Archive for the ‘Reviews’ Category

  • Review: Beauty Day

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    [With Beauty Day hitting select Canadian cities today, here is our review of Jay Cheel's entertaining and beautiful Doc on living life and honest art.]

     
     

    Beauty Day opens with a most decidedly not-beauty moment for Ralph Zavadil (otherwise known as Cap’n Video). As his camera rolls and documents yet another of his solo “stunts” for his cable access show, the jovial Cap’n (looking like David Lee Roth after a week-long bender) launches himself off a high rung on the ladder he’s propped up against his fence. The plan is to plunge right into the middle of his tarp covered pool to demonstrate a new way of opening it for the season. As the 14 year-old videotape footage shows, things go horribly wrong – the ladder yields from Ralph’s push off, he drops short of the pool and lands square on his neck on the concrete breaking 2 of his cervical vertebrae. “Unfortunately, I didn’t think it through all the way” says current day Zavadil – not with any bitterness, sadness or regret in his voice, but with the self-deprecating tone of someone telling a really good story to his buddies. Of course, when you’re wearing what appear to be reindeer antlers with multicoloured headlamps on them, you need to make sure you aren’t taking yourself too seriously.

    So why has director Jay Cheel decided to focus his feature length debut on the star of a decade old cable access show from St. Catharines, Ontario who sounds like a bad impersonator mixing French and Newfoundland accents? You can certainly see the initial appeal – Cap’n Video was a staple of the TV diets of teenagers in St. Catharines in the early 90s (a “Jackass” show before “Jackass” existed) and that failed stunt gave him world wide attention (a “Real TV” segment, Japanese TV, talk shows, etc.). However, there’s got to be more than just that, right? You bet there is. As with many of the best documentaries, the people themselves become just as fascinating as the central storyline. By the end of the film, I had not only become somewhat attached to Ralph and his friends and family, but quite disappointed that I couldn’t spend more time with them. They are interesting, funny and show a great spirit towards how they live their lives.

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  • Review: THE TREE OF LIFE

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    [I am pulling this review out of the archives, because The Tree Of Life goes into limited release in Canada this weekend. Chime in with your thoughts on this folks, it is a film that sparks much conversation (as evidenced by the hour we spent on it in the recent cinecast episode.)]

     
     
    As with any piece of cinema, first there is darkness, then there is light. Terrence Malick opens his latest film with a pulsating nimbus before jumping headlong into one of the films many “Big Questions:” Why do we die? From there it is a mere cut to the beginning of the cosmos, the big bang, before settling on the O’Brien family, or at least Mr. O’Brien (Brad Pitt) knocking up Mrs. O’Brien (Jessica Chastain). Now it might seem cliche to compare the universe to a womb, or a volcano to sex, or asteroids colliding into planets as pregnancy, hell, there is a fish shaped like a vagina and a fish shaped like a penis, but indeed, it feels fresh here. Hell, it feels holy. A friend of mine remarked on a recent viewing of 2001: A Space Odyssey, that it was the most depressing movie ever filmed, that the only way humanity could ever fix its problems was to evolve into another life-form. Malick’s take, despite opening the film from a quotation from the book of Job, is a much more positive outlook: Life is all around you. Drink it in. This is as good as it gets. Indeed, it is a mighty thing. And suffering is a part of the joy (a profound part, apparently). Consider it the antithesis of Gaspar Noe’s Enter The Void, although there are similarities there enough to make one consider a hobby-graduate thesis.

    The Tree of Life is a collection of the wondrous memories of childhood, when we look up at everything (for we are smaller than everything else and must crane our necks). The film spends a lot of time with the camera on the ground and the sun peaking into the frame in one fashion or another. The three O’Brien brothers grow up in the white picket fences, big cars and endless summers of the 1950s. Baseball, running through the wilderness unsupervised and blowing up frogs round out their days. In between this wild abandon is the discipline imposed by their father and the ethereal fragility of their mother who offers love silently. There are scenes when the boys bear witness to a man being arrested and also attend the funeral of a friend who drowns. There are attempts, to parse what (and why) violence occurs and what (and why) is pain woven into life, mainly they do as children do: move through events with a playful ignorance, the effects of bearing witness come out in other ways. These are the images and experiences that wedge themselves in your brain and linger on into adulthood. The film spends most of its time with Jack O’Brien, the eldest child of three played with nuance (and screen presence) by Hunter McCracken as a child of about 10 and by Sean Penn as an older man who is still coming to grips with his father and his childhood. His eventual awakening (and rebellion from) the man his father is, is the backbone of the film. A struggle.

