Chacun son Cinéma (2007)

(Eng: To Each His Own Cinema)

An anthology that contains over thirty short films by as many different directors, commissioned to celebrate six decades of the Cannes Film Festival. Each work is approximately three minutes in length and was supposed to represent the director's "state of mind [...] as inspired by the motion picture theatre." As usual with this kind of thing, I'll put the full list in comments.
My 'Admit One' was for Kitano and Cronenberg, neither of which were essential. The ones that moved me most were Alejandro Iñárritu's 'Anna' and Abbas Kiarostami's 'Where Is My Romeo?', both of which had more emotion than the others combined. Also, I really liked Chen Kaige's 'Zhanxiou Village'.
A lot of them take place inside a theatre with crucial scenes from actual films being projected onscreen, so expect some spoilers.

3 light shows out of 5

The Ghost (2010)

The 'ghost' of the title is of the writer variety, semi-reluctantly penning the memoirs of a former British Prime Minister at a time that coincides with a political and personal upheaval for the very public figure.
Polanski is a master of his craft and I feel that all the actors gave great performances with varying levels of subtlety, together achieving a believable kind of 'filmic harmony', but overall I just wasn't gripped by any of it. It's now a part of the 'watch once and pass onto someone else' stack of discs.
Strangely, what I'll remember most is the view through the PM's study window; the blustery beach environment with sporadic tufts of grass atop sandy dunes was in some way a kind of unspoken commentary on the life he was living.

2½ cures for insomnia out of 5

The Ninth Gate (1999)

A man of low morals and purveyor of rare books, Dean Corso (Depp), is hired to track down the last remaining copies of a demonic text.
It’s an unusual role for Depp becuase he doesn't get to stand out in any way; Emmanuelle Seigner has that privilege. It’s also unusual for Polanski in that there are occasional moments where it’s decidedly amateurish, which is something I’d rarely accuse him of being. The sumptuous lighting and Polanski’s ability to make even the walls have a sense of history mean the film looks beautiful, but it lacks a vital spark.

2½ engravings out of 5

The Tenant (1976)

The story of a quiet, unassuming bachelor who moves into an apartment that he later learns has an unpleasant history, and that’s all I'm willing to reveal about the plot. It’s a slow moving affair that takes time to get to where it’s going, but the steps taken to get there are never dull.
Polanski is adept at turning the typically mundane into something bubbling menacingly with nightmarish potential. He doesn't make life simple for his viewers, but that’s his way and, I would argue, is a necessary part of the process. You either accept his vision or you hide from it.
It's the third film in what’s known as Polanski’s Apartment Trilogy. The others are Repulsion (1965) and Rosemary’s Baby (1968). They share a common theme but aren't connected in any other way.

4 reflections out of 5

Death and the Maiden (1994)

Roman Polanski’s adaptation of Ariel Dorfman’s play of the same name is a tense and morally suffocating piece of film. Both Sigourney Weaver and Ben Kingsley give it their all in characterising their respective players; it's a dark and lonely mindset to even begin to imagine.
Polanski’s use of space is intentionally restrained, but the attention to detail is of his usual standard. He keeps your attentions right where he wants them every step of the way.

3½ telephone wires out of 5

CHINATOWN [1974]

Jack Nicholson shines opposite Faye Dunaway in director Roman Polanski's neo-noir classic Chinatown.

More like a classic hard-boiled detective film of the Golden Age, Chinatown never really relies on harsh language, violence or sex to blanket it in the broody, dark atmosphere it relishes in.  The story starts out quite simple then builds in well-paced complexity but never so much it loses the viewer.  

Classy film-making at some of it's best.  

5 nicks in the nose out of 5

Oliver Twist (2005)

An adaption of the classic Dickens tale starring a straggly bearded Ben Kingsley as the stooped and crooked Fagin, supported by a number of TV actors relatively unknown outside of Britain.
There’s very little of the real Polanski on offer; it’s mostly bloodless and the violence is handled respectfully.
The kids are uninteresting which is not ideal in a film like this. Bill Sikes’ big moment is either badly presented or was heavily cut in my version.
What saves it are Kingsley’s ability to be both comedic and tragic and the passion of the young Nancy (played by Leanne Rowe).
Overall it's good but could've and should've been much better.

3 civil words from an avaricious old geezer out of 5

CARNAGE [2011]

Director Roman Polanski sacrifices his trademark visual style and atmosphere to focus solely on the characters in the dark comedy Carnage.

Based on a play written by Yasmina Reza, the film takes place entirely within the confines of a New York apartment and features only 4 characters all beautifully portrayed by Jodie Foster, Kate Winslet, John C. Reilly and Christoph Waltz.  It's an absolute joy to see all 4 actors play off each other as they rip each other a new asshole and constantly change sides with one another.

It's a little slow to start but once it starts rolling it doesn't stop.

3½ vomit cobblers out of 5

ROSEMARY'S BABY [1968]

The best types of horror films are the ones that truly allow the viewer the enter into the world that is created. It takes patience, careful attention and emotional investment. Only then does it really terrify. Sadly most horror films these just rely on cheap scare tactics and CGI knives.
Rosemary's Baby is the definitive smart horror film that begs the viewer to really use their brain or what's left of it. It's perfect in nearly every way. Mia Farrow's amazing performance is heart-breaking and distressing to behold and study. While Ruth Gordon is an absolute treat to watch as the nosy old New York neighbor. Roman Polanski knew exactly what he was doing with this beautifully shot film and perfects it with a genuinely icky creep factor that lines the heart of the story.
With it's twisted sense of humor, amazing build up of dread and sense of paranoia waiting around every corner, Rosemary's Baby deserves the attention and acclaim it constantly receives.

5 Für Elise's out of 5