Cinecast Episode 389 – Apple Pie Enema

 
Kurt and Andrew discuss the filmography of Noah Baumbach in light of his latest midlife-crisis dramedy, While We’re Young. *SPOILERS* abound, but also there are many tangents on parenting and childless relationships, raising chickens indoors, cultural appropriation and a plea to stop with the ‘can a documentary be truth’ conversation that should have ended a decade ago. Otherwise, we like the movie.

“Game of Thrones” is back, and we break down the opening episode scene by scene (*SPOILERS*). Kurt flips out about how stagnant the Mother of Dragons thread of the show has become, but otherwise, we are immensely excited to have the HBO’s most popular show back on the table for weekly discussion.

Andrew is doing the Minneapolis/St. Paul International Film Festival, and discussions on a couple of the titles, including The 100 Year Old Man Who Climbed Out The Window And Disappeared (tangents on Forrest Gump and The Curious Case of Benjamin Button) as well as a quite detailed love-in for The Clouds of Sils Maria (with lengthy tangents on the career of Olivier Assays, Juliette Binoche and Kristen Stewart).

On the Watch List, Andrew watches both Gone In Sixty Seconds movies back to back, and we tangent briefly about Death Proof and the year 1974 as it applies to car-chase movies. While we are in the 1970s, we also take a long look at Nic Roeg’s Don’t Look Now and its lasting effect on horror, sex scenes and the fracturing of space and time through editing.

Kurt also talks briefly about Ardman Studio’s Shaun The Sheep as well as the Trevor Noah documentary, You Laugh, But It’s True (with a further tangent on the current South Africa injection into American culture.)

Message: There are lots of side-tangents in this free-flowing episode of the Cinecast. As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!

 

 
 

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MSPIFF 2015 Review: Free Fall


The concept for György Pálfi Free Fall holds so much promise: a woman climbs the stairs of an apartment building and we get a glimpse of what’s going on behind the doors of an apartment on each floor. It’s a great set-up for an anthology film though here, Pálfi and collaborating directors Gergely Pohárnok and Zsófia Ruttkay take on all seven stories and the result is exactly what most other anthology films deliver: a mixed bag.

The set-up is interesting enough; the aforementioned old lady climbs the stairs of her apartment building to the roof, jumps off and lands on the road with a splat. Minutes later she stands up, brushes herself off and goes back into the building where’s she’s forced to walk up the stairs because the elevator is being serviced. There’s no explanation as to how or why she’s doing this but it does turn out to be one of the more interesting and entertaining aspects of Free Fall. As she climbs, we get a glimpse at what’s unfolding behind the doors and it ranges in everything form a Korean sitcom to a woman having a baby shoved back into her stomach.

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MSPIFF 2015 Review: Felix and Meira

 


 

A few years ago, French Canadian director Maxime Giroux appeared like a beacon of light on the radar of Canadian film. Jo for Jonathan, his second feature, a moody and sombre family drama about two brothers at odds with each other, was a standout of the year and ever since, the anticipation of the director’s follow-up has been rising. Through this expectant fog emerges Felix and Meira and though it stumbles a little, it doesn’t disappoint.

Another family drama, Felix and Meira centers on two disparate people each locked in their own familial struggles. Felix is the black sheep of the family, having run away and been disowned by his father. At the beginning of the film he is struggling with the recent passing of his estranged father – a passing that didn’t allow for Felix to make amends with his dad. Meira is a somewhat dutiful Hasidic Jewish wife and mother. Somewhat because there’s a rebellious streak to Meira: she draws, she listens to forbidden music and perhaps her most grievous offence is that she takes birth control pills. She’s unhappy but faithful to her husband until an encounter with Felix pulls her out of her shell and her quiet life.

The relationship between the two lost souls begins innocently enough. Felix gives Meira pictures he’s dawn, plays albums for her and takes her about the city. It’s a friendship that feels heavy with unspoken romance. Eventually the relationship morphs into a more typical romance but Felix and Meira is at its best when the relationship between the titular characters is budding. Hadas Yaron as Meira and Martin Dubreuil as Felix have an easy connection and the pair are wonderful together, sharing stolen moments that feel at once insignificant and like their every bit of being depends on them. Giroux captures these moments beautifully.

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Ant-Man Trailer #2

A Marvel movie in which the hero battles a slightly bigger, badder version of himself in the climax. But they’re both tiny.

I like Paul Rudd and I like Michael Douglas. But I’m not much of an Adam McKay fan and this is why. Ant-Man (judging from the first two trailers) looks lazy and unfunny.

MSPIFF 2015 Review: Clouds of Sils Maria

 


 

The eponymous image of Clouds of Sils Maria features a heavenly mist snaking its way through mountain peaks like a river, the rocks frozen in time, immutable, the clouds in perpetual motion. It is shown as shot for Olivier Assayas 2014, and the characters in the film at one point watch the 1924 Arnold Fank silent, black and white short documentary The Cloud Phenomena of Maloja. The technology and aesthetics have changed, but filmmaking keeps on rumbling chaotically along as the images captured become fixed and un-aging objects. 

