Authors: Walter Chaw Archives - Page 142 of 146

DIFF ’01: Big Bad Love

October 18, 20012000s, Authors: Walter Chaw, Comedy, DIFF/SDFF, Drama, Film Festivals, Romance

½*/****
starring Arliss Howard, Debra Winger, Paul Le Mat, Rosanna Arquette
screenplay by James Howard & Arliss Howard, from stories by Larry Brown
directed by Arliss Howard

by Walter Chaw Arliss Howard's Big Bad Love (or, "Fear and Loathing in Appalachia") is both self-conscious and self-indulgent. It doesn't pass the sniff test in terms of truth and lack of pretense, malodorous with that peculiarly rank stink of hubris. Marking his auteur debut, veteran character actor Howard adapts a collection of Larry Brown short stories wearing three hats (star, director, and writer–co-writer, actually, with brother James), each of which fits uneasily if at all. As a director, Howard tosses so many gimmick shots and narrative tricks (dream sequences, fantasy sequences, magic realism, etc.) at the celluloid wall that it's almost a statistical impossibility for not a one of them to stick–but it happens. Gimmicks like fake voiceover news broadcasts are distracting and irritating at the best of times; when overused, as in Big Bad Love, they're screaming bores rather than endearing quirks. As an actor, Big Bad Love is evidently a vanity vehicle for Howard, and it's again something of a marvel that Howard is so consistently ineffective and emotionally flat. Onscreen for about 98% of the time, Howard's exercise in self-love backfires to the extent that every other performer he shares a scene with blows him off the screen. Finally, as screenwriters, the Brothers Howard prove themselves to lack a sense of grace in their symbolism and a sense of coherence in their narrative.

DIFF ’01: Margarita Happy Hour

October 18, 20012000s, Authors: Walter Chaw, DIFF/SDFF, Drama, Film Festivals

**½/****
starring Eleanor Hutchins, Larry Fessenden, Holly Ramos
written and directed by Ilya Chaiken

by Walter Chaw If a song by Maggie Estep, the original riot grrl, were ever made into a film, it would probably turn out like Ilya Chaiken's Margarita Happy Hour. Profane and invested in the underground scene of late-Eighties Greenwich Village and Brooklyn, the film carries on a certain gritty slice-of-street life storytelling tradition with an appropriately grim ethic, though its resolution is curiously upbeat. Margarita Happy Hour's tagline says a lot: "Hipsters, Single Moms, and the Cycles of Life." Essentially about being trapped in a miserable existence with few prospects for improvement, the film spends altogether too much time on extended metaphors concerning the ephemeral knot of existence and broken symbolism involving being isolated and adrift in a sea of sharks.

DIFF ’01: Faat Kiné

October 18, 20012000s, Authors: Walter Chaw, Comedy, DIFF/SDFF, Drama, Film Festivals, Senegal

***½/****
starring Venus Seye, Mame Ndumbe Diop, Ndiagne Dia
written and directed by Ousmane Sembene

by Walter Chaw Though John Dunne clarified that "no man is an island, entire of itself," for all cinematic intents and purposes, Ousmane Sembene is the whole of the Dark Continent. Now 73 years old, the African auteur presents Faat Kiné ("Aunt Kiné"), a wonderful film resplendent with Sembene's unaffected anti-style and even-handed approach to thorny issues of the ails–new (AIDS) and old (neo-colonialism, violent misogyny)–festering at the core of the modern African sensibility, stunting its growth as surely as the murderous European invasions of a century ago. Faat Kiné is Sembene's sunniest piece, defining a trend for 2001 when one considers the return of another legendary, septuagenarian filmmaker: Jacques Rivette's effervescent Va savoir. But although Va savoir and Faat Kiné share strong and opinionated female protagonists and sweet love story endings, Rivette (eternally) grapples with the absurdism of identity; Sembene's demons are rooted in the absurd notion of a people divided by damning traditions and crippling prejudice.

