Queue Total

284 MOVIES (released titles only)

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Queue Numbers

#50- Women on the Verge of a Nervous Breakdown

#100- Black Swan

#200- Mysteries of Lisbon

Last- Once Upon a Time in Anatolia

Wednesday, October 20, 2010

Red Riding: In the Year of Our Lord 1980

Red Riding: In the Year of Our Lord 1980
Written by David Peace (novel) Tony Grisoni (screenplay)
Directed by James Marsh
Starring Warren Fox, Paddy Considine, James Fox, Maxine Peake

The second in a trilogy of films about the Yorkshire Ripper case of the 70s and 80s, this movie follows a special police investigator brought on to look into the case as well as the way the local cops are handling things.  Crap ensues.

The Woman
good. since we watched the last one so long ago i kept trying to see connections between the two. i know there really isn't anything,but the case, but i still found myself waiting for a mention of a character from the first one. it was kind of distracting. i'm not saying their choice was bad either. i may have enjoyed this one more than the last one.

west yorkshire police from the seventies seemed to me to be equal to the chicago police from the early twentieth century. super corrupt, unstoppably bad.

i am eagerly awaiting our viewing of the third installment.

This is another interesting approach to the material.  Spending more time on the internal workings and the corruption in the police, the story itself is just as compelling as in the first installment--if anything this part is more incensing than the first go-round--and the production kept pace with the period while maintaining a solid through-line.  In addition to the shared writing staff, the producer worked on all three movies; and the attention to detail in the costuming and production in general is just as good.  But the solid direction gets a lot of credit here as well.

More than the first film, this one should be on film class curricula. From both obvious and subtle uses this film serves as a good teacher of telling a story with nothing but camera work.  One scene in particular would have been almost as effective if muted.  Of course, some of that scene's power must be attributed to the actors and it serves as a good example of the collaborative nature of movie-making.  The leads embody their roles and actors never feels out of place.  Down to one- or two-scene wives, characters are fully realized and generate the requisite empathy or distaste (or, occasionally, a combination of the two).

After another highly-recommended outing in this series I, too, am anxious to watch the third one.  (But we have to watch some of the actual DVDs that are in our house at some point.)

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