Movie: (500) Days of Summer (2009)

Why am I posting a romantic comedy on this blog? That isn’t my style! It isn’t really a romantic comedy though; even the voice-over says it is not a boy-meets-girl movie, its more of a dark humor drama and a refreshing look on relationsh... blablabla. Hell, who am I kidding. It is a comedy, and it is about relationships. It is about a guy that has listened to too many British popsongs and therefore thinks “the One” is waiting out there, and about a girl who doesn’t believe in love. Then we flip through 500 days of their relationship, not in chronological sequence however.

I didn’t lie; it is a very refreshing movie with great witty editing, funny dialogue and believable characters that could live next door and even a gripping story. Expecially if you’re repulsed by regular Sandra Bullock romcoms, you should check this out. It reminds me of the more truthful episodes of the How I Met Your Mother series, but in a darker, black comedy vein.

So the voice-over says it is not a love story, but there are only a few movies about love that capture it so touchingly and charmingly as this one. Eternal Sunshine of the Spotless Mind comes to mind; it also feels similar with the nonchronological setup of the story. It is a beautiful and funny movie and feels like summer, the time of warmth and energy. It’s the kind of movie that stays in the back of your mind for the rest of the day.


IMDB: (500) Days of Summer

Movie: Thank You For Smoking (2005)

Nick Naylor is a fast-talking advocate of the devil. He is the guy that endorses cigarette smoking on behalf of the tabacco industry. He knows perfectly well what he is doing and lives his life by constructing arguments and almost believes them. He goes out on a night with the advocates of alcohol and guns. He also has a son.

So the big question: how to be a good and honest dad while every day he walks a very very fine line between morals? He always twists the truth just the way he likes to, except with his son. Only in their interaction we see a glimpse of Naylor’s true self. But Naylor is transforming his son, to make him understand his dad’s world. His son is his only friend. But can Naylor continue down that path? This is no drama though, it is a comedy, filled with wacky characters.

Director Reitman’s filming is as flashing and fast-paced as Naylor’s talking, and he assembled a great cast of actors that give stellar performances! In short, this is a smart and funny movie.

IMDB: Thank You For Smoking

Movie: The Imaginarium of Doctor Parnassus (2009)

To explain a film like The Imaginarium, a reviewer invariably turns to describing the unusual style of the director. Terry Gilliam is the director, and anyone familiar with his movies (try Brazil, Fear and Loathing in Las Vegas, or the more disturbing Tideland) knows that he is unconventional, but always tries to present something wonderful.

The Imaginarium of Doctor Parnassus is Gilliam as we know it: a patchy film, quick and chaotic, a bit troublesome to follow or to get the hang on, and filled to the brim with imagination. Occasionally it looks like Gilliam tries to tell more stories than the two hours permit, throwing in whatever came to his mind at the time. My guess is that this movie is Gilliam’s ode to storytelling, much like Big Fish was Tim Burton’s, but Gilliam’s is a far more trippy experience. To explain the story would take another page, and, on screen as well, remains a bit hard to digest.

In the end, this film will probably go down in history as “Heath Ledger’s last film”. He died before completing his scenes, and halfway in the movie his role is filled by no less than Johnny Depp, Jude Law and Colin Farrell. This is done quite seamlessly as we jump from imaginary world to imaginary world. They all give great performances, as do all the members of Parnassus’s team. You will probably not be transported into a world of wonders, but if you like your films to be unpredictable, vivid and visionary as a feverish dream, the Imaginarium is waiting for you.

IMDB: The Imaginarium of Doctor Parnassus

Movie: Inglourious Basterds (2009)

Quentin Tarantino is the kind of filmmaker that reveals the hidden complexities of cinema to the viewer. Technicalities such as pacing, use of color and screen composition, normally only meaningful to specialists and not visible for the untrained eye of the average moviegoer, have become Tarantino’s trademark. He shows the audience how movies can have style, and besides all that, gives us again a heck of an entertaining story.

Clearly, Tarantino enjoys to play with his audience. He is in complete control of the tension of every shot. Scenes are often drawn out by means of dialogue, while Tarantino lets the tensions between the actors rise and fall, rise and fall again, and then in a single moment everything comes to a climax in an unexpected way (and often involves a lot of bullets). It is the technique of suspense-master Alfred Hitchcock, but where Hitchcock’s thrillers were purely focused on terror, Tarantino gives it all a twist of dark humor. Prime examples are the opening scène with the sadistic officer Landa and the scène in the basement with the drinking games.

