Looney Tuesdays: “Slick Hare” (1947)

December 30, 2014Posted in1940s, 2014, Animation, Authors: Bill Chambers, Comedy, Looney Tunes, Short Films
**/****directed by I. Freleng by Bill Chambers Old Hollywood may possess a timeless quality that prevents Slick Hare and others like it (Hollywood Steps Out, Hollywood Daffy, even 8 Ball Bunny) from becoming an instant relic à la the Michael Jordan-fronted Space Jam, but celebrity cameos in animation nonetheless have a habit of accelerating the ripening process. Gags like Ray Milland paying a tab with a typewriter--and getting change in the form of mini-typewriters--straddle the line between obsolescence and posterity, today only earning laughs among the movie-minded while also presenting a valuable snapshot of the pop-cultural consciousness circa 1947. Thing…

Looney Tuesdays: “Little Red Riding Rabbit” (1944)

December 23, 2014Posted in****/****, 1940s, 2014, Animation, Authors: Bill Chambers, Comedy, Looney Tunes, Short Films
****/****directed by I. Freleng by Bill Chambers The Shrek movies dream of being this renegade. Little Red Riding Hood (a brilliant Bea Benaderet, using a halting squeal that suggests the '40s equivalent of uptalk) is on her way to Grandma's house with a picnic lunch: Bugs Bunny. The Big Bad Wolf gets there first, of course, though he has to kick other wolves out of Grandma's bed. (Where's Grandma? "Working [the] swing shift at Lockheed." Wartime audiences must've howled, pardon the pun.) When Red arrives, the Wolf can't hustle her out fast enough in his desire to eat Bugs, and…

“Santa vs. the Puppies vs. Monster Part Two”

December 17, 2014Posted in2014, Animation, Authors: Bill Chambers, Blog, Comedy, Short Films

by Bill Chambers Another self-serving post to notify that the long-delayed sequel to “The Monster Show”‘s 2012 Christmas episode, animated by yours truly, finally went live in glorious HD earlier this week. Truth be told I came close to crediting myself as Alan Smithee on this one, but we persevered through so many false starts it’d be perverse to hide (from) it. FYI, it’d probably be even harder to follow this episode without seeing the original, so I’ve included links to both. Get it before cyber terrorists threaten us to pull it!

Looney Tuesdays: “Gorilla My Dreams” (1948)

December 16, 2014Posted in1940s, 2014, Animation, Authors: Bill Chambers, Blu-ray Disc, Comedy, Looney Tunes, Short Films
**½/****directed by Robert McKimson by Bill Chambers Bugs Bunny floats in a barrel to the ape colony of Bingzi-Bangzi, where Mrs. Gorilla, in the throes of baby envy, mistakes him for a delivery from the stork. A sympathetic Bugs goes along with it, but her husband Gruesome--an obvious relative of Bunny Hugged's The Crusher--is vexed by the impostor, and opens up a can of whup-ass on "Junior." Although Bugs's pantomime of a gorilla brings down the house (Robert McKimson's paunchier Bugs really lends itself to the gag), ultimately the central conflict is too esoteric to sustain a 7-minute cartoon, as…

Tammy (2014) [Extended Cut] – Blu-ray + DVD + Digital HD

November 23, 2014Posted in2014, Authors: Bill Chambers, Blu-ray Disc, Comedy, DVD, Road Movie, Romance

Tammy3

*½/**** Image A- Sound A Extras C
starring Melissa McCarthy, Susan Sarandon, Allison Janney, Kathy Bates
screenplay by Melissa McCarthy & Ben Falcone
directed by Ben Falcone

