Criterion Collection | www.jaredmobarak.com

REVIEW: Hunger [2008]

2011/09/082014/05/24 Jared Mobarak

“We only smoke the lamentations” In 2008, a 39-year old Brit made his auspicious cinematic debut with the daring Hunger. Based on the events surrounding the 1981 Northern Ireland hunger strike within HM Prison Maze, newcomer Steve McQueen and co-writer Enda Walsh push fearlessly into the dark and inspiring tale. Beginning with the “blanket” and “no wash” strikes, we watch Irish Republican Davey Gillen (Brian Milligan) get incarcerated. Speaking out on his desire for political status—the IRA looks for better rights since their crimes, although serious, were committed with ‘cause’—his…

REVIEW: White Material [2010]

2011/01/302014/07/24 Jared Mobarak

“Because of people like you, this country is filthy” There is definitely something about director Claire Denis, something great. I can’t say I’m a professional, having only experienced my first Denis work last year with 35 Rhums, but after seeing White Material, there is no doubt she’s a force. The pacing, the sumptuous and mesmerizing score, the lingering camera on expressive faces, the frame bobbing up and down with a sense of being in the action—and yet the action itself is subtle, deliberate. There are definite stylistic comparisons and I’d…

REVIEW: Carlos [2010]

2011/01/082019/12/29 Jared Mobarak

“Sudden bloody terror” Kudos to Dan Franck and Olivier Assayas—who also directed—for doing the research and having the skill necessary to pull off an epic such as Carlos. Originally created as a three-part, five and a half hour miniseries for Canal Plus in Europe, the work became a sensation, debuting at Cannes and eventually being scooped up for American distribution in its entirety and as a two and a half hour theatrical version. While I can admit the complete piece drags at times in the beginning and especially at the…

FILM MARATHON: Terrence Malick #3 – The Thin Red Line [1998]

2010/09/032016/01/09 Jared Mobarak

“The only things that are permanent is dying and the Lord” Pure, unfiltered, raw emotion. That is what’s front and center in Terrence Malick’s adaptation of James Jones’s autobiographical novel The Thin Red Line. The term itself may describe a thinly spread line of defense holding position in war, but I think the metaphor towards a man’s tenuous grasp on humanity is also apt. It’s a battle for Guadalcanal during World War II, an island being used as an airstrip by the Japanese and a crucial piece of property for…

FILM MARATHON: Terrence Malick #2 – Days of Heaven [1978]

2010/08/272016/01/09 Jared Mobarak

“But if you’ve been bad, God don’t even hear you. He don’t even hear ya talkin’.” Overwhelmed. The tagline got it right: every sense—by the end of Days of Heaven—will be overwhelmed. Terrence Malick’s second feature film is as breathtaking as you’ve heard, mesmerizing you with its sumptuous beauty until the hellish climax burns through your soul with its flames of vengeance. I seriously don’t know which is more gorgeous, the sprawling wheat fields straight from an Andrew Wyeth painting or the stark contrast of fire on the night sky,…

DVDS: Criterion Collection

2010/07/172014/04/17 Jared Mobarak

My collection of DVDs from the venerable Criterion Collection, in order by spine number. (the package art is almost better than the films themselves) [fb-like-button]

REVIEW: Peeping Tom [1960]

2010/02/052011/08/24 Jared Mobarak

“He won’t be doing the crossword tonight” The Criterion Collection has always been at the forefront of delivering the general masses with contemporary classics for years now. Some may question the selection process and a few mainstream hits being graced with the askew ‘C’, but I do believe they should be given the benefit of the doubt. When it comes to Michael Powell’s psychological horror film Peeping Tom, I do think they have chosen a piece of work that, while it may not be great cinema, is important to the…

REVIEW: L’heure d’été [Summer Hours] [2008]

2010/01/062011/08/24 Jared Mobarak

“It’s nicely displayed” What is the true value of something? Whether it a house, paintings, heirlooms, or photos, do objects hold more worth monetarily or sentimentally? Just the fact that the deceased is taxed upon death shows how important the money is to the whole system of life, rendering one’s childhood memories into commodity. Olivier Assayas’s film L’heure d’été [Summer Hours] delves into this very topic, showing a generational gap as well as a societal one when it comes to a trio of siblings’ mother’s estate. Two of them have…

REVIEW: 8 1/2 [1963]

2009/12/242016/04/21 Jared Mobarak

“Because he doesn’t know how to love” With the soon to be released Nine on its way, I had to finally dust off my Criterion DVD of Federico Fellini’s 8 1/2 for a viewing (that musical is based on it). Besides all the praise lauded, I really had no idea what to expect. It only took about ten minutes or so to discover that we wouldn’t have Charlie Kaufman if it were not for this film, Fellini’s interpretation of his inner thoughts both creatively and personally road-blocked. Synecdoche, New York…

REVIEW: Fantastic Mr. Fox [2009]

2009/12/022014/03/17 Jared Mobarak

“Never look a beagle in the eye” When I heard that Wes Anderson was going to direct a stop-motion adaptation of a Roald Dahl children’s story I was shocked, perplexed, and very worried. Not only had he stumbled—not fallen—with The Life Aquatic, but he was now also putting his talent behind a multi-year project. He thankfully fit in The Darjeeling Limited, bringing back a bit more of the magic his first three films contained, and because of it I frankly forgot Fantastic Mr. Fox was even on the table. After…

REVIEW: Metropolitan [1990]

2009/11/062011/08/24 Jared Mobarak

“Driver! Follow that pedestrian!” I have discovered a new cinematic character worth quoting and his name is Nick Smith. Ever since Criterion decided to release a couple Whit Stillman films, I was intrigued to find out exactly what made them ‘worthy’ of the slightly slanted ‘C’ seal of approval. The artwork alone piqued my interest with its hand drawn aristocratic aesthetic, but it was the mystery of having never really heard the name before that truly drew me in. Next thing I knew, his debut Metropolitan was available for viewing…