Archive for June, 2011

  • LAFF 2011: Please Do Not Disturb

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    (3.5/5)

    A woman fights with her husband over abuse and his job. A clergyman has his wallet stolen and deals with the thief as well as his marriage clients. An older couple fears a TV repairman may be a potential intruder. These three stories, related only by the slenderest of narrative threads, make up this light-hearted and quite entertaining film set around the city of Tehran. They’re so tenuously connected, in fact, that this is basically a collection of three short films, handed off merely by a character in the next section appearing in the same location as a character from the one just ending.

    In the first section, a woman leaves her apartment in a huff, leaving her husband behind to chase her – soon it becomes clear that he has hit her and she’s running home to her parents after six months of marriage. But there’s more to her anger, including her frustration that he’s working as a TV quiz show host instead of continuing to be a serious journalist. Meanwhile, he’s concerned about being able to provide for his family and stay out of trouble (the newspaper he used to work for had been suppressed by the government). It’s a good dramatic setup, but the film goes funny with it, and does a good job of it, giving the husband a hilarious, rapidly-delivered speech about men not hitting women being a recent historical development and how he needs more time to adjust. Best line: “I know I need cultural reform!”

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  • LAFF 2011: How to Cheat

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    (3.5/5)

    There’s a certain class of low-budget indie filmmaking that’s become almost its own recognizable style – full of ordinary people just trying to find happiness in unorthodox ways, hand-held close-up shots, montages of locations (easily recognized if you live in the area where they’re shot, but not particularly tied to the story, which could take place anywhere) with light music underneath, a tendency to shift focus amateurishly (though I think often on purpose as part of the style), a lot of contemplative pauses and awkward conversations. I’m not saying there’s anything wrong with this style in and of itself, but it is becoming ripe for cliche.

    How to Cheat by LA filmmaker Amber Sealey, who here carries triple duty as actor/writer/director, falls squarely into this style and does rather flirt with cliche a few times, but is saved from mediocrity by the strength of its performances and a few scenes which perfectly and awkwardly capture the minutia of modern life. Mark and Beth (Kent Osborne and Sealey) have been married for several years, and are getting to the point in life that their same-aged friends are on their second child and starting to bug them about having children of their own. But their marriage isn’t in particularly good shape, blowing up into frequent fights interrupted by desperate attempts to get pregnant – something Mark isn’t even sure he wants anymore, at least not with Beth. He’s got a point, but he’s not just struggling with her, he can’t seem to feel or care about anything. So he takes the conscious step to join an online dating service and find someone to cheat on his wife with.

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  • Finite Focus: Billy’s classroom story (Kes)

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    Kes1

     

    Suppose a man has a hundred sheep. lf one of them strays, does he not leave the other 99 on the hillside and go in search of the one that strayed? And if he should find it, I tell you this, he is more delighted over that sheep than over the 99 that never strayed.

     

    The bible passage above, as spoken by a young girl at a school assembly in Ken Loach’s magnificent film Kes, is pretty straightforward in its message: embrace those who are different and who wander away from the expected. It’s a shame none of the adults in the movie actually pay attention to it and quite ironic that they spend a great deal of the time bemoaning how “these kids” never listen.

    Every single adult – parent, teacher, boss, social servant, etc. – appears to obstruct the children from pursuing their own paths. They berate them constantly, push them towards the same dull existences they were forced into and seem to demean them at every turn. The assembly scene is a precursor to the school’s principal admonishing a group of boys (most of them innocent) for various “crimes” and, before caning them, essentially telling them all that they are worthless and that it is pointless for him to even try talking to them since they never listen. It’s comical, yet very sad due to the very realistic style of the movie and the picture it paints of the working class of 1960s England.

    It’s the scene that follows this, though, that is one of my favourites of the film and one that shows that you can occasionally find hope (even if at some point it may be dashed) in dire circumstances. The titular character of the film is actually a falcon (a kestrel to be precise), but it is his owner, the young schoolboy Billy Casper, that is the focus. Picked on by just about everyone and having just come from his own caning (simply for having fallen asleep at the assembly due to his early morning chores), Billy is pulled into his class’ discussion about “Fact And Fiction”. His teacher Mr. Farthing is asking students to define what a fact is and to tell the class a factual story or event that occurred to them. Catching Billy not paying attention, he singles him out and appears to be yet another adult trying to assert his control.

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  • LAFF 2011: Drive

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    (4.5/5)

    The Los Angeles in Nicolas Winding Refn’s Drive is a real place geographically – the garage on Reseda Blvd, the apartment building in Echo Park, the car chases through downtown and the canyon roads, the exit off Cahuenga past the Hollywood Bowl – these are all places I more or less recognize. On the other hand, the almost wall-to-wall techno music (reminiscent of Run Lola Run in its quieter moments), the arty slow-motion and slow-burn pacing of much of the film, and the enigmatic characterization of the main character, known only as “The Driver,” lend a surreal feel to the city I know. And that feeling is mirrored by the film itself. Drive both is and isn’t something familiar, weaving brutally realistic violence in with lyrical beauty, switching back and forth with rapid unexpectedness.

