Thursday, November 29, 2012
Thursday, November 22, 2012
Last Few Films I've Seen, November Edition
1. Lincoln (2012)- A law room procedural with a musty made for TV history documentary feel. Daniel Day Lewis is really good, but Spielberg and screenwriter Tony Kushner seem much more preoccupied with creating grand moments and Oscar bait than a lived-in, intellectual dissection. And it seems to me Lincoln only sulked around and told stories.
2. The Seventh Cross (1944)- A terrific film of two halves. The first part is a tense and dirty road movie in which an escaped Jewish prisoner (Spencer Tracy) desperately tries to seek refuge from his Nazi captors. Once under roof, the film plays out like a film noir as old friends could become betrayers and every shadow looms with danger. Directed by Fred Zinneman, its an unheralded classic.
3. Electric Dragon 8000 Volts (2000)- Whew.... watching a Sogo Ishii film is always an endurance test and this one is no exception. Filled with chaotic images and an aggressive (almost nauseating) soundtrack, two electricity filled men (due to childhood accidents) meet and duel it out for supremacy. Running a scant 50 minutes, the length is perfect for this steam punk effort.
4. The Babymakers (2012)- Partly a Broken Lizard team comedy, I'm beginning to wane on their output. Despite getting to watch a scrumptuos Olivia Munn, there's little else to delight here.
5. 360 (2012)- Fernando Meirelles' modern remake of "La Ronde" deals with so many unbelievable moments of human connection that I began to wonder if the whole thing was a comedy... least of all a beautiful young girl (Maria Flor) being attracted to weirdo Ben Foster in an airport.
6. The Wide Blue Road (1957)- Gillo Pontecorvo clearly understands and loves the working class. This drama follows a young Yves Montand and his lifestyle defying the local Coast Guard in favor of dynamite fishing. Italian neo-realism at its finest, even if the proletariat point of view is a bit much at times.
7. Flight (2012)- It's rereshing that a main character in a Hollywood film is so uncompromisingly addicted and complex, but that's the portrait we get of Denzel Washington's pilot in "Flight". If only the film would have gone to other such uncompromising heights instead of the junkie with a heart of gold and a John Goodman performance that borders on loony tunes.
2. The Seventh Cross (1944)- A terrific film of two halves. The first part is a tense and dirty road movie in which an escaped Jewish prisoner (Spencer Tracy) desperately tries to seek refuge from his Nazi captors. Once under roof, the film plays out like a film noir as old friends could become betrayers and every shadow looms with danger. Directed by Fred Zinneman, its an unheralded classic.
3. Electric Dragon 8000 Volts (2000)- Whew.... watching a Sogo Ishii film is always an endurance test and this one is no exception. Filled with chaotic images and an aggressive (almost nauseating) soundtrack, two electricity filled men (due to childhood accidents) meet and duel it out for supremacy. Running a scant 50 minutes, the length is perfect for this steam punk effort.
4. The Babymakers (2012)- Partly a Broken Lizard team comedy, I'm beginning to wane on their output. Despite getting to watch a scrumptuos Olivia Munn, there's little else to delight here.
5. 360 (2012)- Fernando Meirelles' modern remake of "La Ronde" deals with so many unbelievable moments of human connection that I began to wonder if the whole thing was a comedy... least of all a beautiful young girl (Maria Flor) being attracted to weirdo Ben Foster in an airport.
6. The Wide Blue Road (1957)- Gillo Pontecorvo clearly understands and loves the working class. This drama follows a young Yves Montand and his lifestyle defying the local Coast Guard in favor of dynamite fishing. Italian neo-realism at its finest, even if the proletariat point of view is a bit much at times.
7. Flight (2012)- It's rereshing that a main character in a Hollywood film is so uncompromisingly addicted and complex, but that's the portrait we get of Denzel Washington's pilot in "Flight". If only the film would have gone to other such uncompromising heights instead of the junkie with a heart of gold and a John Goodman performance that borders on loony tunes.
Sunday, November 18, 2012
Trio
Cafe de Flore
Jean-Marc Vallee’s “Café de Flore” juggles two seemingly unconnected story lines for a good portion of 90 minutes before allowing their unlikely symmetries to collide in unexpected and moving ways. Beginning in Montreal in the current moment, we meet Antoine (Kevin Parent), a successful DJ and happily living with a beautiful woman and his two young daughters. We’re then introduced to Jacqueline (Vanessa Paradis) in what we think is 60’s Paris due to the clothes and cars. Immensely loving of her down-syndrome afflicted son Laurent (Marin Gerrier), this thread focuses solely on Jacqueline as she faces more difficult times as Laurent grows up and makes friends with another child in school. Writer-director Vallee spins both of these tales in an increasingly frenetic and symbolic method of cutting, anchoring the action in not only the various manifestations of the title song, but in the terrific music of The Cure, Sigur Ros and Pink Floyd. As “Café de Flore” makes connections between past and present, it threatens to spin out of control, but Vallee and his impressive cast hold things together, splicing images together in unique and portentous ways that add depth and complexity. Without spoiling too much, “Café de Flore” would make for a splendidly low-fi Parisian antidote to “Cloud Atlas”.
Skyfall
Sam Mendes “Skyfall” is certainly a schizophrenic example of the Bond franchise, and I have mixed emotions about it. First, the good. This is the first Bond film in memory that embraces its classicism and then continually tries to subvert that classicism. The set piece in Shanghai, for example, is probably one of the most thrillingly conceived and flawlessly executed in the franchise’s history… notable not only for Roger Deakins ultra-clean cinematography (just look at the division of colors and layers as his camera floats above the city’s highway and canal system) but in the way he films its ultimate silhouetted fight between Bond (Daniel Craig) and an assassin embraced against neon lit signs and glass doorways in one single, patient zoom. It’s as if Wong Kar Wai was given access for a few minutes. Javier Bardem, as one of the most over-the-top Bond villains ever (?) is given a grand entrance in long take and with a biting monologue in tow. “Skyfall” is also dark… a characteristic that’s been welcome since Craig’s own entrance to the franchise in “Casino Royale”. But while all of this takes on a compellingly modern feel for the 45 year old series, “Skyfall” ultimately is a Bond film, which encompasses the sporadic bedding of every beautiful woman and car chases that end up on the rooftops of train carriages. Ultimately, it’s a film I enjoyed watching but became relatively meaningless the minutes the lights came up, which makes for one of the most frustrating things to write about a film. It’s good, but not great.
The Sessions
Ben Lewin's "The Sessions" takes an extremely uncomfortable subject- man confined to an iron lung- and infuses it with warm humor and strong characterizations. As disabled poet Mark O'Brian, John Hawkes turns in another great performance. Based on a true story, "The Sessions" observes O'Brian as he searches to lose his virginity. Enter a sex therapist (Helen Hunt) who meets with him for 6 sessions, exploring his sexuality and enabling him as a real human being. Touchy as the subject may be, "The Sessions" walks a fine tightrope between intelligent reactions and believable connectability. And while Hawkes and Hunt are the central characters, I was fully blown away by actress Moon Bloodgood as the young assistant to O'Brian. Her performance is tremendous as she tries to stay stoic against a very confusing relationship. The film revels in a few missteps towards the end (it actually feels abrupt when the credits roll) but it's a nice compliment to Hawkes resume and one that will surely garner him an Oscar nomination.
Jean-Marc Vallee’s “Café de Flore” juggles two seemingly unconnected story lines for a good portion of 90 minutes before allowing their unlikely symmetries to collide in unexpected and moving ways. Beginning in Montreal in the current moment, we meet Antoine (Kevin Parent), a successful DJ and happily living with a beautiful woman and his two young daughters. We’re then introduced to Jacqueline (Vanessa Paradis) in what we think is 60’s Paris due to the clothes and cars. Immensely loving of her down-syndrome afflicted son Laurent (Marin Gerrier), this thread focuses solely on Jacqueline as she faces more difficult times as Laurent grows up and makes friends with another child in school. Writer-director Vallee spins both of these tales in an increasingly frenetic and symbolic method of cutting, anchoring the action in not only the various manifestations of the title song, but in the terrific music of The Cure, Sigur Ros and Pink Floyd. As “Café de Flore” makes connections between past and present, it threatens to spin out of control, but Vallee and his impressive cast hold things together, splicing images together in unique and portentous ways that add depth and complexity. Without spoiling too much, “Café de Flore” would make for a splendidly low-fi Parisian antidote to “Cloud Atlas”.
