Deigues

"Infernal Affairs" is the Hong-Kong based crime movie that eventually led to the birth of the "The Departed" by Martin Scorsese. The film certainly has its own merits, but also its own faults. The story is centered on two moles: one of them infiltrates the mob and the other infiltrates the police force. When both parties become aware of the infiltration, a game of cat and mouse (or should I say mouse and mouse?) ensues, as each try to uncover the other one first.

For the most part, "Infernal Affairs" relies on its strong and intriguing premise to keep the viewer hooked and succeeds. It's a competent crime film, but if you begin to scrape the surface it quickly gives in. While the two main characters are reasonably interesting, their love interests are extremely underdeveloped and lack any of the emotional depth of the characters in "The Departed". The direction is also far from brilliant. "Infernal Affairs" tries too hard to be stylish, cramming obnoxious fade-outs and pointless slow motion shots in many scenes. Still, I could have let all of this go, were it not for the most annoying fault of the entire film: an atrocious soundtrack, which isn't only incredibly cheesy, but intrusive as well. I admit I had seen Scorsese's remake prior to "Infernal Affairs" and, no matter how hard I tried not to compare the two, the superior work is obvious.

If you are looking for a decent crime film, "Infernal Affairs" will meet most of your expectations. However, if you are hoping for something more, I strongly recommend Scorsese's version.

"Throne of Blood" is an adaptation of Shakespeare's "Macbeth", by the Japanese master Akira Kurosawa. It stars Toshiro Mifune as Washizu: a brave and honorable general whom, upon hearing a prophecy on how he will become Lord of Forest Castle, goes down a spiral of wrath and corruption.

As usual Kurosawa's staging is masterful. His camera glides and smoothly pans across the scenes, showing us the main drama, but also revealing other actions occurring in the background - this gives the viewer a much more heightened sense of immersion into the world. The film's pace is infamously slow, but this was a personal choice by Kurosawa, who was greatly influenced by the Japanese style of theatre, "Noh". By adopting this very formal and specific influence, Kurosawa creates an interesting fusion between stage and film.

The only detail that bothered me in "Throne of Blood" was the way Kurosawa lessened Washizu's (Macbeth's) thirst for power. While he is still seen as a tyrant, I couldn't help but empathize with him more than with the original Macbeth. Washizu is more reluctant to believe the prophecy and it is only after his wife convinces him that it is either "kill or be killed" that he actually commits the first murder. The first Lord he murders is also seen as a less noble one than King Duncan, as he actually also came into power after murdering the previous lord. Details such as these ended up toning down on Washizu's craving for power, which in turn made the film lose some of its as well.

Nevertheless, "Throne of Blood" is still a great adaptation of Macbeth; encapsulated in a gorgeously shot, black and white feudal Japan, which paints a terrifying portrait of Man's relentless ambition and lust for power.

"There are no two words in the English language more harmful than "good job"."

This is Whiplash's mantra; Damian Chazelle's second feature starring Milles Teller, who helms the film as a driven musician and drummer in a conservatory band led by the strict and abusive mentor J.K. Simmons. The plot follows their relationship as Teller struggles to gain success and the approval of his mentor.

If you're not a jazz fan, don't worry. "Whiplash" is as much about jazz as "Raging Bull" is about boxing. It's just background, or maybe even less than that. This is a film that knows what audiences are fed, but it also knows what they are craving. Its story might seem almost too simple or formulaic, but the urgency with which it's told is what makes it unique.

In an age where most movies dawdle through their run time, unsure of where to go or what to do, "Whiplash" is a breath of fresh air; but a breath you'll most likely be holding throughout the entire film. "Whiplash" builds up like an exquisite piece of music and doesn't waste a single frame. Teller and Simmons's relationship is at times sick, poisonous and even destructive. Chazelle magnificently frames "Whiplash" in ill lit and oppressive environments. Its close-ups are, for a lack of a better word, claustrophobic and make "Whiplash" look like it just might bend the frame and burst from the film at any time. Of course a lot of this energy is merit of the actors as well and, in this case, to say that J.K. Simmons is great is an understatement. I fail to recall a more menacing and authoritative performance since R. Lee Ermey in "Full Metal Jacket".

Damian Chazelle has taken a simple and universal concept, the eternal struggle for success and acknowledgment, and made it into an incredible and high-octane film. While I know better than to congratulate him, with "Whiplash" I think it's safe to say he's earned it. He's done a hell of a job.

