Dead Poets Society (1989)

O Captain! My Captain!

To a background of bagpipes, meet the boys of the Welton Academy. A prep school that prepares an all-boys elite to get in the Ivy League thanks to four core values: tradition, honor, discipline, excellence. Mr. Keating, the new offbeat English teacher, will change the lives of those boys by introducing them to poetry and freethinking. A teacher extraordinaire who changes lives is a theme that has been explored more than we can remember but to this day, Dead Poets Society is still the best movie about it. Robin Williams is a teacher everyone wished they had. Unfortunately for most of us, it's as rare to have a teacher like this as it is to write good poetry. But in Hollywood, everything is possible and brighter. I sure wish I had a teacher pushing me to pursue a career in the arts. Seize the day, find your inner voice, don't let your parents decide on your future... Those are some of the many valuable life lessons that DPS promotes. It's always a pleasure for me to watch DPS once in a while to witness Ethan Hawke's career start. Robin Williams is a master at humor as everyone knows but when it comes to drama, he is deeply moving too. Williams makes hilarious impersonations, as usual. Two-thirds of the movie is quite funny, then an efficient and dramatic twist makes you cry like you have PMS. Dead Poets Society is an emotional elevator taking you to both ends of the feeling scale.

1 reason to watch: DPS is a bucket full of lessons for kids and parents

Once Upon a Time in America (1984)

L'Chaim to Prohibition

Once Upon a Time in America is a violent and truthful painting of Manhattan. This movie takes you through the ghetto where a bunch of kids made a pact to share their fortunes, their loves, their lives. Over 30 years later, Noodles comes back to the Lower East Side to face his past demons and regrets. If you ever decide to watch Once Upon a Time in America, keep in mind that it is 229-minutes long. It doesn't seem that long when you watch it because the storyline is energetic but you still need to clear your schedule for almost 4 hours. This masterpiece covers a wide time frame taking you from the 20's to 1968. It is an epic tale on the prohibition era. A full immersion in a cosmopolitan New York City and the Jewish mafia. The cast is obviously impressive. De Niro and James Woods form a perfect duo. They are both flawless and cruel. Their friendship takes loyalty to a whole new level and betrayal gets baleful. Joe Pesci is only starring in the movie for a few minutes but it's a pleasure to watch him perform as a mobster. The classic soundtrack composed by Ennio Morricone is an important piece of this crime puzzle. His tune is raw, dramatic, and authentic. I have once attended a Morricone concert and listening to this theme live is a magical feeling. The natural touch of the soundtrack comes quite close to recreating that magical feeling, which is a rarity among films. Once Upon a Time in America is a paradoxical proof that times have changed in a radical way but they've also stayed the same.

1 reason to watch: it's one of those movies you have to watch once

The Hunger Games (2012)

That Is Mahogany!

In the post-apocalyptic ruins of North-America, a totalitarian regime controls 12 districts. Each year, the government chooses 2 kids from each district to fight to the death in a game show. It's all fun and games until Katniss Everdeen - our arrow-shooting heroine - becomes the face of a nationwide rebellion.

