Burnt Offerings (1976) – DVD

Posted in1970s, Authors: Walter Chaw, DVD, Horror, Italy, Mystery, Thriller

**/**** Image C+ Sound D+ Extras C
starring Karen Black, Oliver Reed, Burgess Meredith, Eileen Heckart
screenplay by William F. Nolan and Dan Curtis, based on the novel by Robert Marasco
directed by Dan Curtis

by Walter Chaw Plodding, ugly, moribund, Burnt Offerings is bolstered by a few great campy turns from a game cast that includes Oliver Reed, Karen Black, and Bette Davis in a performance that runs counter to the self-loathing roles of her Baby Jane/Sweet Charlotte days. Finding its way to the DVD format just a couple of weeks before another haunted house flick (Cold Creek Manor) debuts on the big screen, veteran television director Dan Curtis's horror quickie is one of those comfortable relics that doesn't scare so much as mildly chill, offering countless opportunities to shout at the screen without any sort of discernible payoff–until the end, that is, but even that shocker of a conclusion has been telegraphed since at least the midway point of the first act, muffling its surprise.

Confidence (2003) – DVD

Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Crime, DVD, Thriller

***½/**** Image A Sound A Extras A
starring Edward Burns, Rachel Weisz, Andy Garcia, Dustin Hoffman
screenplay by Doug Jung
directed by James Foley

by Walter Chaw The urban surfaces of Americana are lent the sheen of Edward Hopper's neon isolationism by cinematographer Juan Ruiz Anchía in the appropriately named Confidence, which finds director James Foley back on noir ground, where his footing is firmest. It's the same effect generated by Foley/Anchía's Glengarry Glen Ross, here in Confidence used to mellifluous affect rather than staccato at the service of a caper flick if not the equal to Jules Dassin's seminal contributions to the genre, at least several times better than the slickified nonsense (The Score, the Ocean's Eleven remake) and sinkholes of talky illogic (Heist) of recent fare. A successful heist film as rare as a film that uses Edward Burns correctly in a sentence, Confidence is proof positive–if proof were needed–that James Foley, when he's at the top of his game, is at the top of the game.

The Ωmega Man (1971) – DVD

Posted in1970s, Authors: Walter Chaw, DVD, Horror, Sci-Fi

The Omega Man
*/**** Image A- Sound B Extras D
starring Charlton Heston, Anthony Zerbe, Rosalind Cash
screenplay by John William Corrington and Joyce H. Corrington, based on the novel I Am Legend by Richard Matheson
directed by Boris Sagal

by Walter Chaw Its dialogue and score at constant war with the tickle of poignancy threatening to justify The Ωmega Man‘s cult status, Boris Sagal’s at times astonishingly awful adaptation of Richard Matheson’s classic short novel I Am Legend is some kind of weird hippie elegy spiced with a few disturbing religious images and a lot of casual racism. The idea that Matheson’s vampires are now black-hooded (monastic and judicial) albino mutants living in an abandoned civic building, representative of not a new order but the oppressive old, is too clearly a lament for the doom of the flower-power generation. Frankly, the image of broken-down hippies trying to plant seeds in blasted earth in the middle of Easy Rider said it all with more elegance and brevity.

Like Looking Into a Mirror: FFC Interviews Mark & Michael Polish

Posted in2000s, Authors: Walter Chaw, Interviews

PolishbrothersinterviewtitlAugust 31, 2003|I met Mark and Michael Polish in the Green Room of Denver's NBC affiliate just after the pair had appeared live on local television to banter with the indigenous fauna about their latest film–and last in a loose trilogy of Americana–Northfork. Garnering a great deal of national praise for their audacity-verging-on-pretension and collecting comparisons to filmmakers like Wim Wenders and Terrence Malick, the brothers, in person, have an air of something so rare it's like vintage from a forgotten cellar: they're grateful for where they are, excited for what the future may bring them. It's a lesson in thankfulness that found me at the right time, just before the crushing festival season, right at the tail end of the summer (and winter and spring) doldrums–questioning, truth be told, what it was again that I was supposed to be doing here when it just didn't seem that much fun anymore.