Inglourious Basterds is much more besides. It is a jumping board for unknown, promising actors. It is a darkly comic rewrite of history with a daring and original plot. It is delightfully over the top without being cartoony, and it is an ode to the war movies of old, most notably The Dirty Dozen. All in all, it is better than 90% of all that is out there and among Tarantino’s best work.

IMDB: Inglourious Basterds

Movie: Blade Runner (1982)

Those who do not know what to expect may leave Blade Runner in a bewildered state. It is science fiction, and Harrison Ford, but Blade Runner is definately no Star Wars-like action adventure. Instead, this movie is slow, deliberate and philosophical, with emphasis on heavy themes like consciousness, life and death. The story is an adaptation of a novel by Philip K. Dick, a writer notorious for his drugs-awakened paranoia and mindbending themes.

On the face Blade Runner is a detective story, where Ford hunts for escaped robots (Replicants) that are nearly similar to humans. As a detective story it is pretty straighforward and Ford himself doesn’t seem so eager to have some action and fun. In fact, the robots, when discovered, seem more alive than the humans. This is a very deliberate choice by director Ridley Scott (who, after Alien, apparently felt the need to handle something heavier).


The movies of the 80s are always extremely visual. It was the time that special effects were on the rise and directors like George Lucas and Steven Spielberg were influential. So too Blade Runner. It is set in a gritty, chaotic film-noir environment in a future Los Angeles, where the skies are brown and the streets between enormous black buildings are sprawling bazars. It is a place of rampart biotechnology, where customized eyes are grown in backalleys and artists fill their houses with talking living puppets.

The film occasionally drops hits that the boundary between man and android have faded completely and that Ford’s job is useless (and that Ford himself, even, is possibly a Replicant). The ending is justly famous, and one of the most memorable endings of all times, when actor Rutger Hauer, playing a killer android, improvised sorrow for its own demise. See it, but be cautious with your expectations.

IMDB: Blade Runner

Movie: No Country for Old Men (2007)

This movie was praised as the best movie of 2007. It was a multiple oscar candidate (and winner) and the latest work of the Coen brothers (also known from The Big Lebowski, Fargo and more). Is it good? Yes it is, but it is a moviemaker’s movie, if you catch my drift. It is the kind of movie that will be shown as course material for movie students but naive or innocent theatre guests might stumble bewildered from their seats.

At the start of the movie it resembles a slow, standard action movie about a person shooting other persons. But it becomes a tense movie as it progresses. The Coen brothers know what they are doing and have complete control over every single shot, the way Quentin Tarantino has, only less obvious. It is also a very silent movie. There is almost no music, because music makes a movie more approachable and that is not part of the Coen’s agenda. As a result the whole cinema was dead silent, fixated on the screen.

What the Coens set out to do, is toy with the expectations of the viewer. Some might interpret the result as bad filmmaking, but the directors did it on purpose. Time and again they set up scenes, only to let them end completely different as expected from wellknown movie tropes. Systematically they tackled all the conventions of regular action movies, until the viewer loses all grip on what is happening. And exactly the same thing is happening to the main character. As the old deputee Tommy Lee Jones mumbles tiredly about how the world has changed, and how it doesn’t make sense any more, we know what he means. The Coens made us feel exactly like him.

Jones sums it up in his final speech just before the end credits roll. This movie is a rough country, and it made you, like Jones, and old man, unable to handle what is happening and there is no father out there to help you out. It is no country for old men.

IMDB: No Country for Old Men

Movie: Låt Den Rätte Komma In (2008)

Vampires seem to be hot these days. There is a new hype going on, named Twilight, after the vampire novels of Stephanie Meyer, in which uncertain teenage girls are powerless for the unbearable hotness of our secretive bloodsucking fellows. It is quickly becoming a franchise. But here is something quite different and extraordinary: Let The Right One In. A Swedish movie after a Swedish book.

It is a movie about children but it is not for children. The 12 year old Oskar gets bullied a lot and is altogether lonely, until he meets Eli, a girl of his age, and a vampire. They meet outsides in the evening in the cold snowy darkness of the Swedish winter. There is much more to this film. There are different storylines running in the back of it, in the deep shadows cast by trees upon the red snow.

It is a typical arthouse film with an icy atmosphere. The lonely, cold and dark Swedish landscape gives the movie a quiet, chilly feel. Sometimes the movie itself is rather quiet. The director shows a lot but dialogues are sparse. Music is used sparingly, but when used it is excellent. It is the kind of macabre movie that ends with a smile of happiness and that stays in the back of your head for the rest of the day.

Compared to this, Twilight is such a product. It is a very beautiful movie.

IMDB: Låt den rätte komma in