The Last Castle (2001)

October 18, 20012000s, Action, Authors: Walter Chaw, Drama, Prison, Theatrical, Thriller

*/****
starring Robert Redford, James Gandolfini, Mark Ruffalo, Steve Burton
screenplay by David Scarpa and Graham Yost
directed by Rod Lurie

by Walter Chaw As I walked out of the theatre after a screening of part infinity-plus-one of Robert Redford’s “I am an American Icon” film series (adding three-star general to his playboy, cowboy, investigative journalist, and baseball pitcher), a grey old lady exclaimed for our consideration: “Fantastic film. Just perfect for the time.” I assumed that by “the time” she meant “our post-September 11^th, anthrax-paranoia time.” That much was clear. What bothers me is that while I was watching a film about a prison uprising resulting in multiple guard fatalities led by a megalomaniacal and disgraced army man (who proudly confesses his bad judgment in leading eight of his men to their demise), this woman was seeing a battle hymn “perfect for the time.” How does one address this difference in perception, and how do these two readings intersect in the idea of what is distinctly American?

DIFF ’01: The Devil’s Backbone

October 17, 20012000s, Authors: Walter Chaw, DIFF/SDFF, Drama, Film Festivals, Horror, Mexico, Spain

***/****
starring Federico Luppi, Marisa Paredes, Fernando Tielve
screenplay by Guillermo del Toro and Antonio Trashorros & David Munoz
directed by Guillermo del Toro

by Walter Chaw More of a sepia-stained Spanish fairy tale about the dehumanizing effects of war than a horror film, Guillermo del Toro's melancholy labour of love The Devil's Backbone (it's dedicated to his parents) is redolent with atmosphere and lacking in conventional fright payoffs, which aren't the point of the exercise, anyway. The Devil's Backbone centres around a colony of lost boys led by a stately Pan, Dr. Cásares (Argentine legend Federico Luppi). The head of a refuge for war orphans (we never know who's winning, and neither do the characters), Dr. Cásares and the one-legged matron Carmen (Marisa Paredes) share chaperone duties with the swarthy Jacinto (Eduardo Noriega) and the comely Alma (Berta Ojea). Look to each of the adult character's infirmities, strengths, and vanities for clues as to what they represent in the Guernican tragedy of the Spanish Civil War, specifically of how the doomed republican rallying cry of "No pasaran!" ("You will not pass!") becomes the hollow promise of ghosts defending an abandoned orphanage.

The Business of Stettner: FFC Interviews Patrick Stettner

October 16, 20012000s, Authors: Walter Chaw, DIFF/SDFF, Film Festivals, Interviews

October 17, 2001|Quick with a smile and a self-deprecating laugh, Patrick Stettner is not the dour cynic his films–the 14-minute Flux (starring Allison Janney) and his feature debut, the wicked The Business of Strangers–lead one to expect. I sat down to talk with the polite and effusive Mr. Stettner, who is utterly passionate about and eager to discuss independent cinema, among many other topics.

Z-Boys Are Back in Town: FFC Interviews Stacy Peralta

October 14, 20012000s, Authors: Walter Chaw, Documentary, Interviews

October 14, 2001|Eloquent and passionate about his work, generous with his thoughts and fears, Stacy Peralta seems to be free of the burden of self-importance that stunts many who attain fame and fortune at an early age. Poised on the precipice of stardom again some twenty-six years after the Del Mar National Skateboard Championships put he and his seven Zephyr Skateboard Team teammates on the map and into underground subculture lore, the surprise success of Mr. Peralta's Dogtown & Z-Boys (the winner of the audience and director's prizes at this year's Sundance Film Festival), chronicling the exploits of the Z(ephyr)-Boys, has led to scripting duties on a new David Fincher project (called "Dogtown") and another directing gig produced by Sean Penn based on the Hunter Thompson-esque memoirs of surfer/photojournalist/author Allan Weisbecker's In Search of Captain Zero.