Never on Sunday (1960) + The Man from Elysian Fields (2002) – DVDs

Posted in1960s, 2000s, Authors: Walter Chaw, Comedy, Drama, DVD, Greece, Romance

Pote tin Kyriaki
***/**** Image A Sound B
starring Melina Mercouri, George Foundas, Titos Vandis
written and directed by Jules Dassin

THE MAN FROM ELYSIAN FIELDS
**½/**** Image B+ Sound B+ Extras C-
starring Andy Garcia, Mick Jagger, Julianna Margulies, Olivia Williams
screenplay by Phillip Jayson Lasker
directed by George Hickenlooper

by Walter Chaw They could be sisters in philosophy. The school of happy-go-lucky hookers perfected by Billy Wilder and his Irma La Douce (1963) also graduated Melina Mercouri’s Ilya three years previous in expatriated filmmaker Jules Dassin’s ebullient Never on Sunday (1960). Dassin and Wilder are involved in a perverse sort of mythmaking–fed by the artifice of classic theatre for Dassin, and for Wilder, more, the hysterical artifice of musical theatre, reclaiming the state of whore to the state of Madonna in what feels like a mania for order in a world without it. The whore as pacific nurturer, Rose of Sharon recast as Xaviera Hollander, represents a cynic’s compromise: the font of life and hearth nursed in the oft-fondled breast of a wanton woman. Mary Magdalene, unrepentant–ascendant.

Down with Love (2003) [Widescreen] – DVD

Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, DVD, Germany, Romance

*/**** Image B Sound A Extras B+
starring Renée Zellweger, Ewan McGregor, David Hyde Pierce, Sarah Paulson
screenplay by Eve Ahlert & Dennis Drake
directed by Peyton Reed

by Walter Chaw Renée Zellweger doesn't look altogether well and Ewan McGregor appears a little bored in Peyton Reed's post-modern take on the three Doris Day/Rock Hudson innuendo operas of the late-'50s and early-'60s. An opening voiceover informs that it's "Now, 1962!" and the jokes don't get any funnier than that; Down with Love makes so many miscalculations about its cast and premise that its theatrical release concurrent with The Matrix Reloaded doesn't seem so much "counter-programming" as "hide the evidence." Its greatest crime isn't that its one joke is tiresome from the thirty-minute mark on, it's that at the end of the day the picture doesn't particularly convince as a romance, tickle as a comedy, or score as a satire of any kind.

American Splendor (2003) + The Secret Lives of Dentists (2003)

Posted in****/****, 2000s, Authors: Walter Chaw, Biopic, Comedy, Drama, Esoterica, Theatrical

AMERICAN SPLENDOR
*½/****
starring Paul Giamatti, Hope Davis, James Urbaniak, Harvey Pekar
screenplay by Shari Springer Berman & Robert Pulcini, based on the comics by Harvey Pekar & Joyce Brabner
directed by Shari Springer Berman & Robert Pulcini

THE SECRET LIVES OF DENTISTS
****/****
starring Campbell Scott, Hope Davis, Denis Leary, Robin Tunney
screenplay by Craig Lucas, based on the novella The Age of Grief by Jane Smiley
directed by Alan Rudolph

by Walter Chaw The same between American Splendor and Ghost World is that both have middle-aged outcasts as protagonists who each collect old blues 78s, that both were adapted from comic books, and that there’s a bus stop in Cleveland. The difference between American Splendor and Ghost World is that with two solitary figures in search of completion, there is the possibility for recognition of sameness–but with two figures (underground comic book writer Harvey Pekar and his wife Joyce Brabner (Hope Davis)) who have found in one another a sympathetic orbit, a partner in life and lo, with a child dropped willy-nilly into their midst to tie up loose ends, there is instead a sort of alien, island of lost toys exclusion that makes for a further alienation of the very alienated audience to which Pekar’s comic so appealed and, eventually, took for granted and pandered. The difference between American Splendor and Ghost World is that one is in love with its contrivance, and the other is in love with its melancholy.

The Medallion (2003)

Posted in2000s, Action, Authors: Walter Chaw, Comedy, Fantasy, Hong Kong, Jackie Chan, Martial Arts, Theatrical, Thriller

½*/****
starring Jackie Chan, Lee Evans, Claire Forlani, Julian Sands
screenplay by Bey Logan, Gordon Chan, Alfred Cheung, Bennett Joshua Davlin, Paul Wheeler
directed by Gordon Chan

Medallionby Walter Chaw I think it's fair at this point to say that I'm no longer so much a Jackie Chan fan as I really like a few Jackie Chan movies. His career has taken a rather conspicuous downturn since he reintroduced himself to Hollywood almost a decade ago, just after his last great film Drunken Master 2, scraping and bowing and remixing a few of his Hong Kong hits with English-dubs (and why is it that Asian films are the only ones consistently re-voiced for North American release?) and consenting to play ethnic Kato caricature to a string of Yank comedians for inexperienced directors and that screaming idiot Brett Ratner.