No matter how many films Assayas makes, he cannot help himself from being a film critic. As with many of the auteur directors of the French New Wave a generation or more before him, he wrote for Cahiers Du Cinema before becoming a hot-shot young director. Throughout his career he has often made films that examine the business, chaos and soul of filmmaking, in France and abroad. Irma Vep had New Wave icon Jean Pierre Leaud playing an addled director who casts Maggie Cheung out the Hong Kong action cinema of Johnnie To and Jackie Chan and dropped her onto a dysfunctional Parisian film set to shoot an avant-garde remake of iconic french serial Les Vampires and Demon Lover wrapped a tangled corporate thriller around the global video and web distribution rights of anime tentacle pornography. 

Regardless of what subjects the director tackles, what is interesting about his cinema is that he has always favored actors and performances to allow his ideas to flow out onto the screen over cinematography and editing. His films breathe.

Lately, Assayas has been pre-occupied with age and youth, and has left behind, mostly, any genre trappings to make films about the passage of time and how it changes people. In Clouds of Sils Maria, he has Juliette Binoche playing a fictional version of herself named Maria Enders. An actress at a point in her career where she is an international movie star who did a stint in Hollywood blockbusters before returning to the European art house and stage. A young director asks her to appear in his revival of the play that made her famous, only this time she will be playing the broken-down wealthy businesswoman part instead of the aggressive and domineering young personal assistant who sexually dominates her boss and the stage. The play in the film bears remarkable similarity to Alain Corneau’s final film, Love Crime (which was recently remade by Brian DePalma as Passion).

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Mondays Suck Less in the Third Row

Check out these links:
Type or die
America’s most literate cities
Han Seoul-Oh Is The Greatest “Fast And Furious” Character
Judge: IP Address doesn’t identify a movie pirate
35 Hilarious, Yet True Infographics
Ghostbusters’ Keymaster Dog for Your Garden   :(SOLD OUT)
True endings to Disney’s lies…
Alternate Game of Thrones Opening Titles (with soup)



Big Dave Navarro. lolz.

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Monty Python And The Holy Grail @ 40.

What is the air-speed velocity of an unladen swallow? These absurdities and more formed the basis of the first narrative theatrical feature from famous Monty Python comedy troupe. It was released today 40 years ago, and not a line of dialogue has gone stale.

I’m sure they would wholeheartedly approve of this ‘modern’ trailer cut for the film which is hilariously mis-representative of the film, and utterly appropriate in terms of self-awareness. The appropriate parties responsible for this have been sacked.

Review: The Longest Ride

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Director: George Tillman Jr. (The Inevitable Defeat of Mister & Pete, Faster, Notorious)
Writer: Craig Bolotin, Nicholas Sparks (novel)
Producers: Marty Bowen, Wyck Godfrey, Theresa Park, Nicholas Sparks
Starring: Britt Robertson, Scott Eastwood, Oona Chaplin, Jack Huston, Alan Alda
MPAA Rating: PG-13
Running time: 139 min.


Here’s the deal: you’ve seen this movie before. It’s not really like The Notebook but it’s as close to it as we’ve come in the adaptations of Nicholas Sparks novels since. Truth: Sparks knows how to weave a good, if predictable, romantic yarn and The Longest Ride is no different.

Britt Robertson and Scott Eastwood are the lovely couple this time around. She, Sophia, is a New Jersey daughter of immigrants studying art at the local college in one of the Carolinas while he, Luke, is a good ‘ole southern boy who spends his days professionally riding bulls. The pair meet at one of his events, there’s a spark and eventually they end up together though not before each is forced to confront their personal problems and put everything on the line for love. The end. Happily ever after. And yes, it is happily ever after. Sparks and Disney are the few bastions of happy endings left. Though Sparks’ usually come at the cost of a few extra tissues.

If, like me, you missed the memo, The Longest Ride also stars Alan Alda as Ira, a crotchety old man that is befriended by Sophia. He shares the story of the hardships and happiness of his relationship with his wife, a relationship he refers to as “the longest ride” and his story prompts Sophia to give Luke another go because, as we all know, true love is hard to find and can sometimes be difficult. I’m sure you can figure out how Ira’s story ends too but seriously, if your complaint about this movie is its predictability, you really need to get out more.

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Friday One Sheet: Orange and Steel

With the marketing engine for the long delayed Mad Max sequel/reboot hitting its peak in the last couple weeks, here comes all the outdoor and big-cinema exterior banners. This super-quad gives a fresh new feel to the typical 21st century action-movie Orange & Teal cinematography-style. The crisp bold titles with the films two stars poised and ready against the post-apocalyptic world is all one needs to know. Mad Max: Fury Road will certainly not be a movie for wide audiences, but for the core fan-base and lovers of pure action cinema, all of the marketing has been hitting the sweet spot.