Two weeks (and a day) since the last edition of Movie We Watched already? Madness. This is, of course, the regular capsule posting of films consumed that may not have made it to a full post around circled wagons of the Row Three convoy. The ever growing series of these since the inception of this website can be browsed by clicking the icon on the sidebar. Feel free to comment on the simple smattering of choices below.
Electroma (2006) 4.5/5
Not for the faint of heart, Daft Punk’s “Electroma” is both an art film and a deeply emotional trek in search of humanity. Gorgeous cinematography, beautiful music and a complete lack of dialogue may scare off a few but those that manage to stick with it are greatly rewarded in the film’s final 10 minutes. Well worth tracking down. -MARINA
Tae Guk Gi (2004) 4/5
This has been sitting on my shelf for too long without a viewing. I’m glad I finally got to it. I’ve heard many compare this Korean war film to “Saving Private Ryan”; with the caveat that the war scenes here make SPR look like kindergarten. I don’t about that, but the footage here appears quite realistic and the audience is never spared from the brutality. This is war and action and bloodshed times ten for nearly the entire running time of the film and it is certain to keep you riveted. The glaring weakness is the skeletal framework of the plot and characterizations. For me they just didn’t evoke a lot of emotional response. Mostly the characters were there just to tie together a simple plot that was simply a framework in order to show off awesome war scenes. Which is actually fine with me, though a little more heart could’ve turned this film into a masterpiece. -ANDREW
Helvetica (2007) 4/5
The now quite influential ‘documentary on a typeface’ is well deserving of its own hype. Sporting a clean and crisp look and feel (much like the Helvetica itself), the films is best when getting to the bottom of how we perceive the world though all the information, brands and ubiquitous sign-age all around us. While the film is entirely talking heads segments intercut with cities and objects using Helvetica for a variety of purposes, I must admit the simplicity of the piece works in its favour. -KURT
Martyrs (2008) 3/5
Pascal Laugier’s film starts with a bang that continues for a good 40 minutes but which quickly comes to an end and descends into a completely different film. The change in mood and atmosphere is not completely successful and as the second half of the story, I found myself quickly losing interest. Interesting idea but ultimately disappointing considering the opening few minutes. – MARINA
Stage Beauty (2004) 3/5
I had expected a great deal from Richard Eyre which stars two great actors (Claire Daines and Billy Crudup) early in their careers and thought the film is entertaining enough and the performances, particularly from the leads, are excellent, the film as a whole is rather underwhelming. The costuming is beautiful as are the sets but the story meanders a little too far off course and we never really get to know Maria or Ned so when their worlds begin to crumble, it’s hard to feel anything for them. – MARINA
Anvil! The Story of Anvil (2008) 4.5/5
I know it’s been said a hundred times on this site, but it deserves to be said again, this movie is the real deal. I can’t remember the last time I saw such heart (onscreen or otherwise) from a single person. Misty eyed and pumped as hell, walking out of the theater I wanted to turn right around and walk back in for a second helping. If you’re a fan of “This is Spinal Tap,” then prepare for the real thing. With elements from “The Wrestler” and “Driver 23″ as well, this has got to be one of the best docs I’ve yet to come across. -ANDREW
Khaneh siah ast (1963) 4.5/5
Considered to be a precursor to the rise of Iranian New Wave, Forugh Farrokhzad’s single film is a masterwork of editing and sound design. Her poem, which accompanies the images of life in a leaper colony, is spectacular in its ability to generate emotion and response and the quick editing and music builds momentum which comes to an abrupt ending. The film has more on its mind than leprosy (infused throughout the film are moments of religious practice which leave more questions unanswered) and the films 22 minutes feel like you’ve just seen a dense 90 minute film. A must, if at times difficult, watch. -MARINA
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I can’t really get on board with Martyrs either. L’Interier won me over around the halfway mark. This movie’s not as cheesy but it took longer. It doesn’t let you find your bearings and its really gross.
I like the end though.
Just realized that one of my favorite bands I discovered last year, “El Ten Eleven,” contributed some tracks to the HELVETICA soundtrack. Apparently they’re adding their talent to Gary Hustwit’s new film, “Objectified,” as well.
So Rusty, you liked the last half of the movie? I was the other way, I liked the first half better. That said, I liked both halves but as two separate films. Don’t think they necessarily go well together.
Yeah, I like the second half more. The very begining of the movie gets off to a strong start but then slows to a halt. Why are they lounging around in this house for what seems like days? It may seem like a small matter but it seriously interfered with my enjoyment of the movie.
The second half of the movie delves more into the mythology of the story which I thought was pretty cool.
If nothing else Martyr’s calls out the Hostel films and beats them at their own game. Hostel is really pathetic and juvenille in comparison. It pedals in cruelty for cheap shock but doesn’t really have to stomach to portray real torture, which is more about breaking someone down over time.
