Europa Europa (1990, Germany)

This film would be almost funny if it wasn't so tragic, which is probably why almost every description one can find about it uses the term "irony." Everything that happens to young Solomon simply strains credulity, and yet they're true. As he stumbles from Germany to Poland, as he ends up in a communist Russian boarding school, as he ends up a war hero in the Nazi army, as a Hitlerjunge. But always he is a scared, lonely boy who is hiding his true identity from a world at war, and it is impossible not to become deeply invested in his story and to hope his deception is powerful enough.

Marco Hofschneider was perfect as the sweet, innocent, scared, lost boy.

The music sounded familiar, though I couldn't place it, and it definitely fit the plot. It sounds like something serious and bad is inevitably, inexorably creeping toward him, one step at a time, just like he's always one step from discovery in every situation he finds himself. It's the sound of Fate steadily closing in.

I would recommend this wonderful, powerful film to anyone and everyone. Truly incredible.

Rating: 4.0

The Last Station (2009, UK)

It's really hard to explain what this film is "about." Basically it follows the last days of Leo Tolstoy's life, his relationship with his wife, and his relationship with his closest friends and advisers. He's torn between revolutionary ideals and taking care of his family's needs.

Using Tolstoy's secretary (played by a very talented James McAvoy) and his relationship with a fellow revolutionary as a sort of contrast to the relationship of the aging Tolstoy and his long-time wife is very effective.

With a cast of very talented actors, a unique historical story, and a realistic period feel, this was an enjoyable film.

Rating: 3.5

Anna Karenina (1948, UK)

I've heard that this is perhaps the worst version of Anna Karenina ever filmed, and I can perhaps see why. A lot of the dialogue was rather stilted and badly written. Karenin didn't really seem concerned with his wife's affair. The chemistry between Anna and Count Vronsky was so nonexistent that you couldn't understand what they even saw in each other.

I don't think it will surprise anyone to know what I thought was the key redeeming element in this film—Vivien Leigh. I loved her since the first time I saw her in Gone with the Wind. It is still one of my favorites, as is Waterloo Bridge (a very under-recognized film). Even though her chemistry with Moore was terrible, she acted brilliantly and dragged the film along on the hem of her elegant wardrobe. (She did, of course, look stunning.) While you never see why she loves Vronsky, her acting lets you see how torn up she becomes because of their relationship. You also see her deep and abiding love for her son, which is an especial feat of acting, in my opinion, considering that Leigh was not the best mother by all accounts.

It is really unfortunate that we can't go back in time and refilm this, keeping the leading lady and giving her the costars and direction she deserved.

Rating: 3.0

You I Love / Ya lyublyu tebya (2004, Russia)

The number of times I've said I'm not going to let Blockbuster pick movies for me anymore... You'd think I'd've learned by now.

This movie was just insane. I really don't know what to say about it. There was some love triangle going on with two very strange Russians and an even stranger Mongolian. (At least, that's what I think he was.) There were reindeer. Apples in bed during love scenes. Strange music. Trippy gay house parties at the home of prominent politicians. I felt like I was on something when I watched this, and then I wasn't even satisfied with the ending.

I would probably recommend this to people who like weird movies. People who feel the need to watch an obscure Russian film. People who have an apple fetish. Yeah. I'm sure it was supposed to be edgy and artsy, but I clearly didn't get it.

Rating: 1.5

Rancid Aluminium (2000, UK)

What a strange movie. I'm not sure if there was a point. There was a plot, but at the end all I could think was, "Why?" The major idea of the movie was that a man (Ifan)'s father dies and leaves him the family company, even though the son's best friend (Fiennes) put more work into the company. The friend is jealous and smart. So he convinces the son that they're going bankrupt and enlists Russian mobsters to (it seems) steal his friend's money and then kill him.

His motivations made no sense. The Russians' role made no sense. The son's affair with the mobster's daughter made no sense. The vague ending made no sense.

I guess this just wasn't my cup of tea, but it did have Joseph Fiennes in it, so I had to try. (Random note: I think they trimmed his eyelashes so he wasn't as attractive. Some attention to detail!) The best things about this one were the acting (of course) and the score. It was almost like the score was one big joke. It was overdramatic, diverse, and just plain odd. But it fit perfectly, and really added something. If you're big on original (by which I mean unique) film music, it's worth watching just for that.

Rating: 2.5