Five films (#5)

Ok, here we go again. I do hope somebody, somewhere is finding these posts of some use. *g*

• Changeling: I’ll confess I’m not very fond of Angelina Jolie, and I watched this movie exclusively because it came from Clint Eastwood. I gave it 5/5, which may be a tad too much, but that’s how I felt right after it finished. It’s not a light movie, but I do think everybody should give it a try when they find themselves in the mood.

• One Fine Day: This romantic comedy doesn’t have much of a high rating on IMDB, and maybe I’m too fond of George Clooney myself, but it pleased me enormously. Thanks to Marc ‘HE’ Brockschmidt for having recommended it to me in the first place, though probably you shouldn’t bother if you can’t stand the genre at all. Ah, and Michelle Pfeiffer.

• Sling Blade: I was left deeply in awe by this movie, and even more so when I found out the director, writer and main role are all the same person, Billy Bob Thornton. One of the things that pleased me the most was the ending, because I found it included a good share of food for thought, particularly regarding how the characters would get on with their lives afterwards, which is not shown. Again, not a light movie, I’ll reckon.

• Sideways: I enjoyed this movie a lot, and I should watch it sometime again, because I think I didn’t scratch it enough. Which is great, because it’s rather difficult combining hilarity with reflection. Viva la escena in the fast food restaurant.

• Tiempos de azúcar: I’ve comitted to watching some more Spanish films, and this one is the more remarkable of those I’ve seen as of late. This is a bittersweet love story spawning more than 30 years, and has Verónica Forqué and Charo López in wonderful supporting roles. I should watch more films of Charo López.

Isaac watched Love Actually recently, and I oooh’ed quite a bit when he told me, because that movie has one of my favourite or should I say powerful scenes of all times for me, and recalling it brings me instant joy and often instant tears. I think these three (spoiling) minutes are so powerful because, albeit they are fully anticipated for the spectator, they come as a complete surprise to both protagonists (obviously to her, but also to him, given the dialog that takes place once she gets down the stairs; that tiny dialog is in fact the most powerful bit of it all).