Skyfall
Sam Mendes “Skyfall” is certainly a schizophrenic example of the Bond franchise, and I have mixed emotions about it. First, the good. This is the first Bond film in memory that embraces its classicism and then continually tries to subvert that classicism. The set piece in Shanghai, for example, is probably one of the most thrillingly conceived and flawlessly executed in the franchise’s history… notable not only for Roger Deakins ultra-clean cinematography (just look at the division of colors and layers as his camera floats above the city’s highway and canal system) but in the way he films its ultimate silhouetted fight between Bond (Daniel Craig) and an assassin embraced against neon lit signs and glass doorways in one single, patient zoom. It’s as if Wong Kar Wai was given access for a few minutes. Javier Bardem, as one of the most over-the-top Bond villains ever (?) is given a grand entrance in long take and with a biting monologue in tow. “Skyfall” is also dark… a characteristic that’s been welcome since Craig’s own entrance to the franchise in “Casino Royale”. But while all of this takes on a compellingly modern feel for the 45 year old series, “Skyfall” ultimately is a Bond film, which encompasses the sporadic bedding of every beautiful woman and car chases that end up on the rooftops of train carriages. Ultimately, it’s a film I enjoyed watching but became relatively meaningless the minutes the lights came up, which makes for one of the most frustrating things to write about a film. It’s good, but not great.
The Sessions
Ben Lewin's "The Sessions" takes an extremely uncomfortable subject- man confined to an iron lung- and infuses it with warm humor and strong characterizations. As disabled poet Mark O'Brian, John Hawkes turns in another great performance. Based on a true story, "The Sessions" observes O'Brian as he searches to lose his virginity. Enter a sex therapist (Helen Hunt) who meets with him for 6 sessions, exploring his sexuality and enabling him as a real human being. Touchy as the subject may be, "The Sessions" walks a fine tightrope between intelligent reactions and believable connectability. And while Hawkes and Hunt are the central characters, I was fully blown away by actress Moon Bloodgood as the young assistant to O'Brian. Her performance is tremendous as she tries to stay stoic against a very confusing relationship. The film revels in a few missteps towards the end (it actually feels abrupt when the credits roll) but it's a nice compliment to Hawkes resume and one that will surely garner him an Oscar nomination.
Tuesday, November 06, 2012
Posters I Love
Over the last few months, I've been bidding (and mosly winning) on original movie posters. I'm running out of wall space. The most recent addition.... original 1978 Italian poster for "The Deer Hunter":
And I just missed out on an original Godard poster from "A Woman Is A Woman". Those French New Wave posters are the most expensive, but god do they look incredible!
Sunday, November 04, 2012
DVD Shout Out- Oslo, August 31
The cinema landscape is full of recovering addict stories- some are languid and woozy (no pun intended) while others focus on the post recovery stages of admittance and penance. In Joachem Trier's "Oslo, August 31", we meet Anders (Anders Danielsen Lie) in a depressed state. One of the opening images shows him filling his jacket pockets with rocks and feebly attempting to drown himself. He, and the film, are clearly not in either aforementioned stage of recovery. Anders returns to his rehab house and prepares himself for a day of leave in which he has a job interview set up. From there, the camera dutifully embeds on his shoulders as he visits old friends and haunts, leaves regretful phone messages to an ex-girlfriend and nervously tries to avoid slipping back into his habitual routines.
Joachem Trier's sophomore film is spectacular for the way in which it takes an ordinary subject and weaves a devastating tale. It's also a very personal film. It's not long into the film that Trier adds voice overs of unnamed people recalling the various pleasurable memories of growing up in Oslo, Norway. It feels like an old fashioned novel as memories marry against the image of a bustling but quaint cityscape. And into this city ventures Anders. We desperately pull for Anders to come out unscathed from his inner demons. He's not a bad person.... he's just incredibly confused and damaged. He first meets up with an old friend, now happily married and domesticated with children. They take a walk and the friend senses some inner turmoil in Anders. Anders refuses a beer and we cheer a little. Next, he shows up to his job interview, but self destructs when the managing editor begins to inquire about the few missing years in his portfolio. It's at this point that "Oslo, August 31" turns a bit darker in its voyage with Anders. He shows up a party and makes a move on an old girlfriend. She rebukes him and the heavy drinking starts. He leaves with another old friend to go bar hopping. Here, he connects with a beautiful college student and they all end up, at dawn, skinny dipping in a pool. Anders sits on the edge of the pool, the young girl urging him to come in, that "Oslo, August 31" reaches a fever-pitch of psychological tension. I was basically screaming at the image, imploring Anders to jump into the pool with the girl (Ingrid Olava) and detour his highwire act of sobriety versus addiction. But, writer-director Trier has other elements in mind. Like the melancholy voice overs earlier in the film, happiness is such a fleeting gesture.
Joachem Trier's sophomore film is spectacular for the way in which it takes an ordinary subject and weaves a devastating tale. It's also a very personal film. It's not long into the film that Trier adds voice overs of unnamed people recalling the various pleasurable memories of growing up in Oslo, Norway. It feels like an old fashioned novel as memories marry against the image of a bustling but quaint cityscape. And into this city ventures Anders. We desperately pull for Anders to come out unscathed from his inner demons. He's not a bad person.... he's just incredibly confused and damaged. He first meets up with an old friend, now happily married and domesticated with children. They take a walk and the friend senses some inner turmoil in Anders. Anders refuses a beer and we cheer a little. Next, he shows up to his job interview, but self destructs when the managing editor begins to inquire about the few missing years in his portfolio. It's at this point that "Oslo, August 31" turns a bit darker in its voyage with Anders. He shows up a party and makes a move on an old girlfriend. She rebukes him and the heavy drinking starts. He leaves with another old friend to go bar hopping. Here, he connects with a beautiful college student and they all end up, at dawn, skinny dipping in a pool. Anders sits on the edge of the pool, the young girl urging him to come in, that "Oslo, August 31" reaches a fever-pitch of psychological tension. I was basically screaming at the image, imploring Anders to jump into the pool with the girl (Ingrid Olava) and detour his highwire act of sobriety versus addiction. But, writer-director Trier has other elements in mind. Like the melancholy voice overs earlier in the film, happiness is such a fleeting gesture.
Wednesday, October 31, 2012
Hallowscreams part 3
V/H/S- Anthology films are a typically mixed bag, balancing the very good with the very bad. The DIY movement’s edition of this genre, “V/H/S”, suffers from the same fate. First- the really good, including the first and last episodes, which on their own, would make for terrific feature length efforts as they both not only swirl with creatively creepy ideas, but they both seem to have a keen sense of mise-en-scene when it comes to camera placement and light and shadow. The first, called “Amateur Night” and directed by David Bruckner, features three college kids who hook up with the wrong girl at a bar and experience terrifying results, gets the proceedings off with a bang. Some of the images within this segment are truly unnerving, including the POV shot of a woman standing statuesque, covered in blood in the center of a dimly lit motel room. The final episode, directed by a collage named Radio Silence, tells the story of a group of guys who show up to a Halloween party only to find the house deserted and an occult ceremony going up upstairs. The sheer momentum of this episode, including demon-like arms reaching out of the walls, reveals a huge appreciation for the less-is-more horror maxim and positions the directorial team as an unusually creative bunch. The remainder of the episodes vary from mildly annoying (a skype episode where paranormal stuff happens every night) to the downright boring (Ti West’s travelogue that turns torturous for senseless reasons). The overall affect of “V/H/S” is also greatly diminished by its found footage style of filmmaking… which nowadays seems to imply not an actual technique, but a disguise for cheap budgets and complete lack of artistic direction. Regardless, “V/H/S” did manage to give me some unsettling moments, alone, later in the dark… and that speaks for something.
Fascination- No Halloween viewing would be complete without a Jean Rollin film, and his 1979 film “Fascination” is yet another enthralling, lurid and surreal exploit. Either one has the temperament for Rollin films or not. And in “Fascination”, he continues to disturb without a hint of special effect or bloody fang. The story, which deals with a robber hiding out in a large castle with two seductive women, succeeds through carefully modulated camera placement and a heightened sense of light and shadow. Just watch how he frames an exterior view of the castle, with the warm glowing interior light making a specter like shadow on the water below, or the insidious way he frames lips and eyes. It’s all a gothic, slow-burn treat. Something of a story does begin to take place as the two women (Franca Mai and Brigitte Lahaie) seduce, taunt and mentally toy with the criminal-on-the-lam while hinting at the arrival of devious friends later on in the night. And their arrival, filmed in dreadful long shot, is another bewitching treat. “Fascination” won’t scare you outright, but its lingering sense of madness and erotic subjugation will haunt.