Dirty Pretty Things (2003); Shanghai Ghetto (2003); Camp (2003)

Posted in2000s, Authors: Walter Chaw, Comedy, Crime, Documentary, Drama, Musical, Theatrical, Thriller, UK

DIRTY PRETTY THINGS
***/****
starring Audrey Tautou, Sergi López, Chiwetel Ejiofor, Sophie Okonedo
screenplay by Steve Knight
directed by Stephen Frears

SHANGHAI GHETTO
**/****
directed by Dana Janklowicz-Mann & Amir Mann

CAMP
*½/****
starring Daniel Letterle, Joanna Chilcoat, Robin de Jesus, Steven Cutts
written and directed by Todd Graff

by Walter Chaw Stephen Frears, like antipodean director Phillip Noyce before him, found the Hollywood waters to be a touch turgid and so in 2000 went back to the small country where he first rose to prominence. For Frears, who made his first resonant mark with a fantastic quartet of films–My Beautiful Laundrette, Walter and June, Prick Up Your Ears, and Sammy and Rosie Get Laid–in the mid-’80s, the return to his homeland presaged a return to his interest in England’s bottom caste and immigrant class, first with the grim, slight Liam and now with the trancelike, nightmarish Dirty Pretty Things. Its title both a reference to smarmy hotel manager Juan’s (Sergi López) philosophy of hotel management (“Our guests are strangers–they leave dirty things, we make them pretty things”) and the idea that the “pretty things” might be the film’s pretty heroes, Nigerian refugee Okwe (Chiwetel Ejiofor) and Turkish illegal Senay (Audrey Tautou), dirtied by the realities of blue-collar London. The struggle between the pragmatism of Juan’s outlook and the idea of sullied purity of Okwe and Senay is really all you need know about the picture–it’s a piece composed of equal parts social realism and fairytale martyrdom, with either part watered down by the other.

The Hunted (2003) [Widescreen] – DVD + William Friedkin: Films of Aberration, Obsession and Reality – Books

Posted in2000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Books About Movies, Crime, Directors: William Friedkin, Drama, DVD, Thriller

THE HUNTED
***/**** Image A Sound A Extras B
starring Tommy Lee Jones, Benicio Del Toro, Connie Nielsen, Jenna Boyd
screenplay by David Griffiths & Peter Griffiths and Art Monterastelli
directed by William Friedkin

WILLIAM FRIEDKIN: FILMS OF ABERRATION, OBSESSION AND REALITY
FFC rating: 9/10
written by Thomas D. Clagett

by Walter Chaw Hot on the heels of Bruce Willis’s bwana wish-fulfillment fantasy Tears of the Sun comes William Friedkin’s The Hunted, a film that introduces its titular fugitive in a flashback to Kosovo at the height of the Albanian genocide. The parsing of historical atrocity functioning as shorthand for backstory to what is essentially a pretentious action movie is distasteful, the insertion into that history of elite American soldiers righting wrongs un-righted to this day a kind of unspeakable arrogance late unique of Yankee cloth. That being said, The Hunted is a cheerfully ridiculous movie that manages over the course of its running time to entertain with a series of action set-pieces that recall Friedkin’s work in The French Connection. Though riddled with plot impossibilities and stunning coincidences, the picture, courtesy, perhaps, of Caleb Deschanel’s magnificent cinematography, reminds of the nearness of nature and violence of John Boorman’s Deliverance; of the kineticism of Doug Liman’s The Bourne Identity; and of the premise and execution of a little-read Rex Miller novel called S.L.O.B.. If it also reminds of the creaky Abraham/Oedipus by way of Robert Bly wilderness dynamic of Mamet’s appalling The Edge, so be it: the fun parts outweigh the infuriating ones.