DIFF ’01: Hybrid

October 13, 2001****/****, 2000s, Authors: Walter Chaw, Biopic, DIFF/SDFF, Documentary, Esoterica, Film Festivals

****/****
directed by Monteith McCollum

by Walter Chaw Hybrid is an elegy for the passing of a man who fell in love early in his life and remained faithful until the day he died, two years past turning one-hundred. Presented in gritty blacks and whites, Monteith McCollum's six-year labour of love memorializing his grandfather Milford Beeghly is a stunning documentary that itself plays as a hybrid of something dreamed-up by Errol Morris and the Brothers Quay. Ostensibly about Beeghly's obsession with finding the perfect hybrid breed of corn as an industrial crop, the film somehow becomes a grand metaphor–for the rough grace of the American way of life, for the lingering death of the agrarian lifestyle, for the difficulties of balancing family with a calling, and even for the true meaning of happiness.

Iron Monkey (1993)

October 12, 20011990s, Action, Authors: Walter Chaw, Crime, Drama, Hong Kong, Martial Arts, Theatrical

***½/****
starring Yu Rong Guang, Donnie Yen, Jean Wang, Tsang Sze Man
screenplay by Tsui Hark, Elsa Tang, Lau Tai Mok
directed by Yuen Wo Ping

by Walter Chaw I first saw Yuen Woo-ping’s Iron Monkey on what must have been a third-generation bootleg: it was in unsubtitled Cantonese and fullscreen pan-and-scan, brought home unlabeled on a cheap Maxell videotape from a Vietnamese grocery down on South Federal. As a native Mandarin speaker, I didn’t understand a word of it, and the quality of the tape was such that it was impossible to decipher any shadow detail, but it was clear to me even then that Iron Monkey was something extremely special. Long a cult favourite in the United States (although it didn’t do particularly well when released theatrically in Asia), Iron Monkey received an extremely nice DVD transfer in 1998 from Media Asia; it is a disc that holds a place of honour in my personal collection. With the massive popularity of The Matrix and Crouching Tiger, Hidden Dragon (both choreographed by Woo-ping), as well as the surprising success of Americanized re-issues of Jackie Chan’s old Hong Kong films, Iron Monkey has been cleaned up, freshly subtitled, and booked in American moviehouses in an attempt to capitalize on the sudden popularity of wire-fu in particular and the dizzying HK cinema in general.

DIFF ’01: Lantana

October 12, 20012000s, Australia, Authors: Walter Chaw, DIFF/SDFF, Drama, Film Festivals, Germany, Mystery, Romance

***/****
starring Anthony LaPaglia, Geoffrey Rush, Barbara Hershey, Kerry Armstrong
screenplay by Andrew Bovell, based on his play
directed by Ray Lawrence

by Walter Chaw Leon Zat (Anthony LaPaglia) is a police officer suffering from low self-esteem and a dwindled passion in his marriage to Sonja (the incredible Kerry Armstrong). When we first meet Leon, in fact, we know him only as an adulterer, witness to the first of his two indiscretions with the newly-separated Jane (Rachael Blake). Suspecting that Leon may be straying, Sonja visits a therapist, Valerie (Barbara Hershey), confiding that, "It isn't that he's slept with another woman, it's that he's lied to me about it that's the betrayal." Lantana is obsessed with repression, of how one small secret kept for too long mutates and festers into insurmountable guilt and fear. Leon feels guilty about his adultery and is fearful of being discovered; later, Leon feels guilty for having been discovered, and is fearful that his wife no longer loves him. Sonja similarly worries that she doesn't love him anymore.