El Vampiro- Fernando Mendez’s “El Vampiro” is an interesting, if not rudimentary, entry in the Dracula franchise a few years before Hammer films jumped into the fray revitalizing the classics. Filmed and released in the mid 50’s by the CasaNegra film company (which boats an impressive slate of horror titles in which “El Vampiro” is the first), the film maintains a strong visual atmosphere while transposing the Dracula story to a small village hacienda in Mexico. Arriving home after many years due to the death of her aunt, Marta (Ariadna Welter), soon becomes the target of dark-eyed Count Duval (German Robles). A lot of the film’s running time is spent explaining the vagaries of the vampire legend (its various rules and by-laws being the use of mirrors, crosses and a stake through the heart), yet “El Vampiro” also does a terrific job of visually instilling dread and horror. Long shot and close-up are used effectively and the spare black and white images of a lonely hacienda and the cob-webbed underground tunnels where the count and his clan carry out their nasty business are genre foundations done right. Released on Spanish region 2 DVD discs, I’m looking forward to exploring more of CasaNegra and their old fashioned stories.
Monday, October 29, 2012
The LIE test
My good online compadre at Lerner International Blog posted a quiz and requested that answers be put into our own blogs, so without further adieu:
1.) Favorite Warren Oates perf that’s not in a Peckinpah or Monte Hellman movie?
Bouncing off Dennis Hopper in the wonderfully under seen “Kid Blue” (1973)
2.) Favorite Spaghetti Western not directed by Sergio Leone?
“Cemetary Without Crosses” (1972)
3.) Favorite John Ford film that’s not a Western or set in Ireland?
I honestly don’t think I’ve seen a Ford non-Western or Irish saga.
4.) Fave Zapata Western not Duck You Sucker!?
“The Professionals” (1966)
5.) Favorite Clint Eastwood-directed film that’s not Unforgiven or Play Misty for Me?
“Mystic River” (2003) because it tracks into some deep emotional territory without becoming maudlin
6.) Favorite Don Siegel film that’s not Charley Varrick, Invasion of the Body Snatchers, or Dirty Harry?
Gotta be The Black Windmill (1974). So many Michael Caine movies not on DVD it’s a shame, and this one is a bit weird, but still holds fast to the grimy, Euro-set crime films of the 70’s I love so much
7.) Fave Ken Russell film that’s not The Devils, Tommy or Altered States?
“Billion Dollar Brain”!
8.) Fave WWII gore/intensity/nastiness, that’s not Saving Private Ryan or Come and See?
I don’t think any film about World War 2 could be as clinically disturbing as “Sorrow and the Pity”, “Shoah” or “Hotel Terminus”. I’d even add the terrific “The Rape of Europa”. Fiction is fine, but these documentaries present the inhumanity in such startling, ordinary terms that the far reaching effects of the war seem unfathomable.
9.) Fave “Savage Cinema” that’s not the original Straw Dogs or The Last House on the Left?
I’ll go with “Last House on Dead End Street” (1973) …. A truly dirty, unnerving film. For a great read on it, check out the book “Sleazoid Express”
10.) Fave conspiracy film that’s not Oliver Stone’s JFK or Alan J. Pakula’s The Parallax View?
How about Pakula’s “Three Days of the Condor”? (1977) The guy was so great at creating tension out of basically nothing.
11.) Fave Left-Wing director that is not Michael Moore, Costa-Gavras or Oliver Stone (not that I consider Stone genuinely left-wing; I think he’s more of a sleeper-agent selling discount rebellion to moviegoers)?
I’m not a huge fan of his films, but Rod Lurie is out there on the left wing quite a bit….
12.) Favorite screenwriter not William Goldman, Billy Wilder, Robert Towne, Ernest Lehman, Charlie Kaufman or Quentin Tarantino?
Damm, with Towne off the list, umm, David Mamet.
13.) Favorite alien not designed (or based on a design) by HR Giger, or that is the extraterrestrial from John Carpenter’s The Thing?
I’m woefully in the dark on this one so I’ll guess any alien from those 50’s, Then again, I was always partial to the minimalist creature like the green fog in “Planet of the Vampires” (1965)
14.) Favorite Biker Movie that is not Easy Rider, The Wild One or The Wild Angels?
“The Loveless” (1983) from everyone’s favorite biker-director Kathryn Bigelow
15.) Favorite robot not from Forbidden Planet or the Star Wars movies?
Johnny Number 5 in “Short Circuit”!
16.) Fave “one-shot wonder” (solo directing credit) that’s not The Night of the Hunter?
Did anyone see or even remember Christopher Macquarie’s “The Way of the Gun”? A group of buddies and I saw it on opening night and just fell in love with the thing. Still do love it…. Although I see McQuarrie has directed two movies now with “Jack Reacher”. out later this year. Disqualified. I’ll go with Alan Rickman’s “The Winter Guest” (1997), a film no one but me seems to love.
17.) Fave car chase not in a Philip D'Antoni film (and not everybody chose 1971’s Vanishing Point, please!)
I could say “The French Connection” which is too easy…. How about “Ronin” (a little love for Frankenheimer) or especially another Roy Scheider film, “The Seven Ups”, whose car chase comes out of nowhere and really kicks ass.
18.) Fave religious film not based on a characters or a story in The Bible?
Edward Norton’s “Keeping the Faith”. Such a sweet, innocent film that is quite funny, tackles some questions about faith and features three great performances by Norton, Jenna Elfman and Stiller.
19.) Fave Disaster Movie that’s not The Poseidon Adventure?
“Contagion” (2011). This shit could really happen and Soderbergh traces a terrifying map of it.
20.) Favorite Spielberg film to hate that’s not Hook?
Hated, hated “Beloved” and even “Amistad”…. such earnest films whose points are thrown in our faces
21.) Favorite Giant Monster that’s not Godzilla or the 1933 King Kong? Without a doubt, Joon-ho Bong’s “The Host”. That first emergence of the creature along the canal… stunning set piece!
Bonus questions: 1) English-language movie that blows your mind, that no one knows about, that’s hard to see, that you want to get on a rooftop and shout about:
Anyone who knows me knows one of my top five fave movies of all time is “Laws of Gravity” (1992) by Nick Gomez. Came and went in early 90’s…. had a few supporters like Gavin Smith in Film Comment, was on VHS (never on DVD) and has now disappeared. Features a magnetic performance by the great Peter Greene, Edie Falco, Adam Trese and Paul Schulze about a New York neighborhood and the small-time crime the guys get into. It also features one of the most devastating endings ever….
2) Foreign-language movie that blows your mind, that no one knows about, that’s hard to see, that you want to get on a rooftop and shout about:
Any Edward Yang film, but especially That Day, On the Beach.
3) Fave “personal apocalypse” ending to a film, with the protagonist shattered, staring ahead dead-eyed: Catherine Denevue in “Hustle” by Aldrich, the aforementioned Peter Greene in “Laws of Gravity”, John Travolta in “Blow Out”
1.) Favorite Warren Oates perf that’s not in a Peckinpah or Monte Hellman movie?
Bouncing off Dennis Hopper in the wonderfully under seen “Kid Blue” (1973)
2.) Favorite Spaghetti Western not directed by Sergio Leone?
“Cemetary Without Crosses” (1972)
3.) Favorite John Ford film that’s not a Western or set in Ireland?
I honestly don’t think I’ve seen a Ford non-Western or Irish saga.
4.) Fave Zapata Western not Duck You Sucker!?
“The Professionals” (1966)
5.) Favorite Clint Eastwood-directed film that’s not Unforgiven or Play Misty for Me?
“Mystic River” (2003) because it tracks into some deep emotional territory without becoming maudlin
6.) Favorite Don Siegel film that’s not Charley Varrick, Invasion of the Body Snatchers, or Dirty Harry?
Gotta be The Black Windmill (1974). So many Michael Caine movies not on DVD it’s a shame, and this one is a bit weird, but still holds fast to the grimy, Euro-set crime films of the 70’s I love so much
7.) Fave Ken Russell film that’s not The Devils, Tommy or Altered States?