City Hunter (1993) – DVD

Posted in1990s, Action, Authors: Walter Chaw, Comedy, Crime, DVD, Hong Kong, Jackie Chan, Japan, Martial Arts, Romance, ZERO STARS

ZERO STARS/**** Image C Sound C Extras D
starring Jackie Chan, Joey Wong, Kumiko Goto, Chingmy Yau
written and directed by Wong Jing

by Walter Chaw There’s a scene towards the middle of Jackie Chan’s unwatchable City Hunter where starving, womanizing Ryô (Chan) leers at a pretty bimbo, and director Wong Jing provides a point-of-view shot that replaces her breasts with hamburgers and her arms and legs with corresponding fried chicken parts. The film never gets any funnier. City Hunter is garbage–fetid and painful from its prologue to a conclusion 100 minutes later that feels for all the world like a week-and-a-half later. It’s misogynistic, which is not really a surprise as almost all of Jackie Chan’s modern-era films are virulently so, but it does what I wouldn’t have suspected to be possible: it makes Chan a smarmy, oafish reptile. The modern Buster Keaton is here recast as Lorenzo Llamas, with the level of violence towards women in the film so extreme and unacceptable that it feels not so much prehistoric as something of a first.

Identity (2003) [Special Edition] – DVD

Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, DVD, Mystery, Thriller

***/**** Image A Sound A Extras B
starring John Cusack, Ray Liotta, Amanda Peet, Alfred Molina
screenplay by Michael Cooney
directed by James Mangold

by Walter Chaw Although by the end it isn’t nearly as interesting as it is clever, James Mangold’s take on the slasher genre Identity is a tricky little beast that fits in peculiarly well with the recent trend of deconstructive horror films (such as The Ring and Soft for Digging). Its use of Hughes Mearns’s haunting “Antigonish” (1899, “I was going up the stair/I met a man who wasn’t there!/He wasn’t there again today!/I wish, I wish he’d stay away!”) reminds of Dario Argento’s nursery dirge in Deep Red, while the film’s telescoping storytelling style evokes, of all things, the caper genre. With its title suggesting a certain high-mindedness, when a character glances for a swollen moment at Sartre’s Being and Nothingness, it tells too much of what the film will be about: the philosopher’s existential definition of consciousness projected onto reality and the dangers of mauvaise foi (bad faith), the process by which people, within themselves, elude responsibility for what they do. Still, the film is such a professional exercise on every level that its obviousness–better, its literalness–can be forgiven.

The Rose (1979) – DVD

Posted in1970s, Authors: Walter Chaw, Drama, DVD, Music, Romance

*½/**** Image C- Sound C Extras C
starring Bette Midler, Alan Bates, Frederic Forrest
screenplay by Bill Kerby and Bo Goldman
directed by Mark Rydell

by Walter Chaw Lenny by way of John Waters, Mark Rydell’s The Rose is a film made obsolete by years of “Behind the Music”–this story of a Janis Joplin-inspired singer boozin’ her way into a theatrical grave counts a lack of vitality and anything resembling surprise as chief among its faults. Bette Midler’s performance scored an Oscar nomination in 1980, but it lands with a shrillness now that defeats its attempts at pathos and depth. Why we should care about a self-destructive blues siren with impulse control issues is one of those things unwisely taken for granted while by now, twenty-three years after the fact, the lessons of hedonism and the downward spirals of the performing kind are curiously tepid, delivered as they are with a bullhorn and a bad Otis the Town Drunk impersonation.

He Who Courts Controversy: FFC Interviews Peter Mullan

Posted in2000s, Authors: Walter Chaw, Interviews

PmullaninterviewtitleAugust 10, 2003|An indisputable sign of my provincialism, ten minutes into my conversation with Scottish actor-filmmaker Peter Mullan and I was still thinking to myself how awesome his rolling brogue is–I’ve never been more tempted to ape Irvine Welsh. But there’s more to Mullan than an accent raised on Guinness, cigarettes, haggis, and golf: the man, a former schoolteacher and favourite of director Ken Loach, is an amazingly erudite and charismatic cultural observer, expounding at length about film craft, racism, even poetry. (It’s not often one can talk at length about Samuel Coleridge with anyone, and if Mullan’s next project is a biopic of the scribe, I’ll be the first in line–and wanting an acknowledgment for the casting suggestion of Timothy Spall.) An unlikely lightning rod for one of the most controversial films of the year, Mullan is quick with a smile and an indecipherable regional profanity, spry the morning after an extended Q&A session following a late invitational screening of his The Magdalene Sisters and duly impressed by Denver’s exceptional selection of quality microbrews. The man knows his beer, I’ll give him that, and while his film isn’t without its imperfections, Mullan seems to know his capacity for outrage as well; let’s not kid ourselves: that quality of passion in any filmmaker, in any age, is certainly not strained.

