Pinhole Movie Reviews

Plucking the Daisy / En effeuillant la marguerite by tincolor
August 31, 2014, 6:25 am
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Brigitte Bardot runs away to Paris, gets caught up in a series of zany misunderstandings and close scrapes and ultimately must compete in a strip tease contest in front of her boyfriend and father. I honestly am having a hard time remembering the finer details of the plot. It’s not that the film is that complicated, it’s just not very interesting. Basically the only reason to watch this is Bardot. In terms of film history, it was co-written by Roger Vadim, Bardot’s husband at the time, and came out the same year as the more famous “And God Created Woman” which was directed by Vadim. A low watchable.



Metropolitan by tincolor
August 30, 2014, 6:15 am
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A group of Freshmen are back home in Manhattan for winter break and enjoying the debutante ball season, which is apparently a thing that still exists today. The dialogue is stilted, the acting is not great and there really isn’t very much action, but if you give it a chance, Whit Stillman’s Academy Award nominated film is actually really great! This came highly recommended to me, and if it weren’t for that, I never would have watched it all the way through, and basically, it took the length of the entire movie for me to get into it, but once I did, I wondered how I couldn’t have been completely in love with it from frame one. Think “Diner” meets “Rushmore” meets any Robert Altman film. Worth watching.


Diner by tincolor

Steve Guttenberg, Daniel Stern, Mickey Rourke, Kevin Bacon, Timothy Daly, and Paul Reiser are the guys that frequent the titular diner in a film about a group of friends coming to terms with what it means to grow up, settle down and get married.  Set in 1959, this is a film as much about the era as it is about its characters. I imagine part of this film’s appeal is its excellent art direction, but no matter how pretty and nostalgic everything looks on screen, when most of your characters are jerks, it’s hard to get too into the film. In many ways, the East Cost version of American Graffiti. Watchable, maybe worth checking out.


The Turning Point (1977) by tincolor

Shirley MacLaine and Anne Bancroft star as friends who studied ballet together in their youth. MacLaine left the school to start a family and Bancroft stayed on to become a star. When Bancroft invites MacLaine’s daughter to join her ballet company, old tensions flare between the two friends as each is forced to reassess their life choices. Also staring Mikhail Baryshnikov and Tom Skerritt. Despite the painfully dated look and sound of this film, just about everything else is really strong; the dialogue, the acting and in particular Baryshnikov’s dancing are all amazing! And amazingly, it didn’t win one of its 11 Oscar nominations. Worth watching.


Haywire by tincolor

When a job goes bad for super secret agent Gina Carano, she suddenly finds herself on the wrong end of a chokehold with nowhere to run and no one left to trust! Michael Fassbender, Ewan McGregor, Bill Paxton, Channing Tatum, Antonio Banderas and Michael Douglas are, for the most part, all intent on doing harm to Ms. Carano. There is a lot going against this movie, the premise is tired, the dialogue isn’t snappy and the performances are mostly bland. But there’s just something about a Steven Soderbergh film and a David Holmes soundtrack that wins me over every time. Not exactly the Borne Identity with a female lead, but close enough. Watchable.


Neighboring Sounds / O Som ao Redor by tincolor

There is no good way of describing what this movie is about. On the surface its about the mostly insignificant daily happenings of a group of neighbors in a mostly quiet area of Recife, Brazil. But just below that surface there is something sinister going on that is paradoxically both imperceivable and also somehow weighing on everyone’s conscious. I have no idea what this movie is actually about but a little bit a internet research and some shaky speculation tells me it has something to do with economic disparity. I don’t know…it could be about that…but then again this movie is so cagey about its true intentions. More than anything this film is slow and lacks a traditional narrative structure, so there’s no real ending, no real conflict and no real plot. It’s a pretty film and that fact, along with the hope that at some point everything would come together and make sense (which it didn’t), kept me watching through to the end. It’s hard for me say whether or not I liked this movie so it’s even harder for me to decide how recommendable it is. Based on that solid logic, my rating is this: watch the trailer below and if that doesn’t make you want to see it, just don’t watch it. So there you go, a movie with no real rating. (Pst! In all honestly it’s probably barely watchable but it may be as high as worth checking out, it’s just so hard to decide!)


Holy Motors by tincolor

A mysterious Denis Lavant travels around Paris in an equally mysterious white limousine, stopping occasionally to do a seemingly endless number of seemingly unrelated jobs. As time goes on it becomes clear that with each job, Denis is actually stepping into a role, or perhaps, even an entirely different life. Only Denis and his driver seem know be aware of the true nature of his work while everyone else seems to think he’s exactly who he purports to be. But this is only a superficial explanation of what’s really going on, because there is something fantastic about Denis and his limousine that doesn’t make you worry too much about the logistics of his ruse. After a while, you might begin to wonder if perhaps Denis is just a spirit jumping in and out of other people’s bodies at critical moments in their lives. Perhaps he only appears to be the same person to us because we are the audience and we are somehow supposed to be in on the joke. Sound interesting? Well, I’d agree except that Leos Carax has managed to twist this set up in such a way that negates any emotional connection the audience might have with any of the characters. Is this just one massive skewering of the film industry and its trivialization and dramatization of the human experience? That would be a ballsy movie on Carax’s part, but even if that were true, my question is, so what? If your film exists to show that all film is fundamentally based in fabrication and forgery then why make a film in the first place? The only people you stand to satisfy are contemptuous assholes. As a person who loves movies and thinks that through art we can say and experience things that daily existence can only reveal over the course of a lifetime, I find Carax’s suggestion offensive. But I can’t get too worked up about it, because after all, I’m not really sure what the hell this movie was actually about and honestly it was entertaining so I’ll give it a worth checking out.


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