“Billion Dollar Brain”!
8.) Fave WWII gore/intensity/nastiness, that’s not Saving Private Ryan or Come and See?
I don’t think any film about World War 2 could be as clinically disturbing as “Sorrow and the Pity”, “Shoah” or “Hotel Terminus”. I’d even add the terrific “The Rape of Europa”. Fiction is fine, but these documentaries present the inhumanity in such startling, ordinary terms that the far reaching effects of the war seem unfathomable.
9.) Fave “Savage Cinema” that’s not the original Straw Dogs or The Last House on the Left?
I’ll go with “Last House on Dead End Street” (1973) …. A truly dirty, unnerving film. For a great read on it, check out the book “Sleazoid Express”
10.) Fave conspiracy film that’s not Oliver Stone’s JFK or Alan J. Pakula’s The Parallax View?
How about Pakula’s “Three Days of the Condor”? (1977) The guy was so great at creating tension out of basically nothing.
11.) Fave Left-Wing director that is not Michael Moore, Costa-Gavras or Oliver Stone (not that I consider Stone genuinely left-wing; I think he’s more of a sleeper-agent selling discount rebellion to moviegoers)?
I’m not a huge fan of his films, but Rod Lurie is out there on the left wing quite a bit….
12.) Favorite screenwriter not William Goldman, Billy Wilder, Robert Towne, Ernest Lehman, Charlie Kaufman or Quentin Tarantino?
Damm, with Towne off the list, umm, David Mamet.
13.) Favorite alien not designed (or based on a design) by HR Giger, or that is the extraterrestrial from John Carpenter’s The Thing?
I’m woefully in the dark on this one so I’ll guess any alien from those 50’s, Then again, I was always partial to the minimalist creature like the green fog in “Planet of the Vampires” (1965)
14.) Favorite Biker Movie that is not Easy Rider, The Wild One or The Wild Angels?
“The Loveless” (1983) from everyone’s favorite biker-director Kathryn Bigelow
15.) Favorite robot not from Forbidden Planet or the Star Wars movies?
Johnny Number 5 in “Short Circuit”!
16.) Fave “one-shot wonder” (solo directing credit) that’s not The Night of the Hunter?
Did anyone see or even remember Christopher Macquarie’s “The Way of the Gun”? A group of buddies and I saw it on opening night and just fell in love with the thing. Still do love it…. Although I see McQuarrie has directed two movies now with “Jack Reacher”. out later this year. Disqualified. I’ll go with Alan Rickman’s “The Winter Guest” (1997), a film no one but me seems to love.
17.) Fave car chase not in a Philip D'Antoni film (and not everybody chose 1971’s Vanishing Point, please!)
I could say “The French Connection” which is too easy…. How about “Ronin” (a little love for Frankenheimer) or especially another Roy Scheider film, “The Seven Ups”, whose car chase comes out of nowhere and really kicks ass.
18.) Fave religious film not based on a characters or a story in The Bible?
Edward Norton’s “Keeping the Faith”. Such a sweet, innocent film that is quite funny, tackles some questions about faith and features three great performances by Norton, Jenna Elfman and Stiller.
19.) Fave Disaster Movie that’s not The Poseidon Adventure?
“Contagion” (2011). This shit could really happen and Soderbergh traces a terrifying map of it.
20.) Favorite Spielberg film to hate that’s not Hook?
Hated, hated “Beloved” and even “Amistad”…. such earnest films whose points are thrown in our faces
21.) Favorite Giant Monster that’s not Godzilla or the 1933 King Kong? Without a doubt, Joon-ho Bong’s “The Host”. That first emergence of the creature along the canal… stunning set piece!
Bonus questions: 1) English-language movie that blows your mind, that no one knows about, that’s hard to see, that you want to get on a rooftop and shout about:
Anyone who knows me knows one of my top five fave movies of all time is “Laws of Gravity” (1992) by Nick Gomez. Came and went in early 90’s…. had a few supporters like Gavin Smith in Film Comment, was on VHS (never on DVD) and has now disappeared. Features a magnetic performance by the great Peter Greene, Edie Falco, Adam Trese and Paul Schulze about a New York neighborhood and the small-time crime the guys get into. It also features one of the most devastating endings ever….
2) Foreign-language movie that blows your mind, that no one knows about, that’s hard to see, that you want to get on a rooftop and shout about:
Any Edward Yang film, but especially That Day, On the Beach.
3) Fave “personal apocalypse” ending to a film, with the protagonist shattered, staring ahead dead-eyed: Catherine Denevue in “Hustle” by Aldrich, the aforementioned Peter Greene in “Laws of Gravity”, John Travolta in “Blow Out”
Wednesday, October 24, 2012
Hallowscreams part 2
Friday, October 19, 2012
70's Bonanza: Freelance
Hustlers in the movies always have such an exhausting effect on me. Whether it's Jason Miller in the hugely underrated "The Nickel Ride" or more well known con men like Dustin Hoffman in "Midnight Cowboy", I always wonder just where they find the energy and veracity to shake and move 24 hours a day when steady income could be had with a 9 to 5 job. But I digress. Francis Megahy's "Freelance" documents the troubles of yet another hustler, this time portrayed by the charismatic Ian McShane. Coming to real success only in the last decade or so due to his tremendous performance as Swearingen on HBO's "Deadwood" series, I've seen McShane in a number of his early roles and he certainly holds his own as a handsome and often tragic supporting player. With "Freelance", McShane is thrust center stage as the wheeling and dealing Brit who happens to witness a murder by the underworld and then tries to carry on his various deals while avoiding the same hit man. Of course, this complicates his live in romance with model Gayle Hunnicutt and her plans to settle down into a normal life.
"Freelance", eventually released on VHS in the United Sates in the early 90's as "Con Man", is certainly a product of its time... which means lots of Swingin' London (including a threesome between McShane, his best buddy and a waitress they pick up) and a pretty terrible folk song that lingers over the opening and closing moments. Yet, as one of those grubby early 70's revenge flicks like "Sitting Target" (in which McShane co-stars) or "Get Carter", "Freelance" more than holds its own as a minor crime film in which most of the film's pleasure is watching McShane sweat and escape from the relentless hit man trying to wipe him out. Directed by Francis Megahy (who really did nothing else of note), "Freelance" occasionally pops up on cable television. And it does feature one of the more impressive ways to break into a window that I've ever seen on film.
"Freelance", eventually released on VHS in the United Sates in the early 90's as "Con Man", is certainly a product of its time... which means lots of Swingin' London (including a threesome between McShane, his best buddy and a waitress they pick up) and a pretty terrible folk song that lingers over the opening and closing moments. Yet, as one of those grubby early 70's revenge flicks like "Sitting Target" (in which McShane co-stars) or "Get Carter", "Freelance" more than holds its own as a minor crime film in which most of the film's pleasure is watching McShane sweat and escape from the relentless hit man trying to wipe him out. Directed by Francis Megahy (who really did nothing else of note), "Freelance" occasionally pops up on cable television. And it does feature one of the more impressive ways to break into a window that I've ever seen on film.
Tuesday, October 16, 2012
Hallow-screams part 1
Enter the Devil- Aka “Disciples of Death”, “Enter the Devil” is a unique horror/western filmed in the Texas/New Mexico foothills. Barely released in 1972 and relegated to the drive-in circuit, “Enter the Devil” wears its shaggy, amateurish label on its sleeve proudly. Content to break some rules of narrative film making (such as the shifting idea of who exactly will be the hero/protagonist in the story), the film tells of a professor (Irene Kelly) and the local deputy sheriff who hole up in a desert inn and try to track down the source of a string of disappearances. Little do they know, an ancient Satanic cult is using the dilapidated mines nearby for their ritualistic sacrifices. Virtually devoid of scares, “Enter the Devil” is a minor footnote in Texas film making, largely thanks to the contribution of director Frank Q. Dobbs who would go onto a major career in television through mini-series such as “Streets of Laredo” and “Johnson County War”. Of little note- apparently this film has had no official home video release in the United States. The copy I managed to track own was taken from a Dutch VHS source. It was quite fun to see Texas slang translated into that language!
Part 2 soon.....