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  • Review: The Trip

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    (4/5)

    With no other knowledge about the film, the title “The Trip” might, to unsuspecting American ears, conjure up images of Road Trip and frat boy humor, possibly even the thought that Todd Phillips has snuck in a second movie this year to compete with his own The Hangover II, but one need only note that this one is directed by Michael Winterbottom and stars two of Britain’s best comedic actors (not nearly well enough known, sadly, in the US), and it’s immediately obvious we’re in for a different sort of experience here. And yeah, that’s a very good thing.

    After working with Steve Coogan and Rob Brydon on his brilliant adaptation of Tristram Shandy, Winterbottom brings them together again for a largely improvised comic journey through rural England, the two actors playing versions of themselves with so much real-life detail brought in that it’s difficult to tell where the line between fiction and reality lies. After his girlfriend returns to America for a job rather than join him on a restaurant tour of England (he’s writing an article or doing publicity or something in between acting jobs), Coogan cajoles Brydon into going with him, despite the fact that neither of them are particularly keen on the idea.

    The trip takes a week, and the film divides up into days, each day basically having Coogan and Brydon drive cross-country to a new inn, sample lunch, maybe take in a sight or handle some publicity business, and head to bed, ready to do it all again the next day, all the while carrying on an ongoing conversation full of comedy bits or impressions. The trailer is basically an excerpt of the pair arguing over their Michael Caine impressions, and that plays a recurring part in the film (a too-often recurring, some will think), but there are plenty of other bits that play out, too, and the pair are so unassuming that you easily believe they just do this style of banter naturally in real life.

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  • Easy Riders, Raging Bulls: Badlands (1973)

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    Badlands"
    (4.5/5)

    [repost for the TIFF Lightbox Malick retrospective]

    Badlands will probably go down as the only Terrence Malick film to feature a car chase. It is a curious work in his repertoire. When it premiered in 1973, Malick’s signature style of freeform editing was still years away, the melodramatic earnestness, unconsidered. It would not be until Days of Heaven that Malick confidently broke free of the literary conventions of movie-making, all but excising the entirety of the dialogue of his screenplay, thus privileging the visual to emote what was left unsaid. While I agree with those that consider Badlands a minor work for this director, it undoubtedly remains a significant work for cinema history. More absurdist theatre than fine opera, what Badlands does provide (and something I all but erased from my memory until this last revisit) is a rare glimpse into the filmmaker’s wicked sense of humor.

    Based loosely on the Starkweather-Fugate killing spree of the 1950′s, Badlands is about two wayward youths, the James Dean lookalike, Kit Carruthers (Martin Sheen) and the 15-year old Dakotan tagalong, Holly (Sissy Spacek), as they pinball across the American frontier one murder to the next, with little purpose or destination. As with all of his films, the Edenic myth of a foregone paradise now overrun by the pestilence of man is hardly concealed on the surface of Badlands. The film lingers in the familiar twilight hour glow on small town America before the first crime is committed. When the title appears we see Holly in the front yard of her home like a Norman Rockwell vision abruptly intruded upon by Kit as he slinks into frame towards her like a lumbering agent of doom. He is charming and good-looking, a romantic ideal to which the film takes a certain gleeful pride in undoing as the story progresses.
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  • Exploring Kieslowski’s Three Colors Trilogy: Blue (1993)

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    Until recently, Krzysztof Kieslowski remained one of my biggest blind spots in the gallery of world cinema’s quintessential auteurs. One of those figures who continually lingered in my peripheral vision, the Polish filmmaker bears a reputation that ranks him among the likes of Bergman and Tarkovsky, Almodóvar and Haneke. But besides his prominence in the European arthouse scene, I was intrigued by the nature of his films – deep, mesmerizingly shot considerations of chance, fate and humanity. It wasn’t until after I read Roger Ebert’s Great Movies essay on Kieslowski’s Three Colors trilogy that I learned of the warmth and empathy he was capable of. Basically, he seemed like someone whose perspective I could readily appreciate and even grow fond of, and thus my appetite was properly whetted.

