A list of Edgar Wright's favorite 1000 Movies per his list on Mubi on July 27th, 2016.
From dawn to dusk, a few hours in the shadowy life of a mystic man named Monsieur Oscar.
We follow 24 hours in the life of a being moving from life to life like a cold and solitary assassin moving from hit to hit. In each of these interwoven lives, the being possesses an entirely distinct identity: sometimes a man, sometimes a woman, sometimes youthful, sometimes old. By turns murderer, beggar, company chairman, monstrous creature, worker, family man.
Holy Motors, the critics darling of 2012, is as strange, befuddling and pretentious as the gushing reviews suggested it would be. Leos Carax’ first feature film in over a decade is a willfully odd odyssey; a picaresque story of cinema itself and an ode to performance. The committed, certifiable and chameleon-like Denis Lavant plays Mr. Oscar, a man who travels around Paris in a limousine transforming himself into a range of strikingly different characters for reasons left largely up to the audience to decide.
It is a film made for, and by, a particular type of film fan; one steeped in the history of film who enjoys partaking in a game of spot the movie reference. It’s an indulgent, self-satisfied…
To say that Holy Motors has been praised would be the understatement of the century. It has been discussed and interpreted more than probably any other movie this year. Furthermore, seemingly every major critic loves it. It has a 90% on Rotten Tomatoes, an 84 on Metacritic, and my boy Film Crit Hulk placed it at the very top of his 2012 list, ahead of Django Unchained, The Master, Looper, and several other terrific titles. However, there's something none of those critics will tell you, and I'm here to give it to you straight: the key to understanding Holy Motors is knowing that Holy Motors SUCKS.
Now, before you prejudge this as another Cosmopolis-style "Dear Fuckers" letter, hear me out,…
A film that, needless to say, has a number of correct subjective interpretations directly proportional to the amount of viewers that saw it with a high attention span and an open mind, in my humble opinion, can be more easily dissected if:
I. It is seen passively.
“I'd rather people feel a film before understanding it."
- Robert Bresson
“We think too much and feel too little."
- Charles Chaplin.
Some things do not have to make sense. The mind can reast peacefully at night if it was not capable of rationalizing all stimula in one day, even if it seems impossible to several people. Some things just deserve to be felt.
II. The "appointments" topic is taken as the…
Q1. Was this art over substance?
Q2. Was there a point?
Q3. What genre is it?
Q4. Did I like it?
Q5. Did I hate it?
A1-5. I honestly don't fucking know!
Within an individual life, and perhaps in sequential ones, we are incarnated not one but many times, taking on the roles that we are given or aspire to, performing them to the best of our abilities, succeeding sometimes, failing others, oftentimes just getting by. If you could prepare or hone a gift for sudden improvisation that would undoubtedly help, as would having a stretch limousine dressing room piloted by an expert chauffeur (Edith Scob!!! In a role which connects directly to her ***** performance in Eyes Without A Face, the film of films whose presence more than any other's lingers or hovers like a ghost or an angel over Holy Motors) and filled with endless theatrical props, makeup mirror and…
This almost feels like a surreal version of the Mediaeval play Everyman. In that play Everyman (representing Man) meets up with a host of allegorical characters representing Life. Through these encounters Everyman learns how to reach salvation, thus completing Life's circle.
If I proceed in this train if thought, Lavant's Oscar is all those allegorical characters rolled up into one creature, a physical manifestation of life, showing us, the Everyman, the state of affairs. And apparently Life is getting old. It is having great difficulty dealing with the rapid, shallow progress we are making and basically has increasing difficulty providing us with our overly demanding urges. Life's own cycle seems to be running towards its end, heading towards its own…
Off the wall, eccentric and bizarre film, Holy Motors displays a sense of the surreal as it veers into a story that seems to go deep within the human psych. Going into this one, I’m not quite sure what to really think of it. I liked the film, but felt otherwise weirded by what it really tried to accomplish. Is Holy Motors trying be an art house feature like Lars Von Trier? At least Trier has some semblance of what his plot will be. This on the other hand feels like a filmmakers exercise in trying to convey a vision, but it doesn’t get quite there. Holy Motors is a good effort, but it’s far from a great picture that…
It's fucking horrifying how closely this movie echoes my emotional impulses
A New Orleans style funeral for the old world. Basically The Grand Budapest Hotel with different wrapping paper. An absolute blast until it is tremendously sad. Many are saying that this movie is about the death of cinema, but I would say that's rather narrow, and that the movie clearly expresses concerns for the world at large progressing forward into the unknown. Identities are blurred in the virtual age, the lines between fact and fiction will ultimately become irrelevant. The mechanical will end up in the garbage, the digital will prevail.
There's bucketloads to unpack here, but that's basically what I got on a first viewing. I will probably need quite a few more viewings before I can even…
I.....don't know what to say?
Pretty sure I'm gonna have to let this one sit with me for a bit. Watch it again sometime soon.
I have to admire it though. Don't know how you can't.
Shout out to my brother for recommending this beautiful masterpiece to me. I can't fathom how much I LOVE this film. Literally there is no dull moment. I had a smile on my face the whole time. I could watch this film over and over again. This is a definite must watch.
I wonder how he got started at that job... What was the interview process like? What's the pay?
The obvious word to describe Holy Motors with would be "weird." The movie flows through strange scenes and images with no real "purpose," no defined "plot." But that's not a bad thing. I was listening to the commentary for What's Up, Doc? and Peter Bogdanovich was talking about the unspoken agreement between filmmaker (though director Leos Carax says "It's hard to call myself a filmmaker") and audience that every shot has a purpose for the story. And if it's not immediately apparent, the filmmaker will soon reveal it. Holy Motors seems to disagree wholeheartedly with that idea, even expanding it to the…
Ok, here's how voting is going to work:
Each ballot will consist of ten films, ranked. The first film will…
The best that cinema has had to offer since 2000 as picked by 177 film critics from around the world.…