Wednesday, October 10, 2012
On Looper
It's been a good couple weeks at the movies. After the cinematic lightning bolt that was "The Master", Rian Johnson's wholly original and compelling sci-fi/western hybrid "Looper" made a remarkable impression on me. While initially unmoved by Johnson's debut film, "Brick", I became a strong convert a few years ago after his sophomore film, "The Brothers Bloom", ranked high as one of the best films of its respective year for me. Each successive effort has seen Johnson grow stronger and more secure as a filmmaker. If "Brick" was a modern film noir diluted through the emo tendencies of teenagers and "The Brothers Bloom" was a 1930's caper film, highlighted by bubblegum aesthetics and an almost child-like attention to puppy love, "Looper" is darker, easily borrowing from both the sci-fi dystopia genre and western. And it has alot on its mind, eventually turning into a dynamic examination of violence, revenge and that sticky scenario known as time travel.
Much has been made of the (at times) distracting make-up work by young Joseph Gordon Levitt to look like his older self, Bruce Willis, and the subpar special effects, yet part of me feels that based on Johnson's previous affectations for older genres, this is an intentional thing. Going into "Looper", I expected a slick genre exercise and came out with a completely different outlook. About halfway through "Looper", perspectives and character shift and the stakes get unbearably high, anchored by strong performances from Levitt, Willis and Emily Blunt as the violence focuses away from the sci-fi universe carefully established by Johnson in the first half of the film. Basically, things get personal on many levels and the ramifications of the violence extends light years. One of my favorites of the year.
Thursday, October 04, 2012
Top 5 List- Best Female Faces post 2000
Friday, September 28, 2012
On "The Master"
Writer-director Paul Thoms Anderson has made the father-son relationship complex a recurring theme in many of his films, whether subjugated within his multi-storyline narrative ("Magnolia") or tangentially within genre ("Hard Eight", "Boogie Nights"), but his latest film, "The Master" may be his most pointed and raw effort yet. From the first time stunted, angry seaman Freddy Quell (Joaquin Phoenix) and learned doctor Lancaster Dodd (Phillip Seymour Hoffman) meet, the overtures of the father-son relationship are overt and tense in the way Dodd says "alright..." in that fatherly tone of a man siting behind a large desk, patiently accepting his sulking son's presence either good or bad. And from there, "The Master" gels into a sublime series of scenes where father and prodigal son connect, disconnect, argue, love and work through repressed emotions caused by post-war stress. For those that have called "The Master" pointless, I humbly disagree. Not only is it probably one of the most touching examinations of the push-and-pull that separates and joins people, but it reigns as a subtle miracle of the three act structure, revealing everything in small glances and a technical cinematic prowess that feels unmatched in current cinema.
First and foremost, "The Master" is an actor's film.... positioning Hoffman and Phoenix in a verbal spar of words, emotions, shot and counter-shot reactions and pregnant pauses. Director Anderson, always looking for the opportunity to swivel and swing the camera, remains mostly passive here (save for a few delicate tracking shots and one breathlessly wonderful tracking shot across a foggy field), relying on the terrific performances and the face of Phoenix to relay the energy. Still, incredible tension is built up in every scene. This is partly what gives "The Master" its unexpected power.... the feeling that every scene is about to spin out of control into some groundbreaking moment, but remains faithful to the catharsis that Quell and Dodd provide each other and others. There's always one or two trademark P.T. Anderson set pieces in each of his films, and in "The Master" there's several of them- the initial "processing" scene, a jailhouse confrontation and especially the final conversation between Quell and Dodd.... a scene that imposes just as much quiet devastation as the "milkshake" scene in "There Will Be Blood" is violent. But, compared to that film, "The Master" is about inward restlessness and the search for happiness, whether that be through inner peace or the settling down of a family. "The Master" is bookmarked by scenes of Quell searching for something, haunted by past memories that seem to defy psychoanalysis or self-help. For P.T. Anderson, cinema is his analysis and with "The Master", he's ascended into magnificent stratospheres.
Sunday, September 23, 2012
The Last Few Films I've Seen, September Edition
A combination of big screen, small screen and boob tube viewing over the past couple of weeks:
1. Nazi Love Camp 27 (1977)- Released as a titillating grindhouse flick in the early 70's, I can usually roll or have fun with Nazisploitation efforts, but this one is a tepid experience. Inter cutting full penetration, lesbianism, sadism and really bad acting (plus a story about human genetics engineering a baby for Hitler), the film probably should stay unreleased in the U.S. A bootleg classic now though.
2. The Skin I Live In (2011)- Almodovar just never really connects with me, finally catching up with his praised film from last year. The way he mixes up Spanish melodrama, queer cinema and basic thriller tenants is all very well done, but I just didn't care for anyone in this film.
3. Premium Rush (2012)- Yes, this is probably the first terrible Michael Shannon performance of his career, but I'll be damned if David Koepp's fast paced, straightforward actioner isn't involving and downright fun even if we know how everything works out. Gordon-Levitt is terrific again, ex-Sopranos actress Dania Ramirez (Blanca) breathes great energy into her supporting role and I was pulling for everyone to end up ok.
4. Kill List (2012)- Ben Wheatley's cocktail mix of a film tries its hand at three different genres, each one more terrifying and disturbing than the next, and establishes him as a great talent to watch. The less one knows about this film, the better. One of the year's best films.
5. The Wall (1983) Turkish director Yilmaz Guney's final film, and certainly an angry one in his long line of autobiographical films about his country and the political/civilian unrest. If one hasn't seen "Yol", I urge them to track down a copy if possible. I have 4 more hard to find Gilmay films lined up to watch in the coming months, and I look forward to exploring his stuff. This one, about life inside a sprawling prison inhabited by children, women and men segregated from each other, is uncompromising and surprising in the way gentleness and violence exists in the same very small space.
6. Snowtown (2011)- Right from the start, I felt imprisoned and claustrophobic from this film- about an Australian serial killer- that never waned. There's nothing inherently wrong with "Snowtown"... in fact it's scenes of violence and murder are quite harrowing in the way they unflinchingly present their crimes and all involved give realized performances. I just felt like I've seen this whole thing before, right down to the washed out 70's cinematography.
7. Lovely Molly (2012)- Film Comment editor Gavin Smith and I usually agree on our horror film vices (we both seem to be the only people who really, really loved "Insidious"), but here we differ. Sorry Gavin. Eduardo Sanchez ("Blair Witch Project") returns to the genre with a shallow exploration of insanity and atmospheric chiller. When a woman moves back into her childhood home, her mental state blurs between reality and fiction. Low-fi horror it is, but the film relies on video camcorder footage just a bit much.
8. Fanny and Alexander (1983)- The 5 hour television cut, something close to a masterpiece by Ingmar Bergman. My God, the colors and interiors of this film are mesmerizing. The story, which takes its time weaving a tale about one family's ups and downs during the early 1900's is a knockout of narrative, infusing character and grace into every member of the family. While eventually settling on the young children and their hardships after their father's death, Bergman never loses his way in a mammoth event that ranks up there with the best of them.
9. Too Big To Fail (2011)- There's one scene in Curtis Hanson's razor sharp exploration of the 2008 financial crisis that explains the mortgage company meltdown better than anything I've seen or read in the last three years. Probably liberaled up and Hollywood-ized, of course, the HBO tv event is still a terrific and clear eyed expose.
1. Nazi Love Camp 27 (1977)- Released as a titillating grindhouse flick in the early 70's, I can usually roll or have fun with Nazisploitation efforts, but this one is a tepid experience. Inter cutting full penetration, lesbianism, sadism and really bad acting (plus a story about human genetics engineering a baby for Hitler), the film probably should stay unreleased in the U.S. A bootleg classic now though.
2. The Skin I Live In (2011)- Almodovar just never really connects with me, finally catching up with his praised film from last year. The way he mixes up Spanish melodrama, queer cinema and basic thriller tenants is all very well done, but I just didn't care for anyone in this film.
3. Premium Rush (2012)- Yes, this is probably the first terrible Michael Shannon performance of his career, but I'll be damned if David Koepp's fast paced, straightforward actioner isn't involving and downright fun even if we know how everything works out. Gordon-Levitt is terrific again, ex-Sopranos actress Dania Ramirez (Blanca) breathes great energy into her supporting role and I was pulling for everyone to end up ok.
4. Kill List (2012)- Ben Wheatley's cocktail mix of a film tries its hand at three different genres, each one more terrifying and disturbing than the next, and establishes him as a great talent to watch. The less one knows about this film, the better. One of the year's best films.