The Hunger Games is Gary Ross' adaptation of Suzanne Collins' homonymous book. I already hear the purists yelling at my rating. I've come to appreciate this movie because I keep in mind that it's a book adaptation. And a screenwriter always has to take things off and alter others to keep his feature film  understandable, entertaining and under a 3-hour-long limit. Gary Ross worked on the screenplay with Suzanne Collins so the decisions he made were the result of author-approved team effort. I think he did a great job translating the book universe on the silver screen. I especially enjoy how Ross managed to keep the book's first-person point of view. The astounding sound-editing work is a major piece of it. His movie is obviously not perfect. Every so often, little details that I expected to be different are irritating but the overall result is magic. Those little disappointing details are the chariots scene special effects that seem to come straight from '92, or the relationship between Katniss and Peeta that does not resemble the book's, or the creatures of the show's finale. Other than those, the production design is mind-blowing, the original score couldn't have been better, the cast is an accurate melting-pot (exept for the fact that Josh Hutcherson is really smaller than Jennifer Lawrence. That's something I cannot overlook as I find it ridiculously amusing). James Newton Howard composed the brilliant original score. The Capitol anthem is especially majestic and powerful. It perfectly matches the look of it. The production designer decided to give the Capitol a cold Third-Reich look to illustrate the power and greatness of this regime. The contrast with the poor districts is very well balanced. It turns what could have been a boring futuristic sci-fi story into a retro-looking and realistic anticipation tale. This makes it far more impactful. The plot is a great analysis of our broadcasting society and the probable future of reality TV. If you want to savor the intensity and the immensity of work behind The Hunger Games, I'd suggest you get your hands on the special edition to watch the impressive making of. From pre-prod to the release, you can witness every step taken to get this movie done. The cast is a clever mix of actors from all horizons: experienced or not, young or older. Donald Sutherland is a convincing sadistic and controlling President Snow. Jennifer Lawrence embodies our favorite braided heroine with such power. Not to mention that she can actually shoot the bow and arrow (that's coming from someone who does archery so I can tell). Lenny Kravitz scores an important role for his acting debut. He is the rebel Capitol stylist. Woody Harrelson and Elizabeth Banks are obviously superb in their interpretation of the alcoholic Games victor and the colorful Effie Trinket. The kids are memorable too (especially Amandla Stenberg who plays the little Rue). Let's not forget The Hunger Games is a story about kids killing kids for the perverse pleasure of wealthy adults. It could have had a questionable taste but it is beautifully directed and ends up being an instant classic. The following book  adaptation (Catching Fire) will be released next November. Francis Lawrence took over the direction and  I can only hope he stayed true to what Ross had established in terms of universe and camera techniques.

1 reason to watch: Ross' handheld camera makes this sci-fi realistically disturbing. The sound work reveals the heroine absorbing introspection.

Zack and Miri Make a Porno (2008)

A Rom Porn Com

Zack and Miri are lifelong friends and roommates. After running out of money to pay their bills, they come up with the next easiest way to make big bucks: direct a porno. As it turns out, having sex on camera with your best friend might not be the most platonic thing to do. Written and directed by Kevin Smith, Zack and Miri is not your usual rom com. In fact, it is one of the greatest recent romantic comedies. Smith's questionable taste in terms of humor is to be expected when you know his previous work. But it is hilarious, and 100% quotable. Each line makes me burst out laughing. The 2 main actors (Seth Rogen and Elizabeth Banks) form an unlikely pair but their chemistry is blindingly obvious. I am so pleased that Smith's lifelong sidekick, Jason Mewes, is a guest star in Zack and Miri's adult entertainment production. It may sound like a vulgar and pervy movie with a unique titillating purpose to you. But it is so much more. Yes, Zack and Miri is vulgar but under the layer of epic porn spoof names and other curse words, it really is all about love. 

1 reason to watch: you know you want it, you little minx perv!

Pulp Fiction (1994)

Ezekiel 25:17

Pulp Fiction is a gigantic bubble of classic what-the-f*ckism. When this bubble first explodes in your face, you're surprised. Surprised because you discover the weirdest cast combo and it all works. Willis, Travolta and Keitel together? It sounds like an epic drunken dream but it's brilliant. Then you blink a few times because you can't believe what you see and it's rapidly entering your system. Quentin Tarantino puts a simple mobster tale in a shaker and mixes it with a memorable soundtrack seasoned with random bits of bible, and quarter pounder with cheese. He serves this with his typical nonlinear and intriguing plot. The subtle mixture is spiced up by charismatic characters delivering quotable logorrhea. The funky atmosphere melts into the violent yet non-disturbing Tarantino nonchalance. I believe it's not disturbing because it doesn't make you feel uneasy. A Tarantino movie always makes you laugh even if the topic is hardcore. That's Tarantino magic. Pulp Fiction is definitely a must-see. It's part of 90s memorabilia and belongs to every movie buff's collection.

1 reason to watch it: it's a Tarantino movie, is this enough of a reason?

Plastic Love: Interview with Writer/Director/Editor/Producer Jamie Hooper

Jamie Hooper writing Plastic Love

The Squeerelist - You wrote, directed, edited and produced Plastic Love. Taking control of the entire production seems to be ideal to stay true to your message and your style. It can also be a double-edged sword, as you may not have enough external perspective on your work. Can you tell us about your process to avoid being trapped in self-criticism?

Jamie Hooper - Pretty much the only reason I took on all those roles is because I self financed the film and couldn’t afford to pay people to do it. I generally write, direct and edit my films as I love those three aspects of filmmaking. I think it’s good for directors to know how to edit as it makes them much more efficient with their shot selection and coverage. If I could never produce again it’d be too soon, I’d love to find a like-minded producer who I could collaborate with.