The second half at least (finally) anchors the story and lets us find our beerings.
Vern’s got a good review of it up on his sight.
I think part of the point of Martyrs is not being able to get your bearings. It was challenging to sit through though, a woman left and apparently fainted at the screening I was at.
It’s great to hear more cheers for Anvil. Fantastic film!
Andrew you are correct about the music in Objectified, Gary Hustwit mentioned the band during the Q&A of the film last night.
@ I think part of the point of Martyrs is not being able to get your bearings.
Doesn’t matter.
@Rusty – interesting take on the structure of Martyrs, but the do indeed blow it in the final couple minutes with the ‘cult’ folks. Pretty bad IMO. I did like the ‘funny-games’ satire (it’s like Laugier is taking a shot at Haneke with that family). I’m with Marina that this film was better at the beginning and it just got mean spirited (not in the good way) towards the end, far more in love with its own ‘look how brutal we can be’ than actually getting anywhere profound.
I guess it’s my own fault that I believe that the filmmakers were aiming for art with Martyrs and not the masterbatory trash that resulted. And it’s kind of boring trash at that. Perhaps sad that I find the relentless brutality at the end of the picture to be boring, but there you have it.
Ah, if the point of the film is to do something and it did it – not sure how that doesn’t matter. Understand if don’t care but if it achieved the point I think it does matter.
Wow, I never thought I’d be at the opposite side of the Martyrs spectrum of people. I wasnt’ like WOOHOO Let’s watch it again! But I do appreciate that it had a point.
@ Ah, if the point of the film is to do something and it did it – not sure how that doesn’t matter.
Because a choice being intentional doesn’t let anyone off the hook. It either works in the context of the film or not. By itself saying the film is “unanchored” isn’t a criticism it’s an observation. I’m sure I’ve enjoyed films that have given me that feeling. Irreversible is one of my very favorite films of the decade. I think maybe Jodorowsky might qualify.
But in this film the story and the pacing are derailed. That’s great that they did it on purpose. But it works against them not for them (to be fair, it works in their direction a bit. The film’s great at misdirection)
@ interesting take on the structure of Martyrs, but the do indeed blow it in the final couple minutes with the ‘cult’ folks. Pretty bad IMO.
Could I get a full spoiler elaboration on that? Which final few minutes exactly?
What do you think was the purpose of casting two actresses who look nearly indistinguishable from one another? They’re almost always shot with their faces obscured and they have the same hair do and are dressed similarly.
Which reminds me, I can’t find my Jodorowsky box set. If someone out there has it, please return it.
Thank you in advance.
By the way. I’ve only seen the first half so far, I’ll finish it tonight. But S.DARKO is totally worth watching. In my opinion at least, it’ll probably be another case where I’m divorced from the rest of mankind.
Holy Shit Rusty. S. Darko is watchable? Really? In a genre-TV fan sort of way, or in a this is actually a good film sort of way.
@ In a genre-TV fan sort of way, or in a this is actually a good film sort of way.
In a so far it’s about up to par with the first one. It has lots of good atmosphere. I’m not sure if the score they’re using appeared in DD but it’s quite memorable. Most of what I remember from DD is the 80′s music. If this score is from DD then SD makes much better use of it, it’s quite spooky and well done. I wish I could show you the opening scenes.
I should tell you that I was immeadiatly suspicious of the pre-lash against this film. It’s from an unknown director with low budget effects… exactly like the original. It’s DTV which is a smart move since it’s increasingly difficult for independent movies to find an audience anymore. I doubt DD could find a theatrical release in todays climate. I think the trailer looked good and was unfairly attacked.
Anyone who criticizes this film’s effects has lost all credibility on the subject (jabbering goons in the /film comments, I’m looking at you.)
There’s several clever not at all heavy handed callbacks. Some well done period detail. I love the dialogue.
I can only vouch for it so much because I haven’t finished it. But I don’t see what it could do that could “bastardize” the original more than R. Kelly already did with the DC.
“I should tell you that I was immeadiatly suspicious of the pre-lash against this film.”
What pre-lash?
Amen on that last paragraph. You’ve but this on my radar Rusty. Cheers for that. I’m still a big fan of Donnie Darko (the original theatrical version obviously!) and don’t get the ‘backlash’ just because it became a mainstream/cult hybrid. Good on it for actually finding an audience despite all that was stacked against it. It’s a smart little film with a lot of nuance and a fabulous sense of style for its tiny budget. I’m hoping now that S. Darko will be a similar pleasure-spot for me.
Thanks for the clarification there Rusty, I don’t agree but at least I understand what you mean!
oh yeah, I forgot we were talking about Martyrs.
Could you clarify this for me Kurt?