5. The Wall (1983) Turkish director Yilmaz Guney's final film, and certainly an angry one in his long line of autobiographical films about his country and the political/civilian unrest. If one hasn't seen "Yol", I urge them to track down a copy if possible. I have 4 more hard to find Gilmay films lined up to watch in the coming months, and I look forward to exploring his stuff. This one, about life inside a sprawling prison inhabited by children, women and men segregated from each other, is uncompromising and surprising in the way gentleness and violence exists in the same very small space.
6. Snowtown (2011)- Right from the start, I felt imprisoned and claustrophobic from this film- about an Australian serial killer- that never waned. There's nothing inherently wrong with "Snowtown"... in fact it's scenes of violence and murder are quite harrowing in the way they unflinchingly present their crimes and all involved give realized performances. I just felt like I've seen this whole thing before, right down to the washed out 70's cinematography.
7. Lovely Molly (2012)- Film Comment editor Gavin Smith and I usually agree on our horror film vices (we both seem to be the only people who really, really loved "Insidious"), but here we differ. Sorry Gavin. Eduardo Sanchez ("Blair Witch Project") returns to the genre with a shallow exploration of insanity and atmospheric chiller. When a woman moves back into her childhood home, her mental state blurs between reality and fiction. Low-fi horror it is, but the film relies on video camcorder footage just a bit much.
8. Fanny and Alexander (1983)- The 5 hour television cut, something close to a masterpiece by Ingmar Bergman. My God, the colors and interiors of this film are mesmerizing. The story, which takes its time weaving a tale about one family's ups and downs during the early 1900's is a knockout of narrative, infusing character and grace into every member of the family. While eventually settling on the young children and their hardships after their father's death, Bergman never loses his way in a mammoth event that ranks up there with the best of them.
9. Too Big To Fail (2011)- There's one scene in Curtis Hanson's razor sharp exploration of the 2008 financial crisis that explains the mortgage company meltdown better than anything I've seen or read in the last three years. Probably liberaled up and Hollywood-ized, of course, the HBO tv event is still a terrific and clear eyed expose.
Saturday, September 15, 2012
Jean Pierre Melville Files: Army of Shadows
Originally released in 1969, Jean Pierre Melville's "Army of Shadows" really didn't come into acclaim until 2006 when Rialto pictures re-distributed it, crafting an arthouse success out of a sort-of long lost classic. Made in between Melville's string of hard nosed, French revisionist black and white noirs, perhaps "Army of Shadows" was doomed to a quiet existence because it didn't fit squarely into the great director's expected cinema lineage. Regardless of the reasons, Rialto's diligence and foresight in re-positioning "Army of Shadows" as the one Melville you had to see is a minor stroke of genius. It is a masterpiece, in every way.
Adapted from the memoirs of French Resistance fighter Joseph Kessel, "Army of Shadows" is a patient, brooding examination of the interior workings of one French Resistance cell. Based on actual people, I'm tempted to call "Army of Shadows" the best film about the Resistance, even though it comes relatively late in this spirited genre of films. Where a majority of the Resistance films deal with a certain person or action against the deadly German war machine, "Army of Shadows" shows us both the anxious and the mundane with events as diverse as the smuggling of a transmitter through a heavily guarded train station and a night time escort onto a submarine. The results- a free France- are the same, yet Melville gives both events the same heightened tension even though the submarine landing yields far less devastating consequences as the only threat present is an old French policeman, both related to the person running the Resistance mission and stating he's the only customs officer watching the entire beach for the Germans. Shifting through a series of near misses, captures, imprisonments, escapes, and cafe conversations, "Army of Shadows" reveals an entire universe of Resistance fighters and the fragile line between freedom and torture with pristine vision. Lino Ventura, as the "star" in the film in the loosest sense, plays Philippe Verbier, a man running the cell with clarity of purpose... stone faced and confident even when mounted against the fate of death by firing squad. Though so many Ventura films are unavailable on DVD and this praise is probably limited, but I think this is his best performance.
Also present in "Army of Shadows" (and most Resistance films) is the parlor of doom. Granted, Melville drapes a majority of his films in this, yet the tone is set from the opening scene as German soldiers march towards the camera next to the Arch de Triomph and central characters are picked up, tortured and executed with little warning. The film's central colors- drab blacks, deep browns and winter-time gray skies- also denote the seemingly insurmountable task the French Resistance fighters have against the German Army. But it's the procedural nature of the film and Melville's insistence on transferring a quiet thriller over the historical context that makes "Army of Shadows" such a breathless exercise. In the face of defeat, what shines through most deeply in Melville's film is determined resolve of human nature to fight for what belongs to us. Whether that's a smuggled transistor radio to hear BBC broadcasts or arranging for the violent escape of a fellow prisoner, "Army of Shadows" gives hefty weight and reverent reflection to both.
"Army of Shadows" is the first film in a series of posts looking at films that deal with the Resistance during World War 2.
Adapted from the memoirs of French Resistance fighter Joseph Kessel, "Army of Shadows" is a patient, brooding examination of the interior workings of one French Resistance cell. Based on actual people, I'm tempted to call "Army of Shadows" the best film about the Resistance, even though it comes relatively late in this spirited genre of films. Where a majority of the Resistance films deal with a certain person or action against the deadly German war machine, "Army of Shadows" shows us both the anxious and the mundane with events as diverse as the smuggling of a transmitter through a heavily guarded train station and a night time escort onto a submarine. The results- a free France- are the same, yet Melville gives both events the same heightened tension even though the submarine landing yields far less devastating consequences as the only threat present is an old French policeman, both related to the person running the Resistance mission and stating he's the only customs officer watching the entire beach for the Germans. Shifting through a series of near misses, captures, imprisonments, escapes, and cafe conversations, "Army of Shadows" reveals an entire universe of Resistance fighters and the fragile line between freedom and torture with pristine vision. Lino Ventura, as the "star" in the film in the loosest sense, plays Philippe Verbier, a man running the cell with clarity of purpose... stone faced and confident even when mounted against the fate of death by firing squad. Though so many Ventura films are unavailable on DVD and this praise is probably limited, but I think this is his best performance.
Also present in "Army of Shadows" (and most Resistance films) is the parlor of doom. Granted, Melville drapes a majority of his films in this, yet the tone is set from the opening scene as German soldiers march towards the camera next to the Arch de Triomph and central characters are picked up, tortured and executed with little warning. The film's central colors- drab blacks, deep browns and winter-time gray skies- also denote the seemingly insurmountable task the French Resistance fighters have against the German Army. But it's the procedural nature of the film and Melville's insistence on transferring a quiet thriller over the historical context that makes "Army of Shadows" such a breathless exercise. In the face of defeat, what shines through most deeply in Melville's film is determined resolve of human nature to fight for what belongs to us. Whether that's a smuggled transistor radio to hear BBC broadcasts or arranging for the violent escape of a fellow prisoner, "Army of Shadows" gives hefty weight and reverent reflection to both.
"Army of Shadows" is the first film in a series of posts looking at films that deal with the Resistance during World War 2.
Wednesday, September 12, 2012
Friday, September 07, 2012
New Week's Offerings
A Burning Hot Summer
Philippe Garrel’s “A Burning Hot Summer” could be interpreted as yet another tangentially self biographical tale of tortured young love, but its more hopeful and engaging than many of his previous examinations. Yes there are bouts of suicide and depression, affairs and charged fights, but “A Burning Hot Summer” at least allows the escape of one young couple into much happier times. Frederic (Louis Garrel) is a painter married to successful actress Angele (the beautiful Monica Bellucci) when he meets Paul (Jerome Rabart). Paul eventually falls in love with Elisabeth (Celine Sallette). Frederic invites Paul and Elisabeth to live with them in Rome while Angele works on a movie. Their initial idyllic setting gives way to jealousy and boredom. The more disastrous of the pair is Garrel and Bellucci, constantly unhappy and seeking other partners. While director Garrel focuses most of the pain and anguish on these two, he allows a natural, almost sweet relationship to form between Paul and Elisabeth. If one couple is the ‘amour fou’ Garrel loves to examine, the other is the exact opposite. Filtered through this tale are many of Garrel’s tropes, including a meta-movie overlay as Angele works on a movie (with her new lover no doubt) and one long, unbroken scene as Bellucci dances at a house party. I’m a sucker for such an innocuous moment and it works to dizzying perfection here. “A Burning Hot Summer” deals in mood and surface emotions. At times, it’s difficult to take the film’s pensive and overdone scenario to heart (including a foreshadowing opening scene that drains some of the tension), but when the final scene does occur, I was surprisingly moved.