    So I took it upon myself to pick up the trilogy and watch it over the course of a few nights. Consisting of Blue (1993), White (1994) and Red (1994), they mark the end of Kieslowski’s directorial career. Shortly after completing Red, he announced his retirement from cinema. Sadly, approximately two years later, he passed away when he had a heart attack during an open-heart surgery operation in March of 1996. Yet he left behind an impressive body of work that concludes with a final run of films that any filmmaker would be proud to go out with.
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  • Blu-ray Review: Robin of Sherwood

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    Robin of Sherwood

    Directors: Ian Sharp, Robert Young, James Allen
    Series Writer: Richard Carpenter
    Producers: Paul Knight, Esta Charkham
    Starring: Michael Praed, Peter Llewellyn Williams, Ray Winstone, Clive Mantle, Mark Ryan, Judi Trott, Phil Rose, Robert Addie, Nickolas Grace, John Abineri, Marc de Bayser
    MPAA Rating: PG
    Running time: 780 min.

    (5/5)

    Early into the commentary of episode two of “Robin of Sherwood,” creator and writer Richard Carpenter recalls a trip to a media conference in Las Vegas trying to sell his new vision of the hooded icon to American producers. Among a cloud of cigar smoke, he called “Robin of Sherwood” ““Dukes of Hazzard” with bows and arrows” which made everyone in the room take note after all, “Dukes of Hazzard” was the biggest thing on TV at the time.

    Carpenter’s tale may have been a new, updated take on the myth of Robin of the Hood but it didn’t feature anyone in booty shorts or blazing cars. Carpenter’s vision re-introduced Robin as an emblazoned mix of both traditions, a lad of poor origin and a nobleman’s son, and a band of Merry Men with their own beliefs and backgrounds who didn’t blindly follow Robin but often questioned his ideas and occasionally reverted to their true nature. They were bound together by a common goal that went deeper than friendship and they stood together against a common enemy often, though not always, embodied by the Sheriff of Nottingham and his right hand man Sir Guy of Gisburne.
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  • Review: Beautiful Boy

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    [For those of you in Canada, Shawn Ku's film is getting a limited theatrical release, and here is my previously written review (slightly copy-edited) from TIFF]

     
    There are enough school shooting films out there at the moment that they are threatening to become a sub-genre unto themselves. Elephant, Bowling For Columbine and Polytechnique have all won major awards and even Uwe Boll has even made a film on the subject, so there is your filmmaker spectrum rather covered. Enter freshman filmmaker Shawn Ku who gives us a different perspective on the genre with Beautiful Boy. It is a solid first film, but rather torn on two fronts: On one hand it struggles to transcend clichés as a hand-held realistic and grounded drama, and on the other it wants to throw plates, obsessively scrub gravestones and have its principle characters do enough body-shaking crying so as to rival a belly-dancers funeral. There is a good film struggling to get out past a few bad writing choices, screenplay feels just a tad overwritten. Bolstered significantly by top shelf performances from its leads, Maria Bello and Michael Sheen (with a solid American accent), the two play the grieving parents, Bill and Kate, of freshmen college student Sam. Sam is killed in a columbine style school shooting and Kate immediately knows her son is the victim when the cops come knocking at the door. But both parents are flabbergasted when they discover that it was their son who shot all of his classmates before turning the gun on himself.

