Archive for March, 2010

  • Trailer for Aussie Noir – The Square

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    Australian cinema has been on the down-low in North America for some time now (albeit, their film stars emigrate to Hollywood on the same order as Canada and the UK), but there has been some really solid stuff coming from down under lately, including Last Ride, Van Dieman’s Land and The Loved Ones. The Square, a stylish crime picture has been touring the festival circuit for some time, had its domestic bow way back in July 2008, is finally getting a limited release in the US in April and a handsomely cut trailer has popped up on Vimeo (and can be found tucked under the seat). The films star, David Roberts, is a dead ringer for David Strathairn!

    THE SQUARE centers on an adulterous couple whose scheming leads to arson, blackmail and murder. Escaping the monotony of a loveless marriage, Raymond becomes entangled in an affair with the beautiful and troubled Carla. Ray’s moral limits are tested when Carla presents him with the proceeds of her controlling husband’s latest crime. This is their chance: Take the money and run. If only it were that simple…

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  • Hidden Treasure: The Staircase

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    (4.5/5)

    I like to think this crime documentary miniseries known simply as ‘The Staircase’ is a hidden treasure, despite the likelihood that anyone who has seen this film has probably told ten other people to watch it, and those ten have told ten others; add to this too the percentage of people that may have caught it accidentally channel surfing – films like this don’t stay hidden for long. Even around Row Three I am second or third generation in the hyping of this movie. However naively I hold out the possibility that to someone this remains undiscovered.

    The Staircase is the mother of all courtroom dramas, forget your CSI and Law and Order and think rather the sensational tinge of Capturing the Friedmans, the headlong glance into character flaw of Deliver us From Evil, or the meticulous attention to detail of something like HBO’s The Wire; we are in the higher echelon of this kind of portrait of human tragedy, where the epistemological limits are stretched, the morass of procedural detail documented, and all you can do is soak it all in over the seven hour duration until the final verdict is heard.

    A woman is dead at the bottom of a staircase, is it murder or is it an accident? The accused, Michael Peterson, is a high profile novelist whose story is the sort that makes Nancy Grace salivate (her deranged insight appears in the film more than once). In Durham, North Carolina, forensics and hard evidence vie with issues of class and bigotry. Peterson’s Shapiro-like attorneys and the nature of the crime evoke much of the circus that was the O.J. trial, and indeed the same kind of showmanship persists throughout (at one point the need of a catchy Johnny Cochran rhyme is bemoaned).
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  • Review: The Girl With the Dragon Tattoo

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    Director:Niels Arden Oplev
    Screenplay: Nikolaj Arcel, Rasmus Heisterberg (based on the novel by Stieg Larsson)
    Producer: Søren Stærmose
    Starring: Michael Nyqvist, Noomi Rapace, Peter Haber, Sven-Bertil Taube
    Year: 2009
    Country: Sweden
    MPAA Rating: Not Rated (would be R)
    Duration: 152 min

    (4.5/5)

    There are a couple of things that I tend to find deadly dull in movies that The Girl With the Dragon Tattoo was in danger of falling into – mysteries that wallow in the detectives’ personal trauma to the exclusion of the mystery itself, and adaptations of best-selling books that feel the need to be so faithful there’s no room to breathe as a film. Thankfully, The Girl With the Dragon Tattoo skirts both of these concerns deftly, managing to balance the mystery with the deep backstory of investigators Mikael Blomkvist and Lisbeth Salander, and also adapting the novel with a judicious eye for cuts and modifications, even improving it in some cases.

    girlwdragontattoo1.jpgMikael Blomkvist (played with both gravity and ease by veteran Swedish actor Michael Nyqvist) is an investigative journalist just convicted for libel after an expose-gone-wrong. He’s mysteriously summoned to a northern village by Henrik Vanger, 82-year-old former CEO of the Vanger Corporation and patriarch of the sprawling Vanger family. Henrik has a 40-year-old mystery that he’d like Blomkvist to take one last stab at before Henrik succumbs to his advanced age – the murder of his grand-niece Harriet in 1966. Intrigued, Blomkvist agrees and begins working his way through cold evidence and long-dead leads. Meanwhile, brilliant but eccentric researcher Lisbeth Salander, who had been hired by Vanger to do a background check on Blomkvist before Vanger contacted him, finds herself drawn into the mystery as well – but not before she takes care of some business of her own.

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  • Christoph Waltz – The Role of His Life

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    Yeah, yeah, yeah, Christoph Waltz was pretty good in Inglourious Basterds. But have you seen him in Der Humpink?

     

  • Cinecast Episode 159 – Muscles and Anger and Spit and Moustache

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    Though short one contributor this week, we end up having one of the more stretched out shows in a long time; partly due to the most epic conversation on Matt Damon you’re ever likely to hear. Coupled with a pretty lengthy talk on recent viewings including another narrated dissertation on The Big Lebowski and a discussion on Chan Wook-Park’s Vengeance trilogy, now on DVD, makes for a rather circumlocutory dialogue that hopefully doesn’t bore.