Cosmopolis
Based on an acclaimed novel by Don DeLillo (which has its vitriolic fans apparently), David Cronenberg’s “Cosmopolis” is a hermetic, ice cold blooded experiment. In the past, this probably would’ve been a good thing based on the director‘s need to sublimate precision over emotion, but “Cosmopolis” comes off as a crushing bore. Full of long winded, absurd speeches about global capitalism, dwindling fortunes and warped asides about human nature (and an asymmetrical prostate), “Cosmopolis” is essentially a dark parable that appeals to all the people searching for an assault on the ‘one percenters’. Starring Robert Pattinson as some sort of capital mogul, “Cosmopolis” is mostly confined to the back of his stretched limo as he descends across downtown Manhattan while his fortune crumbles on a risky market bet. Cameos by Samantha Morton, Mathieu Almaric, Jay Burachel and Paul Giamatti serve to liven up the deadening tone as best their monotonous conversations can, but the imprisoned backseat and clinical discussions of currency and non sequitors made me nauseous. And when Pattinson steps out into the real world, things get even weirder. A conversation with an old barber…. An explicable murder by a basketball court…. And Pattinson’s uneasy relationship with newlywed wife (Sarah Gadan) all emphasize the cyborgian nature of every character. I’m sure there’s some scathing points in DeLillo’s novel (adapted directly by Cronenberg) but as a film, “Cosmopolis” failed to stimulate me intellectually…. And for Cronenberg that’s a major disappointment.
Lawless
John Hillcoat makes some violent movies. They feel violent… full of droning soundtrack noises that heighten the tension and an unflinching camera that patiently observes killings and neck snappings and blood and dirt. “Lawless” (his most Hollywood film to date) doesn’t shirk from the violence, creating a highly stylized universe where tommy guns are loud, a hotel room covered in blood is truly traumatic and the big final showdown between two men is draped in shadows. Technically, “Lawless” is peerless. It’s when the characters within his story try to express emotion, vengeance or lust that the story comes to a screeching halt. Following the moonshine exploits of a backwoods Virginia family of Tom Hardy, Jason Clarke and Shia LeBouf, their peaceful criminal dealings come against Chicago special attorney Guy Pearce when he tries to make his mark on the profitable trade. Pearce (a mainstay of Hillcoat) as always, chews the scene with relish, creating a character we all wish was dead. But it’s the clumsy performance of LeBouf and forced love entanglements with female stars Jessica Chastain and Mia Wiskowski that dampen the film’s energy.
Philippe Garrel’s “A Burning Hot Summer” could be interpreted as yet another tangentially self biographical tale of tortured young love, but its more hopeful and engaging than many of his previous examinations. Yes there are bouts of suicide and depression, affairs and charged fights, but “A Burning Hot Summer” at least allows the escape of one young couple into much happier times. Frederic (Louis Garrel) is a painter married to successful actress Angele (the beautiful Monica Bellucci) when he meets Paul (Jerome Rabart). Paul eventually falls in love with Elisabeth (Celine Sallette). Frederic invites Paul and Elisabeth to live with them in Rome while Angele works on a movie. Their initial idyllic setting gives way to jealousy and boredom. The more disastrous of the pair is Garrel and Bellucci, constantly unhappy and seeking other partners. While director Garrel focuses most of the pain and anguish on these two, he allows a natural, almost sweet relationship to form between Paul and Elisabeth. If one couple is the ‘amour fou’ Garrel loves to examine, the other is the exact opposite. Filtered through this tale are many of Garrel’s tropes, including a meta-movie overlay as Angele works on a movie (with her new lover no doubt) and one long, unbroken scene as Bellucci dances at a house party. I’m a sucker for such an innocuous moment and it works to dizzying perfection here. “A Burning Hot Summer” deals in mood and surface emotions. At times, it’s difficult to take the film’s pensive and overdone scenario to heart (including a foreshadowing opening scene that drains some of the tension), but when the final scene does occur, I was surprisingly moved.
Cosmopolis
Based on an acclaimed novel by Don DeLillo (which has its vitriolic fans apparently), David Cronenberg’s “Cosmopolis” is a hermetic, ice cold blooded experiment. In the past, this probably would’ve been a good thing based on the director‘s need to sublimate precision over emotion, but “Cosmopolis” comes off as a crushing bore. Full of long winded, absurd speeches about global capitalism, dwindling fortunes and warped asides about human nature (and an asymmetrical prostate), “Cosmopolis” is essentially a dark parable that appeals to all the people searching for an assault on the ‘one percenters’. Starring Robert Pattinson as some sort of capital mogul, “Cosmopolis” is mostly confined to the back of his stretched limo as he descends across downtown Manhattan while his fortune crumbles on a risky market bet. Cameos by Samantha Morton, Mathieu Almaric, Jay Burachel and Paul Giamatti serve to liven up the deadening tone as best their monotonous conversations can, but the imprisoned backseat and clinical discussions of currency and non sequitors made me nauseous. And when Pattinson steps out into the real world, things get even weirder. A conversation with an old barber…. An explicable murder by a basketball court…. And Pattinson’s uneasy relationship with newlywed wife (Sarah Gadan) all emphasize the cyborgian nature of every character. I’m sure there’s some scathing points in DeLillo’s novel (adapted directly by Cronenberg) but as a film, “Cosmopolis” failed to stimulate me intellectually…. And for Cronenberg that’s a major disappointment.
Lawless
John Hillcoat makes some violent movies. They feel violent… full of droning soundtrack noises that heighten the tension and an unflinching camera that patiently observes killings and neck snappings and blood and dirt. “Lawless” (his most Hollywood film to date) doesn’t shirk from the violence, creating a highly stylized universe where tommy guns are loud, a hotel room covered in blood is truly traumatic and the big final showdown between two men is draped in shadows. Technically, “Lawless” is peerless. It’s when the characters within his story try to express emotion, vengeance or lust that the story comes to a screeching halt. Following the moonshine exploits of a backwoods Virginia family of Tom Hardy, Jason Clarke and Shia LeBouf, their peaceful criminal dealings come against Chicago special attorney Guy Pearce when he tries to make his mark on the profitable trade. Pearce (a mainstay of Hillcoat) as always, chews the scene with relish, creating a character we all wish was dead. But it’s the clumsy performance of LeBouf and forced love entanglements with female stars Jessica Chastain and Mia Wiskowski that dampen the film’s energy.
Monday, September 03, 2012
Cinema Obscura: Anima Persa
"Anima Persa" (translated as "Lost Souls") is a completely weird effort. With acting pedigree as sublime as Catherine Deneuvue and Vittoria Gassman and shades of the giallo genre played out amongst the indelible images of a sprawling Venetian mansion, its a shame that "Anima Persa" isn't quite as good as it means to be.
Released in 1977 by the obviously prolific Dino Risi, "Anima Persa" deals with the arrival of a young student Tino (Danilo Mattei) in Venice to study painting. He moves in with his aunt (Deneuvue) and uncle (Gassman) and is quickly apprised that the old mansion holds secrets.... namely the confinement of another crazy uncle upstairs. Tino is forced into the psychological game between aunt and uncle. He is misogynistic, continually blaming Deneuevue for being "a stupid woman", unable to appreciate the finer things in life like his cherished opera records. She tells Tino about her daughter, supposedly murdered by the insane, pedophile uncle upstairs. Unable to believe or decipher the hatred between them, Tino goes on his own quest to uncover his family's secret past.
A better title would have been "Imprisoned Souls". Owing some rudimentary elements to the giallo genre, "Anima Persa" is far too tame in its suspense to qualify. Taking as its setting only two or three different locations- and a few exterior shots of the lovely Venice canal ways- "Anima Persa" instead chooses to act out a family psychological horror that often borders on extreme parody. Tino's love interest, Lucia (Anicee Alvina) meets him in art class (which looks like a holdover hippie protest) where she blithely strips nude for the class to sketch. Deneuvue, in one of her more strange, emotionless performances, rarely gets out of her pajamas and night gown and Gassman, as the controlling Uncle Stolz, is given a quick gambling habit towards the end of the film that neither explains him or the strange conclusion. A bit of Hitchcock and Argento thrown in for good measure don't tidy up the quite boring mess of Rosi's film. Perhaps my high expectations of an unheralded giallo gem soured my experience, but "Anima Persa" probably belongs as a true cinema obscura for good reasons.