Johnstown Flood (2003) + The Pennsylvania Miners’ Story (2003) – DVDs

Posted in2000s, Authors: Walter Chaw, Documentary, DVD

JOHNSTOWN FLOOD
*/**** Image B Sound B Extras A
directed by Mark Bussler

THE PENNSYLVANIA MINERS' STORY
*½/**** Image B- Sound B
starring Graham Beckel, Michael Bowen, Tom Bower, Dylan Bruno
screenplay by Elwood Reid
directed by David Frankel

by Walter Chaw Richard Dreyfuss's voice is like a weasel rubbed against a blackboard: not entirely nasal (not entirely not), with a sort of lisping sneer that makes him a particularly bad match for narration work. It's not an axiom–but it should be–that lately the only thing worse than watching Dreyfuss in a film is listening to him; to the credit of peculiar direct-to-video documentary Johnstown Flood, though we have to listen to Dreyfuss narrate the piece, we don't have to watch him emote his way through it. The effect of having Dreyfuss go on about one of the most horrific dam-break tragedies in the United States is that his Napoleon-complex, constipated Snagglepuss wheeze ("Heaventh to Murgatroid!") lends the recreated bits of the documentary a tense sort of edge that it doesn't otherwise earn and feels slightly left of true, besides. Through it all, it's not Dreyfuss but the badly written and performed re-enactments that are the main problem with the piece, demonstrating by their weakness just how good The History Channel's stolid re-enactments actually are.

American Wedding (2003)

Posted in2000s, Authors: Walter Chaw, Comedy, Romance, Theatrical

American Pie: The Wedding
*½/****
starring Jason Biggs, Seann William Scott, Alyson Hannigan, Eddie Kaye Thomas
screenplay by Adam Herz
directed by Jesse Dylan

by Walter Chaw Joining the Porky’s triptych as teensploitation smut franchises that have made it to three instalments (the Revenge of the Nerds series has four chapters, but only the first two are really all that smutty), American Pie finds (hopefully) its conclusion in the dreadfully incomplete-feeling American Wedding. A series of set-ups without punchlines that compensate for the deficiency by featuring a truly impressive number of random de-pantsings, people caught in unlikely tableaux that are inevitably mistaken for some sort of sexual deviancy, and a stable of stock characters so locked into their exploitative roles that existential questions of predestination and choice tickle at making the picture interesting. Featuring the best fecal-consumption-mined-for-yuks scene since the second Austin Powers movie (though a disappointingly minimal amount of gratuitous nudity), American Wedding can, in all honesty, be analyzed with profit as a satire of the whole tits-and-zits genre. It resembles Jurassic Park III in its general disdain for its audience and fatigue with its own shake-and-bake premise, but it does have a couple of laughs–the best bits involving a surreal dance-off and a ridiculously convoluted sequence with a pair of role-playing strippers.

Mondays in the Sun (2002); Freaky Friday (2003); The Eye (2002)

Posted in2000s, Authors: Walter Chaw, Comedy, Drama, France, Hong Kong, Horror, Italy, Singapore, Spain, Theatrical, Thriller

Los Lunes al sol
**/****
starring Javier Bardem, Luis Tosar, José Ángel Egido, Nieve de Medina
screenplay by Fernando León de Aranda, Ignacio del Moral
directed by Fernando León de Aranda

FREAKY FRIDAY
**/****
starring Jamie Lee Curtis, Lindsay Lohan, Harold Gould, Mark Harmon
screenplay by Heather Hach and Leslie Dixon, based on the novel by Mary Rodgers
directed by Mark S. Waters

Jian gui
*½/****
starring Angelica Lee, Lawrence Chou, Chutcha Rujinanon, Yut Lai So
screenplay by Jo Jo Yuet-chun Hui, Oxide Pang & Danny Pang
directed by Oxide Pang & Danny Pang

