Category: Movies Magnifique

dansa mörk björk

‘Dancer in the Dark’ (2000)

by Lars von Trier


Dancer in the Dark is the anti-musical. It juxtaposes the amateurish aesthetic of the Dogme 95 movement with song numbers that are noticeably more color-corrected, shot with tripods, and otherwise more artificial than anything Dogme, centering around a singular performance by Björk, as a borderline-blind Czechoslovakian immigrant who suffers for her altruism; youthful innocence in the body of a tormented adult who enters the unrealistic world of movie musicals when she needs to escape. The music, naturally, is composed and sung almost entirely by her – and what music it is! Continue reading



‘Under the Skin’ (2014)

by Jonathan Glazer


Under the Skin is among the most deeply unnerving film experiences of the past decade, with an intentionally alien feel throughout; as though we’re viewing our world through the eyes of a visitor from another, whose own behavior makes sense only to her but is nevertheless presented in a curiously straightforward way. This is a film that does everything I love; it is strikingly original, it looks and sounds fantastic, and it mixes the supernatural with the realistic in a way that makes me dread the unknown far more than any mainstream horror romp could. Continue reading

‘The Fall’ (2006)

by Tarsem Singh


Tarsem Singh’s The Fall is mastery of photography, color, scenery, editing, and imagination the likes of which you have never seen, and most likely will not see again after the fact. It is a story told by a broken stuntman of American silent films, as envisioned by a nine-year-old Romanian girl who shares the same hospital. The result is, and I do not hand this designation out like candy these days, unique. Continue reading

Furry b4 it was cool

‘Fritz the Cat’ (1972)

by Ralph Bakshi


Fritz the Cat, described by Roger Ebert as “an X-rated excursion into the urban underworld”, is an idea by cartoonist Robert Crumb adapted by Ralph Bakshi that instantaneously lets you know what you’re in for. Released in a decade where the art of animation would be no more crude than the grittiest works of Walt Disney, especially if the animations starred talking animals, here is a film that opens on anthropomorphic creatures discussing societal problems of the era right before an ox whips out his manhood and his golden shower transitions into the film’s title sequence. Continue reading



‘The Abyss’ (1989)

by James Cameron


Those who acclaim The Revenant as “historically significant” in what a physically and mentally grueling production it was are not wrong. But there was a time, before the most meaningful work on a movie was turning a green sheet behind the actors into landscapes and monsters, where hardships of magnitude were commonplace. And never once has it reached the same extreme as with James Cameron‘s The Abyss in 1989- which, fittingly, is also one of the earliest movies to employ advanced CGI, making it both a quintessence of practical/traditional filmmaking and a prediction of how filmmaking would come to change in the next few years. We would see such films as Terminator: Judgement Day, Jurassic Park, and the adaptation of Lawnmower Man that I was too dumb to understand. An exciting couple of years it certainly was.

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alle lalle

‘All Is Lost’ (2013)

by J.C. Chandor


I am always astounded by films that go great distances with scarce baggage, especially so when it works to the same extent as J.C. Chandor’s 2013 drama All Is Lost. It is a humbling story of man vs. the elements that mainly takes place in and around one small sailboat out on the Pacific, features almost no dialogue, and stars not one single actor besides leading-man Robert Redford. And with so little baggage, it manages to be one of the most arresting and devastating movies I have seen in years. “Sometimes less is more” I believe the experts say. Continue reading


‘Back to the Future’ (1985) – ‘Back to the Future Part II’ (1989)

by Robert Zemeckis


Clarification: I will be discussing both of the first two Back to the Future movies in one post because, at the end of the day, they feel like one long movie, not only because the second film contains countless scenes from the first one viewed through a different perspective but because the third one feels more like “the sequel” in how different it is. At some point I’ll get to that one too, but we shall see when I feel like doing that. I will say this: I don’t find it as great as the first two. Continue reading


‘Sound of Noise’ (2010)

by Ola Simonsson & Johannes Stjärne Nilsson


There are often excuses for movies not to make sense. If a film knows it’s non-sensical and embraces it in a way that ultimately makes it fun and eccentric instead of infuriating, you become more engrossed in its events than if you were to watch a film that tries to make sense but doesn’t. Most films featured on Honest Trailers, for instance.

I often complain about the lack of great films in my homeland. For every Kung Fury, there are a hundred formulaic teenage angst movies, 20 generic cop dramas, and uncountable amounts of idiotic comedies (usually based on the Sune novels). But every once in a while, there is a film like Sound of Noise, which is a contender for the greatest Swedish film I’ve seen. It is an extension of a 2001 short film entitled Music for One Apartment and Six Drummers, watchable here. Continue reading


‘Microcosmos’ (1995)

by Claude Nuridsany and Marie Pérennou


I am not sure what originally ignited the fascination I’ve always had with the insect world. It’s just one of those interests I have that, somewhat understandably, has made more than a few people look at me funny and ask if I’m alright. Perhaps it began when my grandmother looked at anthills with me as a child, or maybe that time I got to borrow my cousin’s VHS copy of Pixar’s A Bug’s Life? I don’t know, but no matter the reason, my immense fascination with this tiny world that exists in and around our own is not a recently acquired interest. Continue reading

beauty and the booty

‘Beauty and the Beast’ (1991)

by Kirk Wise &  Gary Trousdale


A film as great and universally beloved as Beauty and the Beast is a sign that Disney will always find a way back. After a streak of poorly received features and the occasional box office bomb, they came back big in 1989 with The Little Mermaid, and even bigger a few years later with Beauty and the Beast, which also happens to be one of the first Disney films my mother showed me. Continue reading