The Da Vinci Code (2006)

The Da Vinci Code

Call No: PN1995.9.S87 D3 2006

Every once and a while, a bandwagon full of people comes along with some new book or show that everybody absolutely loves and everyone else must see. That was how I was unfortunately introduced to The Da Vinci Code. The fastest way to turn me off of a book or movie is to tell me that it’s the greatest thing ever written/filmed/watched, etc (my only exception is top 100 film lists, collaborated from dozens of people). I like to have a reason to sit down and watch a movie, be it the actors, writers, directors, plot or just general interest. If you’re one of my closest friends, you learn that the best way to get me to read a book or watch a movie is to give me a bit of the plot and let curiosity gnaw away at me until I finally track it down. That was how my housemate and close friend got me to watch The Da Vinci Code.

“It’s not bad,” she’d said, “You know, huge religious conspiracy that could threaten Christianity.” Then she said the magic words: “Also, it’s got Tom Hanks and Paul Bettany.”

I haven’t been disappointed by them yet, so needless to say, I gave it a shot.

Almost everyone knows the premise: For thousands of years, an underground society has protected a great secret, one that would throw into question the entire foundation of Christianity. Caught in the middle of a war over the vital information are Robert Langdon (Hanks) and his newfound ally Sophie Neveu. The two must work together to stay alive and decode the clues to lead them to the truth, before someone gets to them first.

I Know Where I'm Going! (1945)

I Know Where I’m Going!

Call No: PN1995.9.M27 I3 2001

One of the reasons that I wanted to watch this movie was for the premise. When I see films that are part of the Criterion Collection, they’re usually of a certain calibre of quality. Rarely are they straightforward or simple. They often strike me as the equivalent of literature – not excessively popular, usually exceptional, but of a particularly acquired taste. Imagine my surprise when I found I Know Where I’m Going as part of the collection – a film which, in its simplest description, reads like a romantic dramedy (comedy/drama). Now that I’ve watched the film, I can understand why the Criterion Collection has adopted it under its name and released it. It can be considered a romantic dramedy, but at its heart it is a film meant for the people of Scotland.

Joan Webster has never had a problem chasing down what she wants in life. So when she decides that she wants to marry a rich Scottish lord on his private island in the Scottish Hebrides, nobody doubts her determination. Unfortunately the weather has other plans, and Joan is forced to wait out the storm with Torquil, a naval officer who has taken leave to come home for a week. Suddenly Joan’s plans aren’t as clear as she thought, and the person she’ll have to convince the most that she still knows where she’s going is herself.

Double Indemnity (1944)

Double Indemnity

Call No: PS3505.A3113 D6 1997

I enjoy Billy Wilder’s films. There’s something about their openness and ability to capture human emotion at its finest that I love watching. I was talking about Billy Wilder to my uncle over the break. When he asked what I thought of Double Indemnity, he was shocked to find out that a self-proclaimed fan like me hadn’t seen it. It was one of Wilder’s masterpieces. Having watched the film, I see what he means.

When insurance salesman Walter Neff becomes entangled with the married Phyllis Dietrichson, the two plan to kill off her husband and walk away with $100,000, the payoff on Mr. Dietrichson’s insurance policy courtesy of the double indemnity clause, a special kind of clause that rewards double what the policy is worth. But when Walter’s mentor and brilliant boss Barton Keyes suspects the death was foul play, Walter must play both sides against the middle in an effort to try and stay ahead.

Psycho (1960)

Psycho

Call No: TEMP 1959

When Psycho was first released to theatres, it was sent with a cardboard cutout of Alfred Hitchcock to put in a lobby, along with this warning:

“The manager of this theatre has been instructed at the risk of his life, not to admit to the theatre any persons after the picture starts. Any spurious attempts to enter by side doors, fire escapes or ventilating shafts will be met by force. The entire objective of this extraordinary policy, of course, is to help you enjoy Psycho more. -- Alfred Hitchcock”. 