Mondaysfreakyeyeby Walter Chaw Fernando León de Aranda's Mondays in the Sun is probably best described as a Spanish version of Fred Schepisi's Last Orders: a journal of a depressed nation's aging gentry, ferrying one of their own on to the great symbolic hereafter. It aspires to the sort of myth of Vittorio Di Sica's neo-realism, portraying the plight of the dispossessed working class in its unadorned splendour, succeeding by the end only to be a repetitive tattoo around the threadbare theme of men defined by work and destroyed by obsolescence. A castration melodrama in several anecdotal horizontal movements, Mondays in the Sun loses steam and tests patience by making its one point to exhaustion. A scene where the great Javier Bardem rails at the fable of the grasshopper and the ants ("This is bunk! It has no sympathy for someone who is born a grasshopper instead of an ant!") says almost all there is to say about the film, while a lingering close-up of Bardem's battered mug in all its injured brute eloquence is, by itself again, enough.

The Magdalene Sisters (2002)

Posted in2000s, Authors: Walter Chaw, Drama, Ireland, Theatrical, UK

**½/****
starring Geraldine McEwan, Anne-Marie Duff, Nora-Jane Noone, Dorothy Duffy
written and directed by Peter Mullan

by Walter Chaw Most discussions of Peter Mullan’s The Magdalene Sisters will probably focus on the extent to which the story that it relates is inspired by truth; the Catholic Church has been predictably swift in its blanket condemnation, while the film’s supporters have presented actual “Magdalene Laundry” survivors who attest that the reality was actually much grimmer. The skeleton truth of the film, then, falls somewhere between those extremes, and its presentation, likewise, vacillates between elegant reserve and keening hysteria. The picture is a fictional treatment of the forced labour of tens of thousands of “wayward” girls in the convents of the Irish Catholic order of the Sisters of the Magdalene–compelled through intimidation and abuse to literally wash their sins away with backbreaking work scrubbing butcher’s whites and the like under Dickensian conditions. When it works (as in a prologue and conclusion that mute dialogue in an approximation of collective guilt), it works on the strength of Mullan’s smooth visual sensibility and narrative acumen. And when it doesn’t work (as in a subplot concerning a priest stridently not a “man of God”), the film tends to grate and, worse, cast doubt on the extent to which Mullan’s willing to go to take sides on his subject.

Gigli (2003)

Posted in2000s, Al Pacino, Authors: Walter Chaw, Comedy, Crime, Gangster, Romance, Theatrical

*/****
starring Ben Affleck, Jennifer Lopez, Justin Bartha, Lenny Venito
written and directed by Martin Brest

by Walter Chaw While it doesn’t live up to its hype as the worst film ever made, Martin Brest’s Gigli, with its creepy contention that Ben Affleck is the cure for lesbianism, certainly makes a run for the most unintentionally hilarious film ever made. Its first mistake is in giving not one, but two charisma vortexes the leading roles, the sucking black hole this creates at the film’s centre thrown into sharp relief whenever a real actor (Christopher Walken, Al Pacino) makes a cameo appearance. The most surprising thing about Gigli isn’t the failed casting gambit or the gruesomely over-written dialogue (this isn’t anyone’s first film, after all), however, but rather the idea that Jennifer Lopez would authorize the reduction of her famously outsized posterior on the posters–abandoning (after mocking it in Maid in Manhattan–which, as it happens, was written by Brest’s Meet Joe Black scribe Kevin Wade) what is arguably the only thing so far about Lopez that hasn’t proven to be facile and over-hyped.

All the Real Girls (2003) – DVD

Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Drama, DVD, Romance

***½/**** Image A+ Sound A Extras B+
starring Paul Schneider, Zooey Deschanel, Patricia Clarkson, Benjamin Mouton
written and directed by David Gordon Green

by Walter Chaw David Gordon Green’s sophomore picture All the Real Girls has the quality of a Faulknerian myth, with rural North Carolina subbing for his Yoknapatawpha County. It reminds of (and refers to) Terrence Malick’s dreamlike naturalism more than in the stylistic similarity of Tim Orr’s meticulous compositions–there is in Green’s work an understanding of those delicate moments that carve indelibly into the collective sublime. Marking the unbearable tragedy of being human, in his second film Green observes the madness of love in a temporary world, his gift in charting the native poetry of place and imperfection. When he allows that inarticulate frustration to fester against the backdrop of a stained paradise (George Washington), he creates an American masterpiece; when that furious inability to communicate comments on first love (All the Real Girls), he creates something no less elegant though considerably less able to sustain the gravity of its treatment.