    The otherwise unnamed Driver moves laconically between fixing cars at a garage in the Valley, doing driving stunts for the movies, and being a wheelman for robberies. He has simple rules for the latter – he’s there at a certain time and takes responsibility for five minutes of robbery and getaway. After that, the crooks are on their own. The opening sequence (which is excerpted for the Cannes clip so far acting as trailer) is one such job, and it is utter perfection as a self-contained sequence and as a teaser for the film. It balances patience and speed in the chase itself, while also showing with essentially zero dialogue exactly how good a driver this man is, both in terms of actual pedal-to-the-metal precision and street smarts of when to hang back and when to go for it. He drives methodically, but knows the right time to strike.

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  • Review: Green Lantern

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    Neither a spectacular disaster nor any kind of a good time, Green Lantern is an ugly film that reeks of compromise and committee thinking. I have rarely seen a safer picture. Confronted by galaxy-spanning adventure and homebound secret-identity capering – opportunities for raw weirdness and sneaky fun of the highest order – the makers of this film have made a product that never lifts itself up, never whispers a word into our ear about what makes Green Lantern a cool idea. It makes me wonder if anyone involved was ever “wowed” by the work they were doing. Green Lantern seems instead to be an amalgam of the surest choices made under constrained circumstances, to meet presumed requirements. It gets the job done, after a fashion; there’s a Green Lantern movie now. But boy, that doesn’t seem to be much to get excited about any more.

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  • Moneyball – the next great baseball classic?

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    It took forever for Brad Pitt to get his passion project Moneyball made, but he has finally done it – and it looks glorious. Based on the 2003 nonfiction book by Michael M. Lewis, the film follows the story of Oakland A’s general manager Billy Beane who attempts to create a competitive team with creative and controversial methods, due to having very little finances.

    Unfortunately, I can’t help but wonder what this could have been back before Sony booted Steven Soderbergh as the director, due to some of his interesting and unconventional ideas, which included peppering the movie with interviews of the actual people this film dramatizes. Still, with Capote director Bennett Miller behind the camera and a cast that includes Brad Pitt, Jonah Hill, Philip Seymour Hoffman, and Robin Wright, I can’t help but be excited about this. When was the last time a good baseball movie came out?

    The film will be released in US theaters on September 23, 2011. In the meantime, sound off with your thoughts!

    The trailer is tucked under the seat.

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  • Friday One Sheet: A Relationship in Flames

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    I cannot wait to finally check out this so-called Mumblecore Mad Max upon which the Mamo Matts minister mammoth commendation (check out their Actionfest Episode). For now, muscle cars, flame throwers and ‘floaty heads’ that actually seem to make sense in the context of the film. The poster for Bellflower is a winner (see also, the more than swell trailer)

  • OK I Admit It. The Final Harry Potter Trailer Looks Pretty Awesome.

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    I‘ve seen parts 1,2 and 4. To say I was underwhelmed is putting it delicately. That said, I think I’m finally ready to go back and watch them all in order (still interested in the Alfonso Cuarón entry) so’s we can check out this epic conclusion properly. On the big screen. In 2D. As awesome as it looks, I still wouldn’t say that I’m super excited about it but this is an event film; and you know how I hate to be out of the loop.

     

     

  • Rob Zombie Can Get Your Carpet Clean

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    I‘ve been staring at a blank screen for the past five minutes and hardly any puns or witty comments spring to mind. The ones that do are painfully obvious. So I’ll just lay it out on the line. Rob Zombie is now doing Woolite commercials. Sounds like a bit of a stretch right? Zombie directing some blonde housewife as she shakes her head with a knowing smile while her 8 year old son runs through the living room with muddy shoes chasing a cocker spaniel. She’s got it covered with Woolite right? Well, not exactly.

    Despite what some may deem “selling out,” this is still Rob Zombie we’re talking about here. I’m sure this is something that will be the talk of the town over the weekend. To me, Woolite seems to be taking a bit of a risk with this one and I’ll be surprised if this ad shows up during a break from “The Price is Right” or “General Hospital.” But we shall see. Thankfully, you won’t have to sit through daytime television to see the commercial. The Tubes of You have us covered.

    Check it out… the commercial is tucked under the seat.

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  • Trailer: The Last Circus

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    Want to know why I (sometimes) have a habit of bagging on lifeless hollywood sludge? Here is a good example! While I never managed to write a review for Alex de la Iglesia’s mind blowing The Last Circus (aka Balada Triste) during last years TIFF, it was still in my top 5 films of last year. An allegory of Franco era Spain re-envisioned as an absurd killing joke by way of a grotesque opera. Of bread and circuses! Think Alejandro Jodorowsky with geek-ier sensibility (and a bit more of an understanding on how to get a performance from his actors) and a whopping sized budget. Destined not to find a wide audience, but instead be wholeheartedly embraced by a fervent cult following, The Last Circus is as as off-putting and gross as it is brilliant. I love how this trailer plays out somewhere in the middle ground between Se7en and Life is Beautiful. Go Spain.

    The trailer (A red-bander! *Fair Warning*) is tucked under the seat. Play it with the volume cranked!

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  • The Muppets parody The Green Latern in latest spoof-teaser

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    I don’t know. I don’t even know what to say besides… I can’t friggin’ wait for this. And that I would totally watch a feature length movie just about the Swedish Chef.

    Discuss.

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