"Boyhood" was hailed as the cinematic event of the year – a classic American coming of age story, shot throughout a decade, in the hope of creating the most accurate representation of growing up there has ever been.

Let me start by saying: Yes! Its technical achievement is impressive. You feel the characters age on screen and how the relationships change and evolve - or don't. Whether the film would be getting as much praise were it not filmed over a 12 year span I don't know. The fact is the achievement in itself is impressive, but the film is far from perfect. Linklater seems to rely a bit too much on his unique technical stunt and, while there's drama in "Boyhood", the film feels somewhat aimless in its direction. This needn't be a particular problem, but when you're sitting in a theatre for almost 3 hours, it can become a bit frustrating.

Of course, the aimless and arbitrary nature of life seem to be one of the main themes and goals of "Boyhood", seeing as a lot of the praise it got was due to Linklater's skill in portraying life as it truly is. Most critics, and people who appreciate the film, justify it by saying "Look! That's how life is." Well, thankfully, my life wasn't like that. There wasn't any domestic violence in my home, but the scenes that bothered me the most were the long winded speeches where other characters preached and enlightened the young Mason. I never found my life or personality to be defined by that one or two moments of revelation. You struggle every day, making your own choices. Sometimes you make the right one, but most of the time you make the wrong. But, if you're really lucky, when you make the wrong one, you learn - you grow up. By having these very key and definite moments of change the film felt heavy handed and, even worse than that, it felt fake.

The fact that I cannot relate as easily with the film as others is probably one of the reasons I did not adore it. I liked it. I thought most of the performances were quite good (particularly Patricia Arquette) and I was engaged throughout most of it. Yet my expectations were so high that I just couldn't help, but feel somehow let down by the end of it. "Boyhood" might not be the best film of the year, but it's still impressive and it definitely warrants your attention.

In 1981, Abel Morales - the owner of an oil heating company - is about to become the proprietor of a very valuable and important fuel terminal. He has 30 days to get financiers together, in order to close the deal; otherwise he loses his deposit and risks bankruptcy. During this period, as Abel's trucks start getting hijacked and his wife is pleading for him to fight back, his company also becomes under investigation by the Assistant DA. Morales has to sustain pressure on all fronts to attain the success he so eagerly desires.

The themes and even the visual style of "A Most Violent Year" are reminiscent of many crime films of the 70's and early 80's, in particular "The Godfather Part II": not only for the lighting (shadows over the characters' eyes) and color palette (dark yellow and brown), but also due to Oscar Isaac's Abel Morales, whose overall conduct and mannerisms recall a young Michael Corleone.

This film isn't another generic crime thriller with lots of explosions and shootouts; it builds on suspense, at a steady pace, as it tries to push its main character over the edge. "A Most Violent Year" becomes a sort of meditative observation of a man struggling to maintain his values and ideals while the world he knows crumbles around him. While it is certainly a gritty film and it's obvious that J.C. Chandor has done his homework, I cannot help but feel he should have brought more of his own voice to it. He takes many influences but doesn't bring anything particularly new to the table; Abel is interesting, but I felt the plot could have serviced him (and the other characters) better than it does.

"A Most Violent Year" stands on the shoulder of giants but doesn't try to reach higher. By the end of the film you're left disappointed, that what could have been easily a great film settled for less. To quote Abel Morales: "When it feels scary to jump, that is exactly when you jump, otherwise you end up staying in the same place your whole life." It's a shame J.C. Chandor didn't jump when he should have.

"True Lies" is an action-comedy from James Cameron. It opened in theaters in 1994 and it was one of the last watchable movies of Schwarzenegger's career - before his stint into politics.

The main plot is nothing spectacular (far from it): it takes a generic and stereotypical antagonist (in this case a Palestinian terrorist) and instills him with an infinite rage towards the USA. He becomes particularly dangerous when he manages to take control of nuclear weapons, making him Schwarzenegger's main target, as he seems to be the only person who can stop the terrorist and ultimately save the world. *Sigh*

Thankfully, this plot gets sidetracked along the way and a more interesting one takes over. Schwarzenegger plays the role of a secret agent, but he isn't the sort of spy with a dark and troubled past nor is he a suave and carefree bachelor – he's married. On the one hand, his spy life is unbeknown to his wife (Jamie Lee Curtis), who is convinced he is nothing more than a boring computer salesman and, even worse than that, a boring husband. On the other hand, Schwarzenegger is clueless to the unhappiness of his wife, whom he believes to be a fulfilled and satisfied woman - which of these lies is worse seems to be debatable.