Va savoir (2001)

October 12, 2001****/****, 2000s, Authors: Walter Chaw, Comedy, Crime, Drama, France, Germany, Italy, Romance, Theatrical

Who Knows?
****/****
starring Claude Berri, Catherine Rouvel, Hélène de Fougerolles, Jeanne Balibar
screenplay by Luigi Pirandello, Jacques Rivette, Pascal Bonitzer, Christine Laurent
directed by Jacques Rivette

by Walter Chaw

"I hate symbolic art in which the presentation loses all spontaneous movement in order to become a machine, an allegory – a vain and misconceived effort because the very fact of giving an allegorical sense to a presentation clearly shows that we have to do with a fable which by itself has no truth either fantastic or direct; it was made for the demonstration of some moral truth."
-Luigi Pirandello from Playwrights on Playwriting, ed. by Toby Cole, 1961

DIFF ’01: The Son’s Room (2001)

October 11, 20012000s, Authors: Walter Chaw, DIFF/SDFF, Drama, Film Festivals, France, Italy, Palme d'Or Winner

La stanza del figlio
**/****
starring Nanni Moretti, Laura Morante, Jasmine Trinca, Giuseppe Sanfelice
screenplay by Linda Ferri, Nanni Moretti, Heidrun Schleef
directed by Nanni Moretti

by Walter Chaw Teetering along the narrow line that separates “poignant” from “maudlin,” the curiously detached The Son’s Room (La Stanza del figlio) ultimately errs on the side of the latter through increasingly unsubtle and rote revelations about the process of grief. Written (with Linda Ferri and Heidrun Schleef), directed, and starring the “Italian Woody Allen,” Nanni Moretti, the film is too clearly the product of a veteran comedian’s mind: all seriocomic vignettes barely tied together by the loosest of narrative structures. It may be more appropriate to describe Moretti as the Italian version of America’s own teary velvet clown: Robin Williams. (Unflattering, yes.) The winner of the prestigious Palme d’or at this year’s Cannes Film Festival (beating out Mulholland Drive, In The Bedroom, and The Man Who Wasn’t There, each this film’s superior), La Stanza del figlio is well performed but unconvincing, aspiring to a sober emotional depth that is consistently undermined by high-decibel wailing, a tinkling, sappy soundtrack and score, and melodramatic trials and their telegraphed resolutions.

DIFF ’01: The Man Who Wasn’t There (2001)

October 11, 2001****/****, 2000s, Authors: Walter Chaw, Coen Brothers, Crime, DIFF/SDFF, Drama, Esoterica, Film Festivals, Scarlett Johansson, Thriller, UK

****/****
starring Billy Bob Thornton, Frances McDormand, Michael Badalucco, James Gandolfini
screenplay by Joel Coen & Ethan Coen
directed by Joel Coen

by Walter Chaw The noir genre was born of discomfort with women in the workplace, the rise of cynicism, and a world polarized by international conflict (WWII). Its symbol, the hardboiled detective, became the projection of the collective paranoia about the ascent of globalism and the death of Pollyannaism. Women and foreigners are not to be trusted in the noir universe; information is slippery and expensive; and the solution of the puzzle more often than not points back to a rot at the heart of the detective. It is the Oedipus/identity trajectory, complete with a blasted plague land, a murder, its thinly veiled culprit (noir is typically invested in process, not mystery), the appearance of a femme fatale, and a solution involving mortal self-knowledge. The noir hero may save the day, but at the price of being betrayed by those he loves. He is impotent to avenge his fallen friends and lovers, and at the mercy of a larger corruption that is unalterable and serves only to further degrade individual confidence. Tellingly, a great many noir works in literature and film begin with the death of a best friend or a partner and end with the realization that any victory is a hollow one in light of society’s inexorable fall into chaos.