by Bill Chambers Though in the vein of the crude, crass characters Melissa McCarthy has given us since her breakout performance in Bridesmaids, McCarthy’s Tammy swaggers onto the screen with a presumptuousness for which the actress’s young but popular big-screen persona can’t fully account. Even more than other SNL spinoff Sims like Joe Dirt or Hot Rod, there’s something uncannily familiar about Tammy, and the maddening struggle to contextualize her makes her, ironically, all the more inexplicable. Tammy is about the adventure that spirals out from one very bad day for the title heroine: In quick succession, her car hits a deer, she gets fired, and she catches her husband (Nat Faxon) wining and dining their neighbour (Toni Collette, in perhaps the most thankless role of her career). But Tammy’s slovenliness, minimum-wage job, and obvious lack of education–she doesn’t know what “pattern” means–contrast sharply with details like the good housekeeping of her home, Faxon’s zombie-like unflappability, and the mis-typecasting of Allison Janney in soccer-ready Solondz mode as her mom. A shorthand bit of characterization the filmmakers seem to nurture (by putting Tammy on a jet ski and casting Steve Little) sees the overbearing Tammy as the distaff equivalent to Kenny Powers of “Eastbound and Down”–but Kenny had legitimate talent and success behind him, thus explaining, if not justifying, not only his monstrous ego, but also some of the slack people cut him. Without either that foundational backstory or the luxury of an established cultural identity, Tammy remains a private joke between McCarthy and her co-writer/director/husband, Ben Falcone.

Jersey Boys (2014) – Blu-ray + DVD + Digital HD

November 16, 2014Posted in2014, Authors: Angelo Muredda, Authors: Bill Chambers, Biopic, Blu-ray Disc, Clint Eastwood, Drama, DVD, Musical

Jerseyboys1

*/**** Image A- Sound A Extras C+
starring John Lloyd Young, Erich Bergen, Michael Lomenda, Christopher Walken
screenplay by Marshall Brickman & Rick Elice
directed by Clint Eastwood

by Angelo Muredda Clint Eastwood has never been the most self-referential filmmaker, preferring shopworn competence to flashy displays of idiosyncrasy. But it’s hard to imagine he’s not at least slightly gaming his audience throughout Jersey Boys, an otherwise limp tour through the Four Seasons‘ early discography. What else are we to make of the gag where baby-faced songwriter Bob Gaudio (Chris Klein dead ringer Erich Bergen) catches an image of his director’s grizzled mug in “Rawhide” on a hotel TV? While that feels like a pretty straightforward joke on Eastwood’s uncanny endurance all the way from “Sherry” (1962) to Jersey Boys the Broadway musical (2005), it’s a bit harder to read an equally surreal moment like the dispute between producer and sometime lyricist Bob Crewe (Mike Doyle) and wise-guy guitarist Tommy DeVito (Vincent Piazza) over the band’s sound. “I’m hearing it in sky blue,” Crewe whines in the middle of a recording session, “and you’re giving me brown.” On the one hand, it’s not like Eastwood to take the piss out of his own work, but on the other, what better analogy for his adaptation process can there be than the conversion of a sky-blue all-American songbook to a shit-brown sung résumé, rendered all in blacks and greys save for the odd splash of salmon and the occasional scrap of tweed?

Maleficent (2014) – Blu-ray + DVD + Digital HD

November 2, 2014Posted in2014, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Disney, DVD, Family, Fantasy, Romance

Maleficent1

***/**** Image A- Sound A Extras C+
starring Angelina Jolie, Sharlto Copley, Elle Fanning, Sam Riley
screenplay by Linda Woolverton
directed by Robert Stromberg

by Walter Chaw A gyno-centric reimagining of Disney’s own Sleeping Beauty, visual-effects guy Robert Stromberg’s directorial debut Maleficent (from a script by never-good Disney house-overwriter Linda Woolverton) takes all the ingredients for a horrible disaster and somehow wrestles a fitfully fascinating film from them. It hates men, that much is certain. Paints them as alternately servile and monstrous. Good men follow orders and are easily intimidated; bad men are sexually dangerous and violent. Good men know their place, led about on a tether and bullied into situations by women in groups or singly; and the rest, well…sufficed to say that Sharlto Copley, the most Ellis-from-Die-Hard human, is cast as chief BigBad, the good king Stefan. The film even goes so far as to suggest that romantic, heterosexual love is a sham, a dangerous one at that–something it tries to soften with a couple of doe-eyed exchanges during the epilogue, though I’m not buying it. In fact, had Maleficent truly committed to its themes of feminine empowerment and rage, had it linked them together hand-in-hand without entire agonizing stretches of Disney-fication, it could have entered into the same conversation as Tarantino’s Kill Bills. Here’s another film with a kick-ass female protagonist who finds strength in motherhood. Alas, for as often as it’s great, it’s limited by what its masters will allow.