@@ the do indeed blow it in the final couple minutes with the ‘cult’ folks. Pretty bad IMO.
@Could I get a full spoiler elaboration on that? Which final few minutes exactly?
@Rusty ***SPOILERS for MARTYRS***
When the cult is all gathered in the room for wine and cheese while they wait for the final verdict from the ‘martyr’ And when the lady finds out the answer, she pops herself. It was ludicrously silly. I think I may have actually laughed out loud and got dirty looks from my neighbors in the Midnight Madness screening.
Chacun à son goût.
That’s what I thought you were talking about.
Is there any particular reason it’s silly? I liked it. It’s cool… sooooo close. Think about the Hostel films (I definitely think this film is in part a reaction to those movies) where there’s sort of a similar organization that’s abducting and torturing people… just because, you know, what does it feel like or something.
Here, their motivation was actually pretty hair raising. It’s not something I ever would have seen coming. Also, if doing that sort of thing did in fact deliver that result… well then I can see why some people might be tempted. They’re sort of satanic, but then they’re exactly the opposite.
I thought that actress’s first scene where she drops a brick of exposition on us was much worse.
It also seems like you took issue with the torture chamber stuff: “it just got mean spirited (not in the good way) towards the end, far more in love with its own ‘look how brutal we can be’”
I actually think they showed a lot of respect to both the audience and the actress in those scenes. Prior to the stomach churning scene where they cut her skin off the torture chamber stuff stands in contrast to Hostel style sensationalism. Instead of strapping her into some SAW type evisceration device the scenes are more mundane. The type of techniques meant to break a person down over time. They’re not very sexy but they’re effective and it’s a technique a real torturer might use.
For instance they strap her down and slap her for an hour. Not very imaginative. It probably doesn’t even hurt that much. But it’s effective.
I really didn’t like watching those scenes. But they’re well done.
Of course, I think both hostel films are great black comedies, so perhaps that is insight on where my sense of humour is coming from in the closing moments of Martyrs.
And yea, I think Pascal Laugier’s film (what I saw onscreen) revels in it. It gets off on it as much as Roth or Aja do. I can’t see the subtle difference you indicate above. It’s all ‘look how fuckin’ cool I am as a filmmaker’ – I don’t have a problem with this per se. Hey, I like Tarantino films. But I found any attempt at profundity here was blunt, obvious, overblown, and yea, silly. And the filmmakers doesn’t seem to get that. The Q&A for the film rubbed me the wrong way too, when Laugier and company started getting all high and mighty about the philosophy of the film. For what I saw on screen, I’d have respected he film more if he threw up the goat and said, Fuck Yea, look what we did. But artist merit? Puhleese.
I’ll give it credit for getting people talking, but really there ain’t all that much to talk about here. Only cheap sensationalism and bombast.
I get you on the production design aspect of the film. It’s superbly made in that department. And I’m sure all of the graphic gore looks great in a glossy issue of Fango. But what else? For all the hype and pre-tense generated from the film on the festival circuit (where I caught it) it’s just not that great a film. Guilty often of being simply repetitive and boring. (And not in that good GERRY way)
Back to Helvetica. I don’t know whether or not I mentioned this on the last Cinecast, but the VH1-esque “BEHIND THE TYPEFACE” humourous/informative show: This episode COOPER BLACK – http://www.veer.com/ideas/btt/
on S. Darko, Andrew, the ‘pre-lash’ (weird term) is due to the strange spot Donnie Darko has within the culture. It’s one of the bonafide first 21st century cult movies that flirted with big mainstream success on DVD.
But as a DTV sequel the reaction seemed to be more Ho-Hum than anything else. Which is exactly what the movie is. It’s not a good movie. It’s not the flat out embarrassment that some people suspected, but it is not very good either. Daveigh Chase is pretty poor in the film, and certainly can’t carry it, and the narrative twists seem pretty ill conceived and more catering to the whims of the writers than actual character development or motivation.
“Andrew, the ‘pre-lash’ (weird term) is due to the strange spot Donnie Darko has within the culture.”
In other words, before seeing the film, people are jumping on a pre-hate bandwagon and letting that ride because that’s what the masses are saying?
Fail.
Too bad the movie is pretty much stinks-ville, relying way to much on the original iconography, and bringing very little interesting to the table other than some narrative trickery that is done without any attention to character. Ah Well.
I can’t believe people are actually paying this much attention to a DTV sequel, and not ignoring it the way they would American Pie 12: Summer of Statutory Rape
@goon
I had heard from a number of places that it was “Surprisingly Watchable” and was morbidly curious, and I happen to like Daveigh Chase and the guy who plays Sol Star in Deadwood.
Well that’s my excuse anyway.
Yeah Goon, just do a Google search for “S. Darko” + “surprisingly watchable.”
geez.