The Mists of Avalon (2001) – DVD

October 10, 20012000s, Authors: Walter Chaw, Czech Republic, Drama, DVD, Fantasy, Germany, Television

**/**** Image A Sound B-
starring Anjelica Huston, Julianna Margulies, Joan Allen, Samantha Mathis
teleplay by Gavin Scott, based on the novel by Marion Zimmer Bradley
directed by Uli Edel

by Walter Chaw A lavish television adaptation of Marion Zimmer Bradley’s minor feminist classic, The Mists of Avalon is three hours of ripping bodices, slashing swords, ludicrous, DeMille-tinged fertility rites, and snarling, imperious heroines. It is a retelling of the Arthur myth through the eyes of Morgan le Fey (recast as “Morgaine” and played by the terrifying Julianna Margulies), diminishing Merlin’s (Michael Byrne) role to that of doddering secondary foil and Arthur’s (Edward Atterton) to a brooding cuckold cipher.

Citizen Kane (1941) – DVD

October 10, 2001****/****, 1940s, Authors: Walter Chaw, Drama, DVD, FFC Must-Own, Mystery

****/**** Image A+ Sound A+ Extras A+
starring Orson Welles, Joseph Cotten, Dorothy Comingore, Ray Collins
screenplay by Herman J. Mankiewicz Orson Welles
directed by Orson Welles

by Walter Chaw There are two shots of Rosebud in Citizen Kane, the first as it’s covered by a blanket of forgetful snow outside the boarding-house of Kane’s mother, the second as it’s being consumed by flames in the basement of Kane’s Florida estate. Ice and fire. Citizen Kane is a film about contrast and duality, and it expresses this through nearly every facet of the production. Kane has two friends, two wives, makes two trips to his palatial estate, and visits Susan Alexander twice. He is torn in half by his duelling personas: public magnate and private misanthrope–both sides coming together when he writes an excoriating review of his own wife’s debut opera performance just prior to firing his best friend Jedediah (Joseph Cotten) from the newspaper they founded together.

DIFF ’01: Life as a House

October 9, 20012000s, Authors: Walter Chaw, DIFF/SDFF, Drama, Film Festivals

*/****
starring Kevin Kline, Kristin Scott Thomas, Hayden Christensen, Jena Malone
screenplay by Mark Andrus
directed by Irwin Winkler

by Walter Chaw Adrift in a turbid morass of such Forrest Gump-isms as, “Hindsight is like foresight without a future,” and “I like how it feels not to feel,” Irwin Winkler’s rumpled hankie of a movie Life as a House is that tired breed of awkward, self-important entertainment wherein people are always tenderly asking one another for permission to steal a kiss. There is not a moment unaffected by syrupy manipulation and severe underestimation of the audience. Worse, every major plot point in Life as a House is stolen from American Beauty, the film it most wishes to emulate and, ironically, least resembles in terms of intelligence and observation. From the doomed father’s voice-over to the Lolita love-kitten sexpot; from the wayward soccer moms to the attempts to facilitate a familial reconciliation through the discarding of a conventional 9-to-5 American dream; from the troubled young man who finds salvation in the arms of a chubby young woman to the last-minute denial of a conventional happy ending…the only thing that’s really different about Life as a House (besides the fact that it stinks) is an epilogue that uncomfortably recalls the ethic of another Kevin Spacey film: Pay It Forward.

DIFF ’01: Wish You Were Here (Introduction)

October 8, 20012000s, Authors: Walter Chaw, Blog, DIFF/SDFF, Film Festivals

by Walter Chaw Going to the movies for a living is an incalculable blessing.

Watching films and writing about them is the equivalent of a lovelorn voyeur's tear-stained journal. A failed relationship with the moronic and abusive Pearl Harbor shares column inches with blazing liaisons like the clever Memento and the acerbic Ghost World. Watching is a consummation, for me: sometimes I go back to a film multiple times; other times I regret having stayed all the way through even once. Doing it as a job means that you go for free, but you have to do it with every movie and stay to the bitter end. (Or at least you should.) I thought I was a voracious moviegoer before I started getting paid to do it. The revelation that I had actually been exercising an extraordinary amount of discretion in my viewing choices was hammered home when I watched both Glitter and The Musketeer in the same week, chewing the insides of my cheeks raw and eyeing the exits like a castaway eyes the cruel taunt of a ship's smoke on the horizon.

