Shane Carruth, USA, 2004, 77 min.

A group of young engineers sit around a table and discuss their business. They work out of a garage, developing technologies but have not yet had a breakthrough to get them into the big-time. We do not understand all of the technical things they talk about, but we don’t need to. The fact is that what they are doing seems real.

They are lacking in seed money, and pilfer parts and supplies from wherever they can get them (old cars, refridgerators, microwaves friends in labs). Two of them (Aaron and Abe) work on a technology that they find decreases the mass of small objects. After struggling with finding a marketable application of this technology they realize there may be more to it than the initially realized.

In just a few days fungus has grown on their test item. But in natural conditions this fungus would take years to grow. Did they just invent the world’s best fungus incubator? There is another explanation that they work their way towards, disbeleiving at fist. Time-travel.

It’s proven when Abe takes Aaron out to the side of the road and points out a doppleganger of himself walking into a self-storage facility. What follows are philisophical, ethical and scientific questions all presented in a puzzling narrative. The joy is in figuring it all out.

Primer was filmed for only $7,000. It’s a film that relies on its script and the talents of its writer/directer/star Shane Carruth. Just look at the credits! The crew list is smaller than the cast list. What he does with this film is incredible, and that elevates the already intricate and fascinating story into one of the best independant films I have ever seen.

Sergei Parajanov, Soviet Union, 1968, 79 min.

The Color of Pomegranates states right at up front that it is not going to make sense. The text at the beginning says that what we will see on the screen are images from a poet’s mind, and that this was in no way going to show what actually happened, but how he perceived the events around him.

The film then treats you to a series of vignettes that chronicle the main character’s life from a small child until death. There is no narrative to hold it together, but the film creates a mood around the images, the music, and the poetic chanting.

It’s a film steeped in religious and cultural symbolism, and a film that truly is a monument to the culture of which it was made. Unfortunately, being that the culture and folklore are completely unknown to me, a stupid American, it was hard to connect in a meaningful way with what was on the screen.

Still, the craft involved with making this film is undeniable. Being an political auteur in the Soviet Union during that time must not have been easy. Parajanov’s vision is unique and The Color of Pomegranates is a singular film that only he could have made.

Jason Reitman, USA, 2009, 109 min.

Why people love Up in the Air is beyond me. At best, it’s a cliche “coming of age” story with some good performances. At worst, it’s a soul-less mess as interesting as a trip to the airport. I lean towards the latter.

George Clooney’s transition-specialist character is as shallow as you could imagine. He lives on the road, avoids his family, involves himself in meaningless relationships, and enjoys his work because it keeps him isolated.

Over the course of the film, spurred on by a relationship with the similar traveller (Vera Farmiga), and the introduction of a young protege (Anna Kendrick), the main character will grow and change. He falls in love, he realizes the value of family and the solidarity that they represent.

Predictable, but what really hurts the film is that none of the characters are interesting, and none grow to be interesting. They are shallow, and their actions are efficient and mundane.

Reitman’s previous films were a good combination of writing, acting and directing. It’s just not the case for Up in the Air. The acting is fine. The direction is not horrible, but very plain. The writing is cliche and the characters are uninteresting.

I do not mind slow films, and I hesitate to use the word “boring” to describe a movie. But this one fit the bill. So officially I have to say: Up in the Air was boring.

Peter Jackson, New Zealand, 1992, 97 min.

There aren’t that many good gory comedies. Serious film-makers have always steered away from the genre, and the popularity of these types of films have allowed people without talent to saturate the market-place and still make money with their bad films.

The similarity of everything that is out there means that a film has to be technically and artistically proficient to stand out. Having a gimmick just doesn’t cut it. And it’s rare that a someone can pull it off.

Now Peter Jackson is a talented film-maker. He always has been, and Braindead, his be-all and end-all pinnacle of the horror/gore/comedy genre is no exception.

The story is standard. An animal byte turns people into violent zombie-like creatures. But the film is full of endless talent and imagination. Characters are killed in wonderfully gory ways.  The script is tight, the pacing is perfect, the music is excellent, and Timothy Balme plays the main character with great physical comedic skill.

It all fits together perfectly, and the sheer amount of gore and energy in the last reel has to be seen to believed. Blood is said to have been pumps onto the set at 5 gallons a second to keep up. Peter Jackson has a good eye for unique acts of violence and comedy and he really  lets loose here.

It’s  a cheap film, but the talent behind it gives it quality beyond its humble genre beginnings.  It’s a must see for horror-fans, and must-see for film fans who can stomach it. Braindead is anything but what the title suggests.