, both in the field and in the secluded, isolated, sound-proof and cigarette smoke-filled MI6 offices back in London. What the Swedish director ended up with essentially is one of the best spy movies that I have ever seen, as well as one of the best depictions of the Cold War ever put on screen. 

Tea time is over:
The Cold War is unlike any other war that has taken place in recent memory. Whereas WWII and the wars in Vietnam and Korea were quite traditional seen from a military standpoint, the Cold War was a much more indirect and tricky piece of work, during which the enormous amount of international tension and global fear for a third world war could be felt everywhere you went. It was a war based on intelligence, politics and indirect power, and the atmosphere of Tinker Tailor Soldier Spy mirrors this all-engulfing tension and sense of uncertainty incredibly well. The film takes place right at the top of the British intelligence agency during a time where everyone was suspicious of everyone and where you constantly had to assume that someone was watching you at all times, and Alfredson and his crew  brilliantly manage to capture the sense of uneasiness and discomfort that dominated this piece of history. 

Less is more:

One of the things that I like the most about Tinker Tailor, is its ability to underplay the events that unfold in a way that makes the movie feel much more profound and intelligent than a large amount of other thrillers and spy movies. Its revelations and dramatic moments are handled in such a cool and controlled manner that they seem positively effortless and daunting in a very smooth and slick manner, which gives the film an incomparable sense of realism and craftsmanship that I have rarely seen before. Gary Oldman underplays his character's emotions and motivations in this way as well, and even though this is one of his most subdued, silent and controlled performances ever, it is also one of the richest and most personal performances that I have ever seen him deliver. The Cold War was all about subtlety, secrecy, betrayal and paranoia, and so is this movie. 

In conclusion:

Being the shady, mysterious spy thriller that it is, Tinker Tailor Soldier Spy admittedly is a very hard movie to keep up with. It is a very cleverly written piece of work that communicates its story through small hints and visual storytelling, which means that you have to pay very strict attention to the story if you want to understand it completely. I guess this is one of the reasons why I liked the film much more after watching it a second time, because even though I did my best to keep track of all the subplots, characters and timelines the first time around, the plot just was a little to heavy handed for me to catch all the details in one viewing. However, no matter how much of the story you manage to pick up on during your first viewing, the riveting atmosphere, the great performances and the high level of craftsmanship that this film benefits from are all very hard to miss, and should be enough to keep you entertained throughout the movie. Tinker Tailor Soldier Spy is very solid movie in my opinion, and even if you have already seen it and happened to find it a bit too complicated to follow, I strongly suggest anyone who reads this review to give the film a go. 

Lawrence Uncut: The Oscars

Reintroducing "Lawrence Uncut"!:

So yea, I formally introduced the "uncut" segment here on my blog a while back, but still have yet to take it into proper use. I've been having a huge load of school work to do and a lot of plans for the future to make in the past few weeks, but now that I seem to have been given a bit of spare time, I thought I'd take some time off to give you my few cents about the 86th annual Oscar ceremony, which took place last night. 

The foreign language race:

Seeing as "The Hunt" had a pretty good shot at taking home the statuette for best foreign language film last night, this probably was the category that me and my fellow Danes were the most interested in. However, for those of us who actually saw "The Great Beauty", the Italian film that actually ended up taking home the Oscar, there really wasn't much hope to find. I expressed my thoughts about the movie in this review, but to put it shortly, I personally think that Paulo Sorrentino and Italy deserved to win the award over any of the other nominees. The Hunt is a great movie and I love Thomas Vinterberg and Mads Mikkelsen, but the film just never reached the level of cinematic weight that The Great Beauty did. 

Honoring the screenwriters:

In terms of the awards for best adapted and original screenplay, which are the two categories that I personally look forward to the most every year, I was extremely happy to find out that "12 Years A Slave" and "Her" ended up winning, predictable as it may have been. I managed to catch a screening of "Slave" just 36 hours before the ceremony and still have yet to watch Her, but based on my admiration for both Steve McQueen and and Spike Jonze, I couldn't be any happier. I did find McQueen's first feature film "Hunger" a bit artsy-fartsy in some ways, whereas I think that "Shame", which was his second feature, is an incredible movie with an even more incredible central performance by Michael Fassbender. Jonze on the other hand has directed nothing but good movies, and I'm a huge fan of the movies he's made with Charlie Kaufmann, especially "Adaptation", which also features the last great Nicolas Cage performance. 

An acceptable compromise:

This year's Oscars are somewhat different from all the previous years in my opinion, because for the first time in recent memory, I'm actually not mad about the awards for best director and best picture being given to two different movies. Watching "Gravity" was a fantastic  experience in my opinion, especially visually, and I think that all the years of hard work and dedication that Alfonso Cuarón put into this pet-project of his was worth the best director's award. 12 Years A Slave was a very straight forward but also much more touching movie experience, and even though I don't love is as much as everyone else seems to do, I still think that its ability to tell a tough and grueling story in a sober and ruthlessly honest way makes it one of the finest movies of 2013. Its subject matter might be a little worn out by now, especially seeing as it came out relatively shortly after "Django Unchained" and "The Butler", but it still managed to add  a new perspective on a story that has been told many times before, which in and of itself is very impressive. 

Flying high on national pride:

Finally, I have to mention the fact that Denmark actually did bring one Oscar statuette home last night, in spite of The Hunt loosing out to The Great Beauty. Anders Walter's "Helium" won the award for best live action short, and even though I haven't seen the film yet, I do feel a little proud of this Danish achievement, seeing as three of the people who worked on the film went to the film college that I'll hopefully be studying at in a couple of years. How exciting!