The Sacrifice (1986) (subtitles)
3.70 out of 4stars
“Tarkovsky’s final picture, it focus on a middle-aged intellectual atheist who attempts to bargain with God to stop an impending nuclear holocaust.”
An excellent existential art drama about the relationship between mankind, a seemingly Christian God, and the state of the world. Tarkovsky himself admits there are 3 viewpoints for this film: a supernatural unknown explanation, a faith based literal explanation, or rational/purely agnostic delusoional insanity explanation. The early on discussions, which are mostly monologues between our protagonist and his child, are nothing short of exceptional, as are the cinematography and subtle important touches throughout the film. In a refreshingly cerebral way, covered topics include spirituality, faith, hope, sin, purity, prayer, silence, truth, meaning, the unknown, technology, materialism, secularism, fear, death, suffering, regeneration, nature, peace, harmony, the future, sacrifice, and Nietzsche. And there are literally endless amounts of biblical connections and metaphors in this film on that side of the spectrum, and more symbolism of non-christian things also throughout. Altogether a very deep intellectually engaging movie with lots of aesthetic beauty and meaning about some of the most important aspects of life.
Criss Cross (1949)
2.90 out of 4stars
"An armored-car guard must join a robbery after being caught with his ex-wife by her gangster husband, after he was away on business."
A great stylish heist noir filled with crosses (as you would guess), a couple quality action scenes, solid suspense, and prototypical obsessive forbidden love, femme fatale, fate, flawed hero, and cynicism. The heist buildup and execution itself is fun and effective, yet a small part of the bigger picture. The main story is about Lancaster’s love for his ex-wife, even though she’s ‘bad for him’, disliked by all his family and friends, and gets into arguments with her every time they meet. Yet, Lancaster just can’t get her out of his head or his life no matter the consequences, and they are criminal here. Because of lust, first true love, taboo, adrenaline junkie thrill, taboo angle, or otherwise, his fate is tied to this femme fatale. The film has great depth for sure, but for me the entertainment and execution factor of everything was more enjoyable, including some excellently memorable shots.
The Seventh Victim (1943)
2.85 out of 4stars
"A young woman travels to New York City in search of her missing sister, who stopped paying her boarding school tuition. There she uncovers a Satanic cult that may have something to do with her sibling's random disappearance."
A great atmospheric psychological horror noir with existential themes of mental illness and absurdist nihilism. This was a very creative way to dive into existential issues, through the use of many horror elements and some noir ingredients. And it works in all facets, aside from a little unevenness I'll get into later. Shown is how mental illness, like depression, can be caused by one trying to find their place in a world that doesn't accept them as they naturally are, rejects their attempts at conforming or connection, refuses to provide meaning/purpose for their life, or multiple of those listed together. Val Lewton suggests the theme here is, "Death can be good", or at least the lesser of 2 evils, as a release from a relentless slowly annihilating cancer that deep depression can be. Absurdist nihilism is what I see, that life can be seen by some as purposeless, chaotic, and meaningless and that attempting to connect or make sense of it leads to pain through resentment/antipathy. I also see the theme of religious persecution evident with a different type of Satanists group evidenced here. The movie was supposedly highly controversial for it's time given it's subject matter involving undertones (or overtones even) on lesbianism, death, and Satanism. The story feels a bit uneven at times also, but I have researched this is likely due to production company demands of cutting/limiting the running time and budget (a few major scenes apparently were chopped from this), arguably retaliation for Val Lewton's choice of director.
The Reckless Moment (1949)
2.70 out of 4stars
"After discovering the dead body of her teenage daughter's lover, a housewife takes desperate measures to protect her family from scandal."
A good noir about the lengths parents go to protect their ignorant children and morality gap between criminals and 'average folk'. Not groundbreaking or new, but short and sweet, housewives raise, groom, and protect children for and from themselves and the world. Now the more interesting theme here, the morality gap and reasons/reasonings for actions between a criminal and an upperclass housewife here. Some criminals can have a clear conscience and put a smile on as they blackmail and threaten others for personal gain, while a housewife seen here only acts illegally when protecting her family, and does so with immense stress and even self-sacrificial thoughts if things go south (yet, still no Mother Teresa). But there is something to be said about selflessness vs cynicism in the world. Whether that morality gap is learned or innate for all is debatable, and whether the pureness of one's heart can change also is questionable. In civilized societies, there are pressures all around pushing and molding children/youths to be ethical and moral through the forces of parents/guardians, schools, religions, promoted role models, age specific media, and/or governmental bodies/laws. The flip side is there are always rebelling forces that also promote their ideals/benefits, but are always the minority and quietest voices in the crowd. Which concludes to the most interesting thought in the middle ground on both sides of the equation, is a major evil act for the right reason wrong or taint one's purity, and does a grand good sympathetic deed in reaction to negative ones make up for one's 'sin' or clean one's personal filth? Is a clean soul corruptible or is a corrupted soul cleanable?
Men (2022)
2.65 out of 4stars
“In the aftermath of a personal tragedy, Harper retreats alone to the beautiful English countryside, hoping to have found a place to heal. But someone or something from the surrounding woods appears to be stalking her. What begins as simmering dread becomes a fully-formed nightmare in visionary filmmaker Alex Garland's (Ex Machina, Annihilation) feverish, shape-shifting new horror film.”
A good psychological horror film about trauma, guilt, grief, toxic masculinity, and biblical/religious metaphors. It’s definitely eerie, dream-like, keeps you on your toes, creative at times, and has a touch of body horror. That said, it’s not as effective as it wants to be, is a bit too on the nose at times, and a bit too abstract at other times, if that makes sense. Last but not least, the very very very absolute ending (moments prior deliver for certain) is a bit of a let down. A good swing and final product for Garland, but likely his weakest work nonetheless.