Wednesday, August 29, 2012
70's Bonanza: Sky Riders
On a quiet morning, American diplomat Robert Culp leaves his wife (York) and two children at home. Soon after, a group of hockey masked terrorists break into the guarded compound and kidnap the family, whisking them away high atop a mountain in Greece. Ex husband James Coburn becomes involved with the rescue process and tracks the kidnappers to their abandoned monastery in the mountain, eliciting the help of a group of professional hang gliders in attacking the compound. Forget that Coburn only needs a day or two to learn hang gliding and that the assault involves daringly guiding oneself through impending, jagged mountain cliffs. This is James Coburn, and he does it all with flair.
Directed by Douglas Hickox, "Sky Riders" best asset, besides the wide grin that Coburn flashes every few minutes or Susannah York's (again) bra-less performance, is the majestic Greek landscape anchoring the narrative. The point of view shots as the hang gliders are in flight, or the terrific night-time raid set piece towards the final half of the film are outstanding examples of mise-en-scene. Hickox, a director best known for "Zulu Dawn" or my personal favorite piece of 70's nihilism "Sitting Target", probably should have gotten more chances at directing large action films instead of the TV series work he was relegated to later in his career. The final shoot-out between the terrorists, the police and Coburn's crew igniting mayhem in the skies turns into a "Wild Bunch" scenario of machine guns, grenades and falling bodies. Even if one doesn't buy the exagerrated scenario, "Sky Riders" wins you over through sheer gusto.
Thursday, August 23, 2012
Produced and Abandond #14
Ten more titles deserving a R1 DVD release:
1. M (1951)- Joseph Losey's remake of the Fritz Lang classic is available on a Blu-Ray Import from Spain, but no where to be found on these shores. TCM does have it in the rotation, and with a West Coast Losey retrospective upcoming, maybe this one will finally get a relese.
2. Black Cat, White Cat (1999)- Available on the old (and great) New Yorker VHS, Emir Kusturica's Serbian tale was part of the IFC channel's rotation back in the day, but long gone since. It's a bit sad that Kusturica has fallen off the cinematic map- although IMDB does show a couple of works in production- and his 90's run with lengthy, crazy masterpieces such as "Underground" and "Arizona Dream" were impressive.
3. The Goddess (1960)- Really more of an impassioned plea for more... any... Satyajit Ray on DVD. The synopsis, about a young woman's imposed marriage and the destruction it causes in her household, sounds immersive. One major blind spot in my cinematic viewing is Ray.
4. Before the Revolution (1964)- Another terrific film, once available on New Yorker, that served as one of my very first introductions to foreign cinema. I can remember picking up this Bertolucci film and Godard's "Contempt".... and the rest is history. I honestly don't understand why a major film such as this isn't available in the US, strictly confined to a BFI Blu-Ray version.
5. Night Wind (1999)- Like Satyajit Ray, "Night Wind" is more of a request that Philippe Garrel films are available out there. Granted, my appreciation of Garrel's work is inconsistent at best. I loved "Regular Lovers" and "Frontier of Dawn", yawned my way through his highly experimental "The Inner Scar" and remain lukewarm about "Emergency Kisses" and "I Can Hear the Guitar Singing". Having said all that, his films are exciting and meta-movie.... and I like that.
6. The Alphabet Murders (1965)- Frank Tashlin's detective spoof follows Detective Poirot (Tony Randall) as he investigates the above mentioned murders of the alphabet. I really have no idea how good this film is, but it routinely crops up on the lists of most requested movies wanted on DVD.
7. Air Doll (2009)- Maybe the idea of a blow-p doll coming to life and falling in love with a vieo store clerk is too risque for modern audiences? Nah. The more shocking fact is that "Air Doll" was directed by the acclaimed Hirokazu Koreeda and it can't find a home beyond a Canadian and Japanese DVD version.
8. El bonaerense (2002)- One of my favorite international directors working today is Pablo Trapero. Please, please seek out "Carancho" and "Lion's Den". This 2002 film tells the story of a locksmith who joins the Buenos Aries police force. Receiving alot of attention from Cannes and Toronto in '02, it's a complete mystery why this film isn't available (except in the UK, Spain, Greece....) and Trapero's other films are.
9. Man Without A Map (1968)- I do know where a copy of this long-lost Hiroshi Teshigahara film can be found and I'm considering it, since I doubt it'll ever be released. From IMDB- "A private detective is hired to find a missing man by his wife. While his search is unsuccessful, the detective's own life begins to resemble the man for whom he is searching." Teshigahara is such a provocative filmmaker. Three of his films were recently released in a boxset ("Woman In the Dunes", "Pitfall" and "The Face of Another") and all are worth your time.
10. Night breed (1989)- Oh the wrath this film brought upon itself from hard core Clive Barker fans. As a fourteen year old, it just scared the shit out of me. With Halloween approaching, I'd love to see it again. The DVD is OOP but can be bought reasonably on amazon.
1. M (1951)- Joseph Losey's remake of the Fritz Lang classic is available on a Blu-Ray Import from Spain, but no where to be found on these shores. TCM does have it in the rotation, and with a West Coast Losey retrospective upcoming, maybe this one will finally get a relese.
2. Black Cat, White Cat (1999)- Available on the old (and great) New Yorker VHS, Emir Kusturica's Serbian tale was part of the IFC channel's rotation back in the day, but long gone since. It's a bit sad that Kusturica has fallen off the cinematic map- although IMDB does show a couple of works in production- and his 90's run with lengthy, crazy masterpieces such as "Underground" and "Arizona Dream" were impressive.
3. The Goddess (1960)- Really more of an impassioned plea for more... any... Satyajit Ray on DVD. The synopsis, about a young woman's imposed marriage and the destruction it causes in her household, sounds immersive. One major blind spot in my cinematic viewing is Ray.
4. Before the Revolution (1964)- Another terrific film, once available on New Yorker, that served as one of my very first introductions to foreign cinema. I can remember picking up this Bertolucci film and Godard's "Contempt".... and the rest is history. I honestly don't understand why a major film such as this isn't available in the US, strictly confined to a BFI Blu-Ray version.
5. Night Wind (1999)- Like Satyajit Ray, "Night Wind" is more of a request that Philippe Garrel films are available out there. Granted, my appreciation of Garrel's work is inconsistent at best. I loved "Regular Lovers" and "Frontier of Dawn", yawned my way through his highly experimental "The Inner Scar" and remain lukewarm about "Emergency Kisses" and "I Can Hear the Guitar Singing". Having said all that, his films are exciting and meta-movie.... and I like that.
6. The Alphabet Murders (1965)- Frank Tashlin's detective spoof follows Detective Poirot (Tony Randall) as he investigates the above mentioned murders of the alphabet. I really have no idea how good this film is, but it routinely crops up on the lists of most requested movies wanted on DVD.
7. Air Doll (2009)- Maybe the idea of a blow-p doll coming to life and falling in love with a vieo store clerk is too risque for modern audiences? Nah. The more shocking fact is that "Air Doll" was directed by the acclaimed Hirokazu Koreeda and it can't find a home beyond a Canadian and Japanese DVD version.
8. El bonaerense (2002)- One of my favorite international directors working today is Pablo Trapero. Please, please seek out "Carancho" and "Lion's Den". This 2002 film tells the story of a locksmith who joins the Buenos Aries police force. Receiving alot of attention from Cannes and Toronto in '02, it's a complete mystery why this film isn't available (except in the UK, Spain, Greece....) and Trapero's other films are.
9. Man Without A Map (1968)- I do know where a copy of this long-lost Hiroshi Teshigahara film can be found and I'm considering it, since I doubt it'll ever be released. From IMDB- "A private detective is hired to find a missing man by his wife. While his search is unsuccessful, the detective's own life begins to resemble the man for whom he is searching." Teshigahara is such a provocative filmmaker. Three of his films were recently released in a boxset ("Woman In the Dunes", "Pitfall" and "The Face of Another") and all are worth your time.
10. Night breed (1989)- Oh the wrath this film brought upon itself from hard core Clive Barker fans. As a fourteen year old, it just scared the shit out of me. With Halloween approaching, I'd love to see it again. The DVD is OOP but can be bought reasonably on amazon.
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