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  • Review: The Hangover Part II

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    If it ain’t broke, don’t fix it. That seems to be the philosophy of director Todd Phillips, whose sequel to the box office comedy smash The Hangover doesn’t so much try to replicate the magic of the first film as it does try to replicate everything about the first film. The setting has changed from the neon strip of Las Vegas to the filthy streets of Bangkok, but the premise nonetheless remains ridiculously similar: Phil (Bradley Cooper), Stu (Ed Helms) and Alan (Zach Galifianakis) wake up in a state of dishevelment with no memory of the night before, and are once again forced to piece together the increasingly crazy pieces of their drunkenness and debauchery in order to find a missing friend. Unfortunately but not unexpectedly, be it the because the characters are less likeable, the jokes not as well written, or simply because the very idea of a The Hangover Part II is just so implausible, this darker, dirtier, nastier follow up, although still generally funny, does not hold a candle to its predecessor.

    In this day and age it must come as little surprise that The Hangover, a massive success with audiences, critics and studio accountants alike, has been the recipient of the sequel treatment. Likewise, few will be shocked to hear that the film is in many ways an uncreative retread of the first movie, one that tries to give the audiences the same stuff they enjoyed the last time out. This time it’s the mild mannered Stu who’s tying the knot, a plot necessity that takes the form of a beautiful Asian American woman (Jamie Chung) whose father despises Stu and insists on holding the wedding in his native Thailand. A few drinks on a resort beach later and you know the drill: Phil, Alan and Stu wake up in the middle of Bangkok, with only a flamboyant Chinese gangster, a denim wearing monkey and the severed index finger of Teddy, Stu’s sixteen year old soon-to-be-brother-in-law, as clues to what the hell they got up to the night before.
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  • DVD Review: L’autre Dumas

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    L'autre Dumas DVD Cover

    Director: Safy Nebbou
    Screenplay: Safy Nebbou, Gilles Taurand
    Producers: Marc de Bayser, Dominique Janne, Frank Le Wita
    Starring: Gérard Depardieu, Benoît Poelvoorde, Dominique Blanc, Mélanie Thierry, Catherine Mouchet
    MPAA Rating: PG
    Running time: 105 min.

    (3/5)

    Things I recently learned about Alexandre Dumas: he was of mixed race, a flamboyant womanizer and he had a collaborator. Actually, he had a number of collaborators but the most frequent and the one featured in Safy Nebbou’s L’autre Dumas was Auguste Maquet, the man who worked with Dumas on “The Three Musketeers” and its sequels among a number of other books before the two finally parted ways.

    L'autre Dumas Movie StillI’m neither familiar with the history or enough of Dumas’ work to know if any of the material in Nebbou’s film is historically accurate and a dramatized account of events or whether the entire thing is fictitious but the story starts with Dumas and Maquet heading to the coast for a refresher while preparing a new novel. The smart innkeeper has a suite named after the famous author who frequents the establishment and sets him up in the grand room but Dumas, feeling shut-in and requiring fresh air, switches rooms with Maquet. A simple enough switch but you already know where this is going don’t you? Enter Charlotte, a beautiful young woman who has come in search of the author in hopes that she can convince him to help her free her father, a man accused of treason.

    Smitten, the usually straight laced Maquet pretends to be Dumas and gets himself embroiled in a slowly, occasionally hilarious in how quickly it gets out of hand, escalating plot to overthrow the Monarchy and without even knowing it, the real Dumas finds himself in the middle of it all. Nebbou’s film slowly frays the relationship between the two men and as the plot thickens, Maquet finds himself at odds with Dumas and the friendly relationship between the two writers begins to disintegrate as they argue over who the real writer is, who created the famous stories and characters that solely bare Dumas’ name – and all of this to the backdrop of a troubled France on the brink of revolution.

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  • Review: Pirates of the Caribbean: On Stranger Tides

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    As regular readers of my site already know, I am a good candidate for the biggest Pirates of the Caribbean fan currently living. Yet in spite of this, I pushed myself back from the table of Pirates of the Caribbean: At World’s End and declared myself completely satisfied. I had no real desire or need for a Pirates 4, but here it is anyway, and here’s my review:

    Allow me to pose you a question. Would you ever want to see a Star Wars movie with Han Solo as the main character? If you answered yes, that’s fine: I hope you are never in a position to greenlight major motion pictures. If you answered no, even better: you understand the difference between what an audience wants and what an audience needs.