While most of the films in Schwarzenegger's career saw him as nothing more than a supremely built being and completely ignored the growing of his age (he was pushing 50 around the time of shooting), "True Lies" seems to be one of the few that recognized this fact and used it to its advantage. While the hero is still above most of his enemies, there is a human side to him and it's that side that draws us the most.

I found myself entertained by the tension surrounding the struggling couple, as hijinks quickly ensue and they are both thrust into Schwarzenegger's spy world. Unfortunately, the couple's storyline seems to finish at the beginning of the third act. After which the film prolongs its welcome with 20 extra minutes of pure action to neatly tie a very thin and generic plot that nobody really cares about.

Still, "True Lies" achieves what it sets out to do. It's a fun movie with a lot of action, explosions, special effects and elements of comedy underneath. While it is far from being Cameron's most inspired work it is still a rather enjoyable film.

Some movies strike such a singular chord in your heart, that you feel they were made exclusively for you. For me, "The Lobster" is such a movie.

This marks Yorgos Lanthimos first English language film, but don't worry. It's just as uncompromising and delightfully weird as his other features, namely "Dogtooth" and "Alps". The film is set in a dystopian future, where everyone must have a romantic partner, otherwise they are sent to the Hotel, in order to acquire one in a maximum allotted time of 45 days. If they fail to do so, the unlucky loners are transformed into an animal of their choosing and sent out to live in the wilderness. David is one such bachelor and the film follows his quest for a partner.

I write a "partner", because that truly is the purpose of the Hotel. The people in charge aren't interested in some romantic notion of true love or anything like that. The guests must partner up with someone who is an empirical match with them; whether they both suffer from sudden nose bleeds, have poor eye sight, or even a limp, they must somehow be physically compatible. Lanthimos brings us immediately his incisive satire, exploring to an extreme the social expectations of dating in the current online landscape; where you swipe endlessly to the left until you find that one person whose mere looks just click. The way Lanthimos exposes society's conventions, by pushing the concept to its extreme is what makes "The Lobster" a humorous but also incredibly violent film.

"If you want a picture of the future, imagine a boot stamping on a human face—forever."

The future in this film isn't unlike the one George Orwell described above. It operates in an artificial world, drained of human emotion. Most characters search for a partner, but only out of self-preservation. It is when David begins to experience true love, that Lanthimos masterfully explores the struggle of nurturing true affection in the current oppressive digital age. David reveals himself alive for the first time, distinguishing himself from all others, and those who don't remain indifferent react with violence.

I won't reveal just how far the violence in "The Lobster" escalates, but the ending is in perfect Lanthimos fashion, leaving you fulfilled but grasping at your seat. There are still quite a few films from 2015 that I am eager to see, but, as of now, "The Lobster" is my favorite of the year.

A terrific concept and a flawless execution solidify "It Follows" as one of the best horror films in years.

The film follows Jay (no pun intended), a girl who after having intercourse with a guy she'd been dating starts being followed by an unknown entity. Jay quickly aligns herself with her friends and together they try to make sense of what exactly "It" is. The group finds out that "It" can take the shape of anyone it pleases and will follow Jay and kill her unless she has sex with someone else and passes the "curse" onto them. The premise isn't hard to grasp and the film does a fine job of getting the specifics out of the way quickly.

David Robert Mitchell stages "It Follows" carefully and shoots it methodically. He often frames his characters in wide shots and continuously uses pans to engulf them in their surrounding world. But what world is this? Adults are strangely scarce. "It Follows" mainly encompasses teenagers who seem somehow adrift in their life, none of them really knowing what to do. Many have stated the premise is a metaphor for STD's, although continuously having sex with others wouldn't diminish your chance of dying.

In the beginning of the film, a 21 year old states that he would like to be a little boy of 6 again, so that he would have "his whole life ahead of him". Maybe that's what it's about, teenage angst; having to leave the safeguard of childhood and embrace the inherent challenges of adulthood. These characters spend their time running from something they simply cannot run far enough away from. Sex is widely seen as an act of transition into adulthood and they struggle between escape and embrace. They're defiant but afraid of what the future will bring. They can try and ignore their maturity, but with each passing day, it's closer and one day they'll have to do something about it. They'll have to accept certain responsibilities and maybe confront old fears they had buried so deep, they thought they would never have to face.