Edge of Tomorrow (2014) – Blu-ray + DVD + Digital HD

October 7, 2014Posted in2014, Action, Adventure, Authors: Angelo Muredda, Authors: Bill Chambers, Blu-ray Disc, DVD, Sci-Fi, Thriller, Time Travel, Tom Cruise

Edgeoftomorrow1

***/**** Image A Sound A+ Extras B+
starring Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson
screenplay by Christopher McQuarrie and Jez Butterworth & John-Henry Butterworth, based on the graphic novel All You Need Is Kill by Hiroshi Sakurazaka
directed by Doug Liman

by Angelo Muredda Whatever one thinks of his weaselly insouciance as a performer, it’s hard to argue against Tom Cruise’s record of choosing solid collaborators to bring a certain kind of high-concept amuse-bouche to life. From Joseph Kosinski’s Oblivion, a derivative film about derivatives, to the more or less solid auteurist permutations of the Mission: Impossible franchise, the results have varied, but Cruise’s reputation as the sort of star who can get moderately interesting pulp bankrolled and realized by moderately interesting talents has deservedly persisted. So we arrive at Edge of Tomorrow, Doug Liman’s first kick at the Cruise can–a clever, fleetly-paced sci-fi riff on Groundhog Day with all the paradoxes of Duncan Jones’s structurally similar Source Code but a more playful demeanour.

TIFF ’14 Wrap-Up: The Gift of MAGI and some quick takes

September 30, 2014Posted in****/****, 2014, Authors: Bill Chambers, Blog, Directors: Martin Scorsese, Documentary, Drama, Film Festivals, France, Sweden, TIFF

Brainstorm-1983-02-g1

by Bill Chambers I try my best to stay away from the TIFF Bell Lightbox, Toronto's state-of-the-art cinematheque, during the Festival, because for a goodly portion of those ten days it becomes Pandaemonium with a red carpet. But I made what I hope is a self-explanatory exception for the Industry conference "Ad Infinitum: Bigger, Faster, Brighter Movies – The Changing Creative Landscape of Digital Entertainment," where Douglas Trumbull–who designed the lightshows for, among others, 2001: A Space Odyssey, Close Encounters of the Third Kind, and Blade Runner; directed the cultish SF movies Silent Running and Brainstorm; and engineered Back to the Future: The Ride–debuted/previewed his new MAGI process, a digital replacement for his late, lamented Showscan. Trumbull took the podium to introduce a featurette on his work that set the context for UFOTOG, a short subject shot in 4K resolution and 3-D at 120 frames per second (fps). Although the piece dovetails with Trumbull's geeky interest in space invaders (the title is a portmanteau of "UFO" and "photography," just as MAGI is a weird anagram-cum-abbreviation for "moving image"), its raison d'être is to serve as MAGI's proof of concept. Good thing, too: as a narrative it's pretty incoherent.

TIFF ’14: Seymour: An Introduction; Love & Mercy; Whiplash

September 18, 2014Posted in2014, Authors: Bill Chambers, Biopic, Documentary, Drama, Film Festivals, Music, TIFF

Music3fertiff

SEYMOUR: AN INTRODUCTION
***½/****
directed by Ethan Hawke

LOVE & MERCY
**½/****
directed by Bill Pohlad

WHIPLASH
**/****
written and directed by Damien Chazelle

by Bill Chambers Ethan Hawke’s first documentary isn’t the affected thing its Googler-confusing, appropriated-from-Salinger title would suggest. (And perhaps we should be grateful he didn’t go with Suddenly Seymour, Seymour Butts, or I Know What You Did Last Seymour.) Intimate but not prying, Seymour: An Introduction profiles the homuncular Seymour Bernstein, a former pianist of some renown who withdrew from the concert circuit in his prime to focus on teaching piano, hoping to stave off the neuroses of fame. Hawke decided to make the film after receiving some life-altering advice from Bernstein at a gathering, as if compelled to share his good fortune with the world, and that generosity of spirit courses through a piece that looks for wisdom, not pathology, in its subject’s hermetic existence (57 years alone in the same New York apartment) and monk-like devotion to music. A forgotten genius, Bernstein also proves an unsung raconteur in enthralling stories that place him at the centre of a real-life Sunset Boulevard or on the front lines of Korea; he commands the screen in lingering close-ups and holds court with equally-captive audiences of confrères and disciples, despite his professed stage fright. The picture builds to Bernstein’s first live performance in decades, a recital Hawke has arranged in a gesture that seems like a betrayal yet has the not-undesirable effect of making Bernstein look oddly heroic. If possible, he’s an even more expressive individual when filtered through the keys of a Steinway.