Serendipity (2001)

October 5, 20012000s, Authors: Walter Chaw, Canada, Comedy, Romance, Theatrical

***/****
starring John Cusack, Kate Beckinsale, Molly Shannon, Jeremy Piven
screenplay by Marc Klein
directed by Peter Chelsom

by Walter Chaw Dense with the hip references and list-making that have become trademarks of John Cusack’s films, Serendipity is a sweet confection just smart enough to be considered tasteful and just dumb enough to be forgotten. Set in the same New York as every bad Nora Ephron film (which is all of Nora Ephron’s films), Serendipity is awash in a twinkling yuletide cheer and the kind of magical realism that South American authors have made their stock in trade. Perhaps not so peculiarly, then, it appears to be very loosely based on Gabriel García Márquez’s star-crossed temporal love song Love in the Time of Cholera, a first edition of which plays a crucial role in the film. The book details a pair of young people who fall in love with each other over passionate letters and coded telegrams, but part when the woman falls ill upon their first meeting. Seeing it as an act of destiny, she marries a man within her own social caste, only coming back to her true love years after their initial opportunity was lost.

Liam (2001)

October 5, 20012000s, Authors: Walter Chaw, Coming of Age, Drama, France, Germany, Italy, Theatrical, UK

**½/****
starring Ian Hart, Claire Hackett, Anthony Borrows, David Hart
screenplay by Jimmy McGovern
directed by Stephen Frears

by Walter Chaw Liam is an Irish coming-of-age story that has more in common with John Boorman’s The General and Hope and Glory than it does with Alan Parker’s Angela’s Ashes. It balances the deprivation and desperation of growing up with crippling unemployment, a peculiarly sadistic brand of Irish Catholicism, and rising anti-Semitism with a good sense of humour and a lively feeling for pace that better captures the seesawing emotion of childhood than unrelenting horror or unleavened bliss. The truth of childhood, after all, lies somewhere in the grey liminal spaces between William Blake’s songs of innocence and songs of experience, though liberal time is spent in both extremes. In other words, the true power of Liam is not in the now-familiar images of scrounging for bread and cigarettes while enduring whippings at the hand of Sadeian priests, but in the shame of a little boy who walks in on his mother bathing and the embarrassment of a stuttering child unable to say his own name.

Our Lady of the Assassins (2000)

October 5, 20012000s, Authors: Walter Chaw, Colombia, Crime, Drama, France, Spain, Theatrical

La virgen de los sicarios
**½/****
starring Germán Jaramillo, Anderson Ballesteros, Juan David Restrepo, Manuel Busquets
screenplay by Fernando Vallejo
directed by Barbet Schroeder

by Walter Chaw At his best (Barfly, Idi Amin Dada, Reversal of Fortune), Barbet Schroeder is mercilessly unblinking. He delves into the sundry with such a dedicated nihilism that it makes the horror of his situations palatable somehow. The same kind of thing Cronenberg does with grotesquery, Schroeder does with atrocity: we are led behind the curtain to where the real ugliness lies with a casual air that defuses sensationalism and murders prurience through protagonists–at least the best ones (Charles Bukowski, Idi Amin, Claus von Bulow)–drawn from the insipid impiety of real life. That’s perhaps the source of my discomfort with the anti-hero of Our Lady of the Assassins (La virgen de los sicarios“), an only semi-autobiographical writer first brought to life in Fernando Vallejo’s 1994 novel of the same name and now embodied in the lanky frame of Latin actor Germán Jaramillo. He is an existentialist philosopher torn by the eternal conflict between passion for life and passion for destruction, but he has no grounding in the mundane that would make the character something more than a wandering gadfly. If Vallejo, a jaded chronicler of a train-wreck who has no connection to the evolving horror, is the projection of a first-world consciousness observing the travails of a disintegrating third world, the greatest irony of the failure and success of the film is in its own triumphant disconnection.