Of course this is my take on it. You might not agree and it might not be yours. We can disagree on that, but hopefully we'll agree on this: "It Follows" is unique. It's unique and frightening as very few recent films have been.

"All About Lily Chou-Chou" is a riveting and often disturbing drama centered on a group of teenagers in Japan.

The plot follows multiple protagonists, all of them teenagers, who go through various rites of passage to reaffirm themselves amongst their teen counterparts. It's very much a secluded world with its own rules and rulers. While the characters' personas may differ in real life, there seems to be a strong element uniting them – the worship of enigmatic singer Lily Chou-Chou. As the alienated teenagers wander aimlessly throughout the film, Lily Chou Chou's melodies seem to be the only element that brings their lives some sort of harmony – which makes the soundtrack one of the real highlights of the film.

The visual style is also distinctive: The plot is intercut between the characters school life and an on-screen text telling us what is being said in a Lily Chou-Chou online chat room - juxtaposing the different identities the teenagers have online and in the real world. The camera-work is peculiar yet effective: It is mostly hand-held and has a sort of dreamy/documentary type look, often times gliding through the scenes with certain Malick-like qualities.

My main issue with the film was with the characters development: some of the characters aren't as well step up and their actions go from being unpredictable to borderline implausible. Some change too much and others too little and you end up not really caring for the individual parts as much as you probably should.

I took "All about Lily Chou-Chou" as a frightening and raw depiction of adolescence in the current cyber age landscape. Though it may sometimes feel disjointed and hard to follow, if you take it as a whole it is still an interesting and often entrancing depiction of the tribulations of this new-tech generation.

One of the most spellbinding and elusive films in recent years, "Under the Skin" is a meditative Sci-fi film starring Scarlett Johansson as a seductive alien who prowls the streets of Glasgow searching for men.

The film opens with a sequence of disjointed images that throwback to something like the surreal opening of "Persona". Afterwards, a man riding a motorcycle captures a woman who's been washed ashore and brings her to his house. She dresses herself with another woman's clothes and begins her search. The woman cruises through Glasgow in search of men (the characteristics of which seem indifferent); when she successfully seduces one, she brings him to her house (or lair). Through a black door the woman enters, peeling her clothes off as she walks through the room; the prey follows her, doing the same. At a certain point, the man starts sinking into the room and plunging into a dark abyss; the woman strides forward, the floor unaffected by her presence. She does this repeatedly until, well… until she doesn't. I will not disclose the ending but it is as unexpected and bizarre as the film itself.

"Under The Skin" has a slow and entrancing pace. There is barely any exposition or explanation and, as such, most of the film is left to our interpretation: Where did she come from? Who's the man on the motorcycle? What is that room? What does the first sequence of images mean? Or hell, what does the whole movie mean?

"Under the Skin" throws everything at us and unexpectedly makes it work - from performance art, an eerie and screeching soundtrack and sublime special effects to the realistic performance it gets from its non- actors. Is "Under the Skin" an elaborate allegory on human condition and the ultimate demise of mankind? Is it criticizing sexism and the whole idea of masculinity in a post-modern world? Or is it just a pretentious and ultimately vacuous film?

I refuse to believe the last one.

"Under The Skin" is a smart and enigmatic film in an age where films feed and force-feed us everything. It never undermines its audience and I appreciated it for it. While I believe it to be too cryptic to warrant a perfect score, it's a film that hasn't left my mind since I've seen it and one which I hope to revisit in the near future.

"EX MACHINA" isn't only of the best thrillers of 2015, it's also one of the most engaging and cerebral sci-fi films of the last decade.

The plot starts with Caleb: a young coder who wins a competition to study in the secluded research facility of Nathan - one of the world's greatest computer geniuses and CEO of the company Caleb works for. There, Caleb must analyze and determine if the Artificial Intelligence that Nathan has created (played by Alicia Vikander) truly has a conscience.

Contrary to most sci-fi films of this age, "Ex Machina" doesn't rely on big set pieces and explosions to get our attention. It does it subtly. Alex Garland had already proved himself to be a great screenwriter and, while the film as a whole is great, it's the script that truly makes the movie shine. Garland takes the sci-fi setting to question what "Blade Runner" asked us in 1982: "What does being human really mean?"; "At what point does something artificial become human?"; and so on… Garland structures these questions and their delivery in a way that never feels heavy handed; the dialogs flow naturally and you never feel like you are listening to two computer geeks coldly talk about technical gibberish.