When Hitchcock bought the rights to the book, he also attempted to buy as many copies as possible so that nobody could give away the ending. Seeing the movie, it’s easy to understand why he was so determined not to spoil it for anyone. As a result (and to stop Hitchcock’s ghost from finding me), I won’t spoil it for you either.

Marion Crane loves her boyfriend Sam but, because of both of them being strapped for money, they can’t get married. When Marion is given $40,000 dollars to deposit for her employer (at a job she doesn’t enjoy), she gets an idea. Taking the money with the intention of heading to California to surprise Sam, Marion’s trip is threatened by bad weather. Pulling into the Bates Motel on a side road, Marion meets the kind and quiet Norman Bates. But life isn’t what it seems like for Norman, when his dominating mother seems to have him in an iron grip.

Far From Heaven (2002)

Far From Heaven

Call No: PN1997.F296 2003

I knew little to nothing about what the film Far from Heaven was going to be about, though from the trailer I could gather enough of a plot together in my own head. The plot I conjured up was fairly straightforward and very common. Having now seen the film, I was pleasantly surprised that this film does not convey your typical story. It is far more complicated, more moving, and more thought provoking than that. Though this isn’t a film for everyone, it is a good example of a film moving past typical expectations while still not wanting to risk everything and become too controversial. It is a compliment to and enhancement of All That Heaven Allows, the film it is inspired by.

Cathy Whitaker is a perfect wife, mother and friend. She supports her husband, helps her children in every way possible, and is often cited as an inspiration to others in the society pages. But her perfect life is shattered without warning by the actions of her husband Frank. Trying to keep some semblance of a life intact and fighting to keep both her secrets and her sanity, she finds comfort in her friendship with her gardener Raymond Deagan. Tensions rise and women begin to gossip, and it’s only a matter of time before Cathy faces decisions that could jeopardize the lives of everyone she cares about.

Vampires Week: Blade Trilogy (1998, 2002, 2004)

This whole week of reviews was inadvertently started by my housemate. We were reading over my list of possible films to review when she said, “We should watch Blade.” She hadn’t seen it in years and I’d never seen any of them. Always up for a new movie experience and being a big fan of both action films and comic books (on which Blade is based), I named this week “Vampire Week” and we checked out all three Blade movies with which to marathon. I have to say, I was not disappointed. I’ll comment on all three movies here as simply and succinctly as possible.

Blade

Call No: PN1997 .B5738 2001

The movie that starts it all. Basic rundown? Blade is the half mortal, half vampire protector of the human race. Known as the “Daywalker” because of his ability to walk during the day while having the healing and strength of a vampire, Blade must take down vampire baddie Deacon Frost with the help of his mentor Whistler.

First of all, props to Kris Kristofferson for not only managing to appear threatening at his age, but to do it in a leg brace. The storyline is tight and suspenseful, easily driven by the equal combination of action and drama (and by drama, I mean scenes where Blade doesn’t look like he’s going to kill someone and the other characters share memories and emotions). While the manner by which some mild gore was executed turned my timid stomach while eating (my own fault), I’d watch this film again in a heartbeat.

Vampires Week: Nosferatu (1922)

Nosferatu

Call No: PN1997 .N663 2002

Note: This is a silent film. Written dialogue and story is in English.

You can’t very well have a proper vampire week without watching Nosferatu. Made in 1922, this silent film is the first film based on Bram Stroker’s classic novel, Dracula. And what vampire week would be complete without the grandfather of all vampires?

Hutter is a pleasant and happy man who works in a real estate office. When his boss tells him that the wealthy Count Orlok wants to move into their quiet village, Hutter must travel to Transylvania to try and sell him a house – one that happens to be right across from Hutter’s. It isn’t long before Hutter discovers that something isn’t quite right about the Count, but it’s too late. It becomes a race of who can get back to the town first, especially when the Count owns the house across the street and has his sights set on Hutter’s wife, Ellen.