Godzilla (2014) – Blu-ray + DVD + Digital HD

September 16, 2014Posted in2014, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, DVD, Sci-Fi, Thriller

Godzilla141

***½/**** Image C+ Sound A+ Extras B-
starring Aaron Taylor-Johnson, Ken Watanabe, Elizabeth Olsen, Bryan Cranston
screenplay by Max Borenstein
directed by Gareth Edwards

by Walter Chaw Gareth Edwards’s Godzilla, the 32nd Godzilla film just including the Toho series and the three previous American contributions, manages somehow to walk the line between nostalgia for the guy-in-a-suit heroism of the earlier installments and the demands and expectations of the modern CGI wonderland. It has Japanese actor Ken Watanabe be the mournful, grave centre of the piece, allowed at one point to utter “Gojira” (later, on a radar, we see it spelled out in obeisance to the movie’s origins) and given the film’s most crowd-pleasing line, right before shit gets real in San Francisco. It cares deeply about the monster’s place in Japanese culture as a simultaneous reminder of what happened to the country during the war, its humiliation afterwards, and its ambiguous place in the world as Japan reconstructed its image. What confused me most when I watched the Toho flicks on Saturday afternoons on a 9″ b&w television was that Godzilla seemed heroic–every bit as nuanced, as conflicted, as ronin as a Mifune samurai; a hero who would return, like Arthur did for England, when the nation needed him. The Godzilla legend is a fable of reconstruction and self-sufficiency–a Leda and the Swan story, where power is drawn from the very source of victimization. He’s a complex national symbol, perhaps the definitive cross-cultural Japanese signifier, and the movies that get that (my favorite is Destroy All Monsters, with its dabbling in female hive minds) are brilliant bits of sociology and history. Edwards’s Godzilla gets it.

TIFF ’14: Men, Women & Children

September 14, 2014Posted in2014, Authors: Bill Chambers, Drama, Film Festivals, TIFF

Menwomenchildren

½*/****
directed by Jason Reitman

by Bill Chambers We’ve entered a golden age of movies that use state-of-the-art technology to rail against the use of state-of-the-art technology. An ensemble piece sardonically narrated in the third-person by Emma Thompson (think Little Children by way of Thompson’s own Stranger Than Fiction), Jason Reitman’s Men, Women & Children paints a glum picture of the Internet’s hold over the American middle-class. In no particular order, husband and wife Adam Sandler and Rosemarie DeWitt seek out extramarital affairs online while their insipid son Travis Tope streams BDSM porn and sexts with cheerleader, classmate, and aspiring famous person Olivia Crocicchia. Crocicchia’s mother Judy Greer is a former model living vicariously through her daughter’s burgeoning career, posting predator-baiting snapshots of her to the tut-tutting of overprotective mom Jennifer Garner, who thinks nothing of printing out daughter Kaitlyn Dever’s private messages to read like the evening paper. (She is, in all sincerity, more infuriating than Piper Laurie in Carrie.) Bookish Dever, meanwhile, finds herself the Jane Burnham to a Ricky Fitts played by dreamy Ansel Engort–a former football hero who, to the chagrin of sports-nut father Dean Norris, retreated into the world of online gaming after his mother left home. Also, there’s a thread involving anorexia and rapey boys that never doesn’t feel grafted onto the narrative out of some insecure impulse to physicalize the abstract threat of cyberspace.