    That the makers of the Pirates of the Caribbean franchise do not know the difference between what an audience wants and what an audience needs has been plentifully in evidence since at least the second film in the cycle, Dead Man’s Chest, which was also nearabouts the last time they tried to make Captain Jack Sparrow the protagonist of a Pirates of the Caribbean movie. (In the final analysis, witty Jack was not the protagonist of Dead Man’s Chest, nor any of the “original trilogy” POTC movies, though in Chest, at least, he occupied so much of the screen time that it’s a tricky distinction.)

    Now Bruckheimer and Elliott and Rossio and Depp are at it again, with Pirates of the Caribbean: On Stranger Tides. We get it: audiences loved Captain Jack Sparrow, when he burst out of the screen back in 2003, and the filmmakers are trying to give the people what they want – more Sparrow – thereby evincing absolutely no working understanding of the product they have created. There is, perhaps, only one positive result: if you ever, for even a second, thought the second and third Pirates of the Caribbean movies were dull, you may find yourself in a position to complain a hell of a lot less about them from now on.

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  • Review: Rammbock: Berlin Undead

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    Director: Marvin Kren
    Screenplay: Benjamin Hessler
    Producer: Sigrid Hoerner
    Starring: Michael Fuith, Anna Graczyk, and Sebastian Achilles
    MPAA Rating: R for some horror violence.
    Running time: 59 min

    (4/5)

    There is really something to be said for movies that know what they want to achieve and that they don’t need to be everything for everyone. Rammbock is a cool entry in the zombie genre. Unlike many zombie films out there that try to show some aspect of society Rammbock smartly chooses to simply tell a good straight forward story with some fun twists that elevate it above majority of zombie films.

    Berlin under zombie attackMichael (Michael Fuith) comes to Berlin to seek out his ex-girlfriend Gabi. When he arrives at her apartment he sees a large man who appears to be doing some repairs. When he goes to introduce himself he is attacked. After surviving the attack he ends up being locked in Gabi’s apartment. Over the next 50 or so minutes Michael and the other members of the apartment fight for their survival. Everything is now in place for the standard zombie movie but I will strongly say that Rammbock stands out amongst it peers.

    One of the biggest differences when compared to other films such as [REC] is that even though everyone is located in the same apartment complex they are separated for a good part of the movie by the zombies and the design of the building. Much of the short running time is spent trying to connect with the neighbors and also with Michael dealing with having lost Gabi now a second time.

    As far as I know Rammbock is Germany’s first zombie movie to reach a wider audience and I have to say that I really loved it and can’t wait to see more zombie films from them. The movie doesn’t try to be something it is not but instead tries to just be a great entry in the zombie genre with some good scares with the new breed of fast zombies. Rammbock really does succeed in this. There is no bloating with unnecessary plot or characters. It is just good zombie horror.

    Rammbock has been picked up for distribution in the US by the new Bloody Disgusting Selects and is currently in limited release. If you get a chance be sure to check it out, it won’t disappoint zombie fans.

  • HotDocs 2011: Project Nim Review

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    Meet Nim Chimpsky, the irrepressibly cute chimpanzee snatched from his mother at birth from the Oklahoma Institute by Primate Studies by Columbia professor Herbert Terrace for a radical experiment in language and cognition: Could a chimp learn sign language and have a cross-species conversation with human beings? The superlative new documentary from James Marsh (Man On Wire, Wisconsin Death Trip) is an animal activist film, an epic custody battle drama, and more than anything a look at the many post-hippie social experiments going on in the United States during the 1970s. While animal lovers will get their fill of cute anthropomorphic snaps of Nim as he grows up with a variety of human companionship, for my money, the chimpanzee is a mere catalyst for all the good-intentioned-with-bad-egos, quite misguided behavior of academia and of human beings in general. You hurt the ones you love. Nim may be an animal beholden to his human masters, in fact one of the conclusions of the three year study is that they trained a subtle world-class beggar (not a high-functioning communicator), but his tragedy is far more reflective of science at its most primitive. Marsh uses a blend of current talking heads, environment re-creations and archival footage and snaps so seamless that one less savvy filmgoer might be convinced that this documentary was nearly 40 years in production.

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