Vampires Week: The Lost Boys (1987)

The Lost Boys

Call No: PN1995.9.S26 L881 2004

The Lost Boys seems to be one of those movies that straddle both the worlds of obscurity and nostalgia. Those who grew up with the movie have a sort of fond affection for the offbeat and campy film, while those who haven’t seen it might not even know of its existence. It’s not a groundbreaking film or something you absolutely must see. It’s not even that fantastic. It is an entertaining watch, if for nothing more than to see how comfortable Kiefer Sutherland is in his role of being the badass (a little less Jack Bauer and a little more pre-Twilight vampire).

The story is about two brothers and their single mom to live with their grandfather in a small town in California, a town that is rumoured to be overrun with vampires. Soon after arriving, the boys find themselves immediately pulled into opposite directions: the older brother becomes attracted to a mysterious girl and drawn into her circle of suspicious friends, while the younger brother meets two boys who claim to be vampire hunters. When the older brother’s personality and behaviours begin to change rapidly, the two must work together to find a way to stop it.

The Visitor (2007)

The Visitor

Call No: PC 3081

Up until a few years ago, I only ever watched the typical Hollywood type movies. It was both by choice and by interest – I was only ever exposed to Hollywood trailers, and they were more easily accessible. Over the last few years, I’ve been watching more independent, foreign and little known films. When I get tired of the typical clichés that are so frequently used in popular films, I find these types of films to be a breath of fresh air. Watching The Visitor was very much like that. It was something akin to enjoying a cup of hot tea after a busy day – calm, soothing and reflective.

The Visitor is the story of Walter Vale, a Connecticut professor whose life is a product of routines and disinterests. When he’s forced to return to New York for a conference, his quiet and boring life is shaken by the two illegal immigrants he finds living in his apartment. Feeling bad for Tarek and Zainab, that have been conned into renting the occupied but rarely used apartment, Walter invites them to stay. The three become friends, but it isn’t long before Walter’s newfound friendships are threatened when Tarek is wrongfully arrested, bringing his status to light.

The Usual Suspects (1995)

The Usual Suspects

Call No: TEMP 1420

There are a number of movies that I enjoy watching more than once. I don’t mean coming across them on television and watching them. I mean taking time out of my day to sit down and give my complete attention to a film that I’ve already seen. The Great Escape and anything by Billy Wilder usually fall into that category. So does The Usual Suspects. Even though I’ve seen it a few times before, I enjoyed sitting down again to watch it. I get caught up in it every time.

Here’s the basic set-up of the film: When an explosion on a boat kills a number of people, the cops must turn to the only man who can help: witness and cripple, Verbal Kint. But before Verbal can begin to talk about the explosion and the events leading up to it he has to go back to where it all started, with five criminals meeting in a police line-up.

I knew that when I wrote this review, I would have trouble. This is because that the majority of things I want to comment on have to do with the plot, which if you haven’t seen the movie, can contain serious spoilers. I first saw the film about four years ago and at the insistence of my younger sister, who had seen it in senior film class. I asked her what it was about. “It’s about five guys in a police line-up” is the answer I received. Once I saw the film, I understood. If you haven’t seen the film, you should. But I will try my best to be very careful at not giving anything away in this review.

12 Angry Men (1957)

12 Angry Men

Call No: PN1997 .T82 2001

I need to start this review by saying that 12 Angry Men is my favourite film of all time, so I have a bit of a bias. I’ve lost count of the number of times I have seen it. I promise that this isn’t going to become a “Drop everything and see it now!” kind of review. Nor do I guarantee that this movie will change your life. It won’t. You’ll be the same person when you finish it. It won’t rattle your worldview or shake your ideologies or make you want to run out and save the planet. But if some of you see it, and I hope you will, you will be, at the very least, enjoying a good film.

The premise of 12 Angry Men, based on the play of the same name by Reginald Rose, is fairly simple. A boy is being tried for murder for stabbing his father. In order to pass a verdict of guilty, everyone must vote the same. Except that one man votes not guilty. As the eleven try to change his mind, evidence is reviewed, prejudices come to light, and it soon becomes evident that the verdict isn’t as simple as everyone thought.