Everything in a film has to push the story forward so if doesn’t do that it has to go. I think I’m a fairly brutal editor and I try not to get too precious with my own footage. If something can be removed and the story still flows then it gets removed. Due to the nature of how Plastic Love was made I had a long time in post production, which gave me chance to leave the film and not think about if for a few weeks, then come back to it with fresh eyes and a clean perspective. If I ever feel I need outside perspective I’ll just show a film to some trusted friends for their constructive feedback. 

The core topic of your movie is sexuality but you cleverly chose not to display any nudity. Was it a personal commitment or a precaution for your movie not to be segregated from the market?

The only reason there’s no nudity in the film is because it wasn’t necessary to tell the story. I was already asking my actors to do some fairly extreme things so adding nudity into the mix was just completely unnecessary. If you can portray something without showing it I always find it’s much more effective. People’s imaginations are generally much better than anything you can ever show them. For instance as soon as you see the monster in a horror film it tends to lose all tension as it gives the danger a face, and that face is pretty much never as scary as what we have in our heads. If I can tell a story about sexuality and fetishes without showing any nudity then I don’t see any need to include it, that would turn the film into titillation and I wanted to completely avoid that.

What went through your mind when Plastic Love got selected to screen at Cannes?

I was elated. Cannes is such a prestigious festival that it can only help to be mentioned in the same sentence. My company, Fingercuff, had two films at Cannes this year, so it was especially exciting.

Your style clearly stands out from what most theaters dare to offer. You choose to explore people’s darkest side and desires. Do you want to reach a specific target or do you place yourself as a mind-opener of the broad audience?

I never really have a specific target audience in mind for my films. I make the films I want to make because the subject interests me or I have a lingering idea that won’t go away. Plastic Love is a very adult film dealing with adult topics and if some people decide not to watch it for those reasons that’s entirely their choice. Obviously I want as many people to see my film as possible but I’m fully aware the subject matter isn’t for everyone.

Some people often mistake movies about sex for pornography. Do you have a message for them?

If people genuinely do that I think it says more about them than anything else. You don’t have to show explicit footage to explore sexuality, just like you don’t need to show gore for a film to be scary. Pornography is purely made to arouse and for sexual gratification. I would class Plastic Love as ribaldry.

Is Europe the sacred land for controversial filmmakers?

That’s a difficult question to answer, to be honest I have no idea. From my experience European cinema tends to explore a wider range of controversial subjects than say American cinema does. Saying that, there are plenty of American filmmakers who explore dark and controversial subjects; unfortunately for them they’re at the mercy of the MPAA (i.e. Motion Picture Association of America). I think in Europe we might be slightly more open to watching films about sexuality, which seems to be a big no-no in America.

Is there any advice you’d like to share with aspiring filmmakers?

I don’t really feel like I’m in a position to give advice. Filmmaking is such a weird and malleable art it can be approached in so many different ways. It sounds clichéd but if you want to make a film just go and make it, there’s really no excuse not to these days. Make films that interest you and not what you think people want to see. Be true to yourself.

More on Plastic Love and Jamie Hooper's projects at http://www.jamhoop.com/

Plastic Love (short film - 2012)

Next Time Do It Harder

Plastic Love is a very British short movie about strange fetishes, death, and relationships. When I say very British, I mean that barely no one else could produce such a controversial work that is both funny and disturbing. The first contact I had with this project was through the teaser video and I obviously thought of Kubrick's A Clockwork Orange. But Plastic Love is not about non-consensual sex, it's about dealing with  fantasies and their consequences in a relationship. Even if it's consensual, it doesn't mean it's not dangerous. The 4 main characters are embracing their darkest desires and their performance is absorbing. The brilliant original score composed by Martin Dubka makes me feel like I am in a Refn movie in which the characters are clearly more uninhibited. Dubka is the new Cliff Martinez. I particularly enjoy the use of intense close-ups to help me connect with the characters deepest emotions and sensations. I also appreciate that no nudity is shown as it is not necessary to the plot. You will enter Jamie Hooper's mind with an undefinable slow-motion world of peculiarity. His film is an emotional and perceptual tale on modern love, death, and sexuality. 

1 reason to watch: unleash your urges

Read my interview of Writer/Director/Editor/Producer Jamie Hooper!

Plastic Love - Teaser Trailer from Jamie Hooper

Plastic Love - Trailer