    As always, feel free to leave your own thoughts in the comment section below and again, thanks for listening!


    To download the show directly, paste the following URL into your favorite downloader:
    http://rowthree.com/audio/cinecast_10/episode_159.mp3

     
     
     
    Full show notes are under the seats…
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  • Film on TV: March 16-21

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    Kiss Me Deadly, playing on TCM on Saturday

    Two birthday marathons on TCM this week – Akira Kurosawa on Tuesday (one of a multiple mini-marathons leading up to his centennial birthday on the 23rd) with heavy hitters The Bad Sleep Well, High and Low and Red Beard and some lesser-known ones; then Ginger Rogers on Wednesday, mostly concentrating on her pre-code stuff, including 42nd Street and Gold Diggers of 1933, as well as a bunch of other obscure ones that probably aren’t quite “good” in the strictest sense of the word. Other newly featured stuff includes Ealing’s The Lavender Hill Mob on Tuesday, Kiss Me Deadly and 12 Angry Men on Saturday, and the Billy Wilder-penned Midnight on Sunday.

    I apologize for not getting this posted yesterday. I got distracted with other things, and then it got late, and then…OH, I FORGOT TO FINISH IT, OKAY? I’m sorry. There wasn’t really anything of interest on today anyway.

    Tuesday, March 16

    11:30am – TCM – The Lavender Hill Mob
    Alec Guinness leads the Ealing Studios regulars in this delightful heist comedy, one of the greats among a bunch of great late ’40s, early ’50s Ealing films. Also look for a really young Audrey Hepburn in a walk-on (this is her first film, I believe).
    1951 UK. Director: Charles Crichton. Starring: Alec Guinness, Stanley Holloway, Sid James, Marjorie Fielding.
    Newly Featured!

    1:00pm – TCM – The Great Escape
    I expected to mildly enjoy or at least get through this POW escape film. What happened was I was completely enthralled with every second of it, from failed escape attempts to planning the ultimate escape to the dangers of carrying it out. It’s like a heist film in reverse, and extremely enjoyable in pretty much every way.
    1963 USA. Director: John Sturges. Starring: Steve McQueen, James Garner, Richard Attenborough, Charles Bronson, Donald Pleasance, James Coburn, James Donald.
    Must See

    4:00pm – TCM – Close Encounters of the Third Kind
    Musical tones and volcano images haunt Richard Dreyfuss, eventually leading to an encounter with some of the most strangely beuatiful and mysterious, yet apparently friendly, aliens ever put on film.
    1977 USA. Director: Steven Spielberg. Starring: Richard Dreyfuss, Francois Truffaut, Teri Garr, Melinda Dillon, Bob Balaban.

    8:00pm – TCM – Akira Kurosawa centennial marathon
    So, TCM’s playing Kurosawa films because it would be his 100th birthday on the 23rd of March. Predictably, I haven’t seen any of the offerings tonight, though, also predictably, I’m hoping to change that. Tonight, they’ve got The Bad Sleep Well followed by High and Low, and Red Beard, and then on into the morning with I Live in Fear and Scandal.

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  • DVD Review: Good Hair

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    Good Hair Poster

    Director: Jeff Stilson
    Writer: Lance Crouther
    Producers: Jenny Hunter, Kevin O’Donnell, Jeff Stilson
    Starring: Chris Rock, Ice-T, Nia Long, Paul Mooney, Raven Symoné, Maya Angelou, Salt n Pepa, Eve, Reverend Al Sharpton
    MPAA Rating: PG-13
    Running time: 96 min.

    (3.5/5)

    Here’s something many of us take for granted: hair. I bet most of us don’t give it a second thought. We wake up in the morning, wash it, brush it, put it up. We run our fingers through it, sometimes we get caught in the rain. We swim, we make love and the entire time, the hair is in place; it’s such a natural part of who we are that it seems second nature. Enter Good Hair, a mix of comedy and documentary featuring comedian Chris Rock trying to answer the question: what is good hair? If you think that question has a simple answer, you’re obviously not: 1) a black woman or 2) dated a black woman.

    Here’s the deal. The African American hair care business is a $60 billion dollar industry. We’re not talking shampoo, conditioner and hair spray either. We’re talking tons of Relaxer and perhaps an equal amount of hair; real human hair that has been cut from one woman to provide long, straight hair for another. And if you think it’s only the well to do who shell out upwards of $3,000 for hair weaves, you’d better prepare yourself because there are working women all over the US and Canada (as I’m sure there are in other places though the film focuses mainly on the US) walking around with hair that cost more than some cars. No joke.

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  • Review: Green Zone

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    Director: Paul Greengrass (Bloody Sunday, United 93, The Bourne Ultimatum)
    Book: Rajiv Chandrasekaran
    Screenplay: Brian Helgeland
    Producers: Lloyd Levin, Eric Fellner, Tim Bevan
    Starring: Matt Damon, Greg Kinnear, Brendan Gleeson, Khalid Abdalla, Jason Isaacs
    MPAA Rating: R
    Running time: 115 min.

