Amusingly, I am not able to endorse any of the movies I’m about to mention without some degree of reservation about their potential quality. However, I am expecting at least one of the following films to pleasantly surprise me with ingenuity and beauty. Let’s hope I’m right!
Melancholia (Nov. 11th)
So I’m just as pissed as anyone about Lars Von Trier’s strange embracing of his own Nazidom or whatever that debacle was, which is why I was very disappointed to actually find the trailer for Melancholia intriguing. Of cours, this movie features things related to outer space, which inherently interests me, and the drifting atmosphere and airy cinematography also look intriguing. The movie seems to be juxtaposing familial tension with impending apocalypse, using a hefty dose of symbolic imagery to do it, which ought to make for an imaginative experience.
The Artist (Nov. 23rd)
A silent movie made in 2011! Such an experiment runs the risk of becoming too focused on its formal concept and turning into one long gimmick, but The Artist seems to contain some interesting characters and signifcant pathos as well. Word has it it’s already generating Oscar buzz. From the trailer, the tone seems a little disjointed and confused, but the film could certainy cohere into a moving story in its full length.
A Dangerous Method (Nov. 23rd)
Ok, so I’m not entirely sure about this one. It seems to have an interesting story; Kiera Knightley actually does some impressive acting work despite the shoddy Russian accent; and Fassbender mesmerizes despite the creepy mustache. The film’s main danger to itself lies in how it handles its story, rife with potential psychoanalytic and sexual pitfalls that could send it veering off the tracks into heavy-handed melodrama, but judging by the trailer the movie seems to know where its boundaries lie. Also, I like the score.
War Horse (Dec. 28th)
Admittedly, this is a movie I will be going to see almost solely for the cinematography, which looks gorgeous. The dialogue and storyline seem a bit like a shlockfest– although I could be wrong, I’m unfamiliar with the play it’s based on– and I think I’d best prefer a version of this movie that was only the visuals and John Williams’ musical score. Regardless of the quality of the narrative, however, the sweeping vistas and sunsets in this film is going to have me drooling into my bag of Reese’s Pieces.