TIFF ’14: Top Five

September 11, 2014Posted in2014, Authors: Bill Chambers, Comedy, Film Festivals, Romance, TIFF

Topfive

**½/****
written and directed by Chris Rock

by Bill Chambers Chris Rock’s Top Five seems to begin in medias res and then backtrack, but in retrospect, the opening sequence–a nicely-sustained tracking shot of Rosario Dawson and Rock taking an afternoon stroll in New York, bickering about whether Obama has actually paved the way for other minorities to become president–could be a flash-forward to the post-film future of these characters. That’s kind of a comforting notion; the problem is I’d rather be watching that light relationship comedy, where they’re already together and routinely engaging in these Woody Allen dialectics, than this one, in which Dawson’s Chelsea and Rock’s Andre do the Forces of Nature/A Guy Thing boogie on the eve of Andre’s marriage to one of Bravo’s many profligate reality-TV subjects (Gabrielle Union). A comic-turned-megastar who made bank starring in a cop-movie franchise as a machine-gun-toting bear (Rock may have an even lower opinion of the filmgoing public than Mike Judge), Andre is asking to be taken seriously with his newest project, Uprize, about the slave revolt in Haiti. To that end, he relents to a NEW YORK TIMES profile, even though the paper of record has never given him a good review; Chelsea is the writer they send, and she comes with something of a hidden agenda. At the risk of spoiling what that is, by the end of Top Five, one thing is abundantly clear: Chris Rock hates critics.

TIFF ’14: Cub

September 9, 2014Posted in2014, Authors: Bill Chambers, Belgium, Film Festivals, Horror, TIFF

Cub

Welp
½*/****
directed by Jonas Govaerts

by Bill Chambers Cub–or Welp, as it is humorously called in the original Dutch–has a killer hook, or at least a viable-enough premise that some considerable buzz has built up around this Midnight Madness entry. A troop of cub scouts goes camping in Belgian woods allegedly occupied by Kai, a boy who becomes a werewolf by night; the two young scout masters, Peter (Stef Aerts) and Chris (Titus De Voogdt), build their own buzz about the cryptozoic creature to have something for the campfires (also because they seem to like antagonizing children), unaware of course that Kai does exist in the form of a lightning-quick feral kid wearing a mask fashioned from tree-bark. Sam (Maurice Luijten) actually stumbles on Kai’s treehouse, where the child stows trinkets purloined from campers, The Final Terror-style, but being an apparent charity case gives Sam zero credibility with those he tells–particularly Peter, who takes sadistic glee in isolating Sam from his peers and targeting him for military punishments that Chris, the more empathetic and merciful of the two, is never around to avert. Seriously: even with a wild child who can’t figure out how to work a can opener living large in a treehouse worthy of I.M. Pei, Chris’s constant absence is the movie’s most confounding mystery.

TIFF ’14: The Look of Silence

September 7, 2014Posted in****/****, 2014, Authors: Bill Chambers, Denmark, Documentary, Film Festivals, Finland, France, Germany, Indonesia, Israel, Netherlands, Norway, Taiwan, TIFF, UK

Lookofsilence

Senyap
****/****
directed by Joshua Oppenheimer

by Bill Chambers Joshua Oppenheimer’s The Act of Killing is devastating because it doesn’t offer any moral opposition to the glibly boastful first-hand accounts of Indonesian death squads; and his The Look of Silence is devastating because it does. A B-side to The Act of Killing but no mere Blue in the Face afterthought, The Look of Silence follows Adi, a 44-year-old door-to-door optometrist whose senile father is 103 and whose mother improbably claims to be around the same age. The father has forgotten but the mother has not that Adi was preceded by a brother, Ramli, who was killed during the “communist” purge (the picture reiterates that anyone who didn’t immediately fall in line with the military dictatorship was tarred with the same brush, regardless of political or religious affiliation)–though “killed” somehow undersells his execution, a two-day ordeal that culminated in Ramli’s castration. Adi watches Oppenheimer’s footage of the murderers describing his brother’s death in that animated, kids-playing way familiar from The Act of Killing, though these are not the same two “actors” who appeared in that film, underscoring that a desensitization to the atrocities committed has happened on a national, not individual, scale.