    (2.5/5)

    what was intentionally or unintentionally marketed as the fourth picture in the Jason Bourne franchise is really anything but. I suppose that teaming Damon with Bourne director Paul Greengrass in any sort of action picture will automatically conjure memories of Jason Bourne. Despite what we see in the trailer for Green Zone, in which Damon is a slick talking, martial arts wielding expert of everything that is able to get out of any situation, here Damon’s character is really just another well trained army officer like any other. However, as the film wears on the character is slowly elevated (or lowered) into a version of Rambo.

    Miller (Damon) is the chief officer of a squad of WMD seekers in the months after the initial invasion of Iraq. After coming up empty on several scouts, Miller begins to question where the intel is coming from and why it is wrong every time. The brass ignore his complaints and tell him to just follow orders. Martin Brown (Gleeson) is the head of CIA in country who contacts Miller and together the two of them try to discover where the source of this bad intel is coming from. In the meantime, Miller is required to continue his search for WMD but through a tip from a local Iraqi citizen, gets caught up in a hunt down of one of Saddam’s top generals (who may or may not have anything to do with the American intel program). As details are revealed and frustration mounts, Miller begins to question more and more why the U.S. invaded in the first place.

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  • Review: You, The Living

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    YouTheLiving4

     

    A few weeks into 2010, one of my favourite films of the previous decade was released to Region 1 DVD. Since the film was by then about 3 years old, I’d already ponied up for the Region 2 release (it was one of the major triggers for me to finally get that region free player), but I was still delighted to see it out in North America. I’ve told scads of people about it and hope that many of them find their way to it soon – simply because I think it’s absolutely brilliant.

    Director Roy Andersson’s You, The Living (or Du Levande in Swedish) is his follow-up to 2000′s wonderful Songs From The Second Floor. If you listen to Row Three’s Cinecast podcasts, you will have heard Kurt sing the praises of “Song” after a recent viewing at Toronto’s Cinematheque. There was a group of about 7 of us going to see it and I was the sole person to have viewed it previously. Though I didn’t have anything to do with any of them selecting the film for their evening’s entertainment, I was absolutely thrilled when each one of them greatly admired the gorgeous framing of the film’s static camera and it’s very black comedic approach to the idea that “being human is hard”. It’s a unique view of what life in purgatory might be like – if there was also a lot of deadpan humour. You, The Living shares many similar characteristics with its predecessor.

     

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  • Easy Riders, Raging Bulls: Short Takes Vol. 1

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    Clearly I’m getting behind on the New Hollywood marathon; I’ve actually been watching a good bit, but not finding the right things to say to write about them. So I’m just going to lump together some short thoughts on the films that didn’t inspire me to write a whole post about, or films that others reviewed or are planning to review.

    The Graduate

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    (4/5)

    This is one of the few films on this marathon’s master list that I’ve seen before, but I wanted to rewatch it because I was pretty sure I had missed something the first time around. That first time, I was just barely eighteen and was sure that college would sort out any remaining lack of certainty I had about my future career and life. Four years later, it hadn’t, and I found myself, like Benjamin Braddock, unsure what to do after graduation and drifting a bit, trying to find something to latch onto. I think when I first saw it, I had difficulty understanding Benjamin’s indecision and willingness to just float along after graduating, basically falling into an affair with Mrs. Robinson (the wife of his father’s business partner) because he didn’t have much else better to do. This time, it all worked and fit together much better for me.

    The inclusion of Simon and Garfunkel songs was perfect, and made me think about how influential The Graduate, with its detached main character, soundtrack, and mood, has been on films since – especially Indiewood quirky coming-of-age stories. Half of R3 will strangle me for saying this, but there seems a strong connection to Garden State (though even I would agree that The Graduate is a stronger film). My only beef is that the Berkeley sequence, when Benjamin goes to try to win Elaine, loses some interest and waffles a bit too much. On the other hand, the very last shot that’s often berated (by some) is exactly right.

    M*A*S*H and McCabe and Mrs. Miller after the jump.

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  • Review: The First Day of the Rest of Your Life

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    Director: Rémi Bezançon
    Screenplay: Rémi Bezançon
    Producers: Eric Altmeyer & Nicolas Altmeyer
    Starring: Jacques Gamblin, Zabou Breitman, Déborah François, Marc-André Grondin
    Year: 2008
    Country: France
    BBFC Certification: 15
    Duration: 108 min

    (3/5)

    The First Day of the Rest of Your Life was one of two films I got sent over to review recently that were big winners at last year’s Césars (the second is Seraphine – expect a review in the next week or two). It’s a French comedy-drama that centers around five crucial days in the life of a family of five. Each day focuses mainly on a different individual within the family starting with the day the eldest son leaves home and moving onto subject matter such as the daughter losing her virginity and the mother having a mid-life crisis.

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