That is also thanks to the acting, which is great all around. Oscar Isaac continues to establish himself as one of the best leading men in films, however it was Alicia Vikander that really surprised me: she was able to find the thin line between man and machine and play with it, making you doubt what is really happening underneath.

I started by saying "EX MACHINA" is an excellent and intense thriller, but it's also one of the most stylized. While I am not particularly fond of the whole digital aesthetic, seeing as "EX MACHINA" is a film that is so intrinsically tied to that subject, I cannot help but feel that it serves its purpose.

Overall, my experience in the cinema was terrific. This is the type of low key cerebral sci-fi that I most enjoy and of the best since Duncan Jones' "Moon". With "EX MACHINA" Garland proves he is not only a writer to look forward to but a director as well.

Takeshi Kitano dives once more into the yakuza underworld and emerges with a fierce performance, as he leads one of the decade's best hidden gems.

Kitano plays Nishi, a cop whose life has been slowly crumbling apart and is about to take an even darker turn. He's lost his daughter and his wife is fighting an uphill battle with leukemia. She spends her days at the hospital and, to pay for her treatment, Nishi now finds himself in debt with the yakuza. To add insult to injury, he's also feeling guilty, as his partner, Horibe, has been confined to a wheelchair after being injured while Nishi was visiting his wife. It's here that the film parts into two narratives: that of Horibe, who must grapple with his new condition, and of Nishi, who has to repay the yakuza and deal with his wife's inevitable demise.

Make no mistake, this isn't an Asian action movie. The film has a very deliberate pace. Kitano often shoots long and almost silent takes, showing us a cold and deadpan Nishi, always hidden behind his shades, even when he's with his wife. In fact, the two barely talk throughout the film, but they're truthful, as if they've been together long enough to tell each other all they had to tell. Sometimes they giggle, or share a more heartwarming moment, but these moments are fleeting. It's in between these long takes that we get another look at Nishi. With flawless editing, Kitano makes violence spark in "Fireworks", but that's all it does. Rarely does he linger in the violence or the gore, the act itself is nothing more than that, an action.

Both Horibe and Nishi are men to whom life has been treacherous, and yet it's curious to note the distinct way in which these two men react. Horibe is the more vocal of the two, but still seems better at handling his misfortune than the explosive and criminal Nishi. Truth be told, the only pleasant moments in Nishi's life seem to be the ones he spends with his wife, walking by the shore or sitting by the beach, he's calm. However, if he's confronted by his own immoral actions, mayhem ensues. This is mostly how "Fireworks" plays, like a ticking time-bomb, serene but with the threat of violence always at the surface.

"The flame that burns twice as bright burns half as long" - we know that eventually Nishi will get his comeuppance, but whether he truly deserves it is what's most unsettling about "Fireworks".

The latest film by Guillermo Del Toro proves to be a return to the director's roots as he brings us a harrowing Gothic tale set in late 19th century America.

"Crimson Peak" tells the story of Edith Cushing, a bright and well- educated young woman who's struck by a terrible family tragedy. Now heir to her father's fortune, Edith soon marries a young English aristocrat named Thomas Sharpe and moves in, with him and his sister, to their mansion. As it must be, things quickly take an eerie turn, when Edith begins to believe something sinister also inhabits the house.

Del Toro himself came out in defense of "Crimson Peak" reminding audiences that the film's more of a Gothic romance than a horror film. It definitely feels like one; almost a throwback to the Gothic films of the 60's with Vincent Price, Christopher Lee or Peter Cushing - If Edith's last name isn't a nod to this British actor I don't know what is. Either way, one can see where Del Toro's coming from, particularly when taking into account the rest of his work. He's a filmmaker who's excelled in the fantasy genre, often with horrific elements – films like "Cronos", "The Devil's Backbone" and his towering masterpiece "Pan's Labyrinth".

"Crimson Peak" feels like a true Del Toro film and it's a welcome addition to his portfolio after the "Pacific Rim" misfire. However, although the atmosphere is truly eerie and filled with breathtaking visuals, some of its story elements feel watered down. It also feels particularly unfortunate when such a talented and imaginative director as Del Toro uses a clichéd trope like jump scares to frighten the audience. "Crimson Peak" has more than enough elements to be terrifying, but when you catch it setting up the jump scare you can't help but feel disappointed by the film's lack of confidence in itself.

"Crimson Peak" might not be a modern horror classic like "The Babadook" or "It Follows" but it doesn't need to. It's still a true Gothic tale, with a genuinely creepy atmosphere and beautiful visuals.