TIFF ’14: Ned Rifle

September 3, 2014Posted in2014, Authors: Bill Chambers, Drama, Esoterica, Film Festivals, Road Movie, TIFF

Nedrifle

***/****
written and directed by Hal Hartley

by Bill Chambers The third, shortest, and presumably final entry in an improbable film series of seesawing returns, Hal Hartley’s Ned Rifle is the religious component of a triptych that has thus far loosely tackled Art (Henry Fool) and Politics (Fay Grim). Titular Ned (Liam Aiken) is the offspring of drifter Casanova Henry Fool (Thomas Jay Ryan) and hapless Fay Grim (Parker Posey), the latter of whom begins this movie in prison as a result of Henry’s antics, consigning Ned to the care of a reverend (Martin Donovan) and his family. Wanting to biblically avenge his mother, Ned follows a trail of breadcrumbs back to his deadbeat dad; yes, the film has the same basic quest premise as Fay Grim, though it takes the form of an askew It Happened One Night this time instead of another globetrotting “Where in the World Is Carmen Sandiego?” journey. Ned’s interloping travelling companion is Susan (Aubrey Plaza–not a fan, but she curtails her most irritating mannerisms here, and looks dynamite), a grad student with a hidden agenda that somehow entails writing her thesis on the poetry of Simon Grim (James Urbaniak) and ghost-authoring Fay’s memoirs. (“Susan’s brilliant, and she’s a good person, but she’s totally fucked-up,” Simon warns Ned. He could be describing any Hal Hartley protagonist.) A God-fearing Born-again, Ned fends off what he perceives as her advances, but he bristles with jealousy once they track down Henry at a mental hospital and she becomes drawn into his father’s orbit, like so many before her.

TIFF ’14: Waste Land

September 2, 2014Posted in2014, Authors: Bill Chambers, Belgium, Film Festivals, Thriller, TIFF

Wasteland

**/****
written and directed by Pieter Van Hees

by Bill Chambers Ominously chaptered after the weeks in a pregnancy, Waste Land begins with an encouraging but deceptive touch of absurdity, as Brussels homicide detective Leo Woeste (Jérémie Renier) placidly stands in for the victim at a nauseatingly fresh crime scene while the addled perpetrator tries to reconstruct the murder for a forensics team. Leo's next case, involving the occult-related death of a young Congolese immigrant, coincides with wife Kathleen (the appropriately-named Natali Broods) announcing she's with child–her second, Leo's first–and planning on aborting it due to her husband's grim attachment to his profession. He goads her into keeping it by pledging to quit the force once he's through with this latest investigation, but it proves an unreasonable vortex that soon has him becoming infatuated with the dead man's sister (Babetida Sadjo) and going off the grid, as well as the proverbial deep end.

Without Warning (1980) – Blu-ray + DVD Combo Pack

August 25, 2014Posted in1980s, 2014, Authors: Bill Chambers, Blu-ray Disc, DVD, Horror, Sci-Fi, Scream/Shout! Factory

Withoutwarning1

***/**** Image B- Sound B+ Extras A-
starring Jack Palance, Martin Landau, Tarah Nutter, Christopher S. Nelson
written by Lyn Freeman, Daniel Grodnik, Ben Nett, Steve Mathis
directed by Greydon Clark

by Bill Chambers A slasher movie in spirit, Greydon Clark’s Without Warning sure opens like one, in that some cannon fodder is swiftly dispatched to establish the bogeyman and the threat he represents. But instead of the typical frisky coeds or vacationing couple, the first victims are a father (Cameron Mitchell) and his adult son (Darby Hinton) on a hunting trip, and their dialogue is freighted with an impressive amount of history and subtext. The son is rudely awakened at the crack of dawn by his angry father; he proceeds to criticize the taste of the local water, which the father stubbornly hears as girlish griping rather than the anvil it actually is. Though they’re archetypal opposites (the Great Santini and his sensitive offspring), the son does try to call a truce of sorts and is soundly, sadly rebuffed. The father’s macho anti-intellectualism–the boy brought books on a hunting trip!–makes theirs an unbridgeable generation gap, and there’s an unsettling moment where he trains his rifle on his son, sniper-style, before thinking the better of it. Then suddenly, the father is attacked by flesh-eating disks that burrow into his skin, and what can he do except cry out for his kid, who soon suffers the same tragic fate.