Authors: Walter Chaw Archives - Page 40 of 145

Mission: Impossible – Rogue Nation (2015) – Blu-ray + DVD + Digital HD

December 14, 20152015, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, DVD, Espionage, Thriller, Tom Cruise

***½/**** Image A Sound A+ Extras B+
starring Tom Cruise, Jeremy Renner, Simon Pegg, Alec Baldwin
screenplay by Christopher McQuarrie
directed by Christopher McQuarrie

by Walter Chaw At some point, sneakily, wonderfully, Tom Cruise became our Jackie Chan. It happened when the storyline shifted away from his essential ickiness–the Scientology thing, the Katie Holmes thing, and all the attendant nightmare gossip–and onto his fearlessness and absolute willingness to perform his own stunts wherever possible. (I realize of course that said storyline may never shift for some.) There were murmurs when he did the rock-climbing in the second Mission: Impossible flick–the one where he recruited John Woo, who was at the time the best action director on the planet. Those murmurs turned to grudging admiration once it was revealed that Cruise let himself be suspended for real outside the Burj Khalifa in Brad Bird’s superior Ghost Protocol; and now, with Christopher McQuarrie’s fleet, intelligent, immanently professional Rogue Nation, for which Cruise hung from an airplane in flight and held his breath for six minutes, Cruise’s bravado is a big part of the draw.

Macbeth (2015)

December 10, 20152015, Authors: Walter Chaw, Drama, France, Shakespeare, Theatrical, UK, War

***½/****
starring Michael Fassbender, Marion Cotillard, Paddy Considine, David Thewlis
screenplay by Todd Louiso & Jacob Kokoff and Michael Leslie
directed by Justin Kurzel

by Walter Chaw In a season awash in Terrence Malick shrines, Justin Kurzel’s Macbeth has the temerity to evoke Andrei Tarkovsky instead. Maybe certain moments from Akira Kurosawa’s Kagemusha, married to the saturated minimalism of Tarkovsky’s Stalker. It’s beautiful, in other words. Stunning enough that its self-consciousness is just another approach to centuries-old material, and a comfortable part of the whole. There are two approaches left to Shakespeare, I think: to acknowledge the centuries of intense scholarship around the canon that has uncovered the archetype (mostly Jungian, sometimes Freudian) mooring the tales, or to ignore them. This Macbeth understands that the Scottish Play is splashed red–all passion and portent and looming storms flashing low on the horizon. Every incident is portent. I mumbled along with the “Tomorrow and tomorrow and tomorrow” speech that I memorized for extra credit in eighth grade and marvelled at how Kurzel rolled it into a greater thematic conversation about the lust between these two people, Macbeth (Michael Fassbender) and his Lady (Marion Cotillard). It’s as interesting an interpretation as Ethan Hawke’s Melancholy Dane pondering choices in the aisles of Blockbuster Video. Muting the dialogue, swallowing it as Fassbender does here (or burying it, as in the various battleground sequences–Banquo (Paddy Considine) calls out his warning choking on blood and dirt), has the effect of placing the words of the story as secondary to its indelible images. It’s Macbeth as mythology, seeking to explain how eternity metastasizes in the space between a couple who have lost a child.

Krampus (2015)

December 7, 20152015, Authors: Walter Chaw, Christmas, Comedy, Horror, Theatrical

**/****
starring Adam Scott, Toni Collette, David Koechner, Krista Stadler
written by Todd Casey & Michael Dougherty & Zach Shields
directed by Michael Dougherty

by Walter Chaw I used to have a collection of short stories edited by Isaac Asimov, The Twelve Frights of Christmas. Ramsey Campbell’s “The Chimney” is anthologized therein, and though it’s not directly a Krampus story, it’s sort of a Krampus story and was, at least, the first time I’d been introduced to the concept of something like an anti-Santa. It’s a great story. Michael Dougherty’s Krampus is not great, but with all the lulls and jokes misfiring, it does give you plenty of time to think about other things. (I didn’t like his Trick ‘r Treat either.) What works about the film are its first twenty minutes or so, where Dougherty seems to be setting up an unpleasant, nasty little commentary on the commodification of Christmas. There’s trouble, though, when the parts of your movie that work are the parts that compare best to Jingle All the Way. I’ll say, too, that there’s genuine delight in the appearance of weird snowmen on the lawn during a blizzard blackout, stranding a shitty family alone with their thoughts while a German alpine demon lurks about outside–as well as hope, however self-deluding and fleet, that Dougherty’s going to pay off the early abduction of the second-most sympathetic child of six. Alas, it’s ultimately as compromised as Trick ‘r Treat. The last five minutes are a masterpiece of playing both sides against the middle and pandering to an intended middlebrow audience. Like its PG-13 rating, Krampus is a devil’s bargain between horror film and family film. It’s the kind of thing that only really worked when it was Gremlins.

Tales from the Crypt Presents Demon Knight (1995) [Collector’s Edition] + Tales from the Crypt Presents Bordello of Blood (1996) [Collector’s Edition] – Blu-ray Discs

November 30, 20151990s, 2015, Action, Authors: Walter Chaw, Blu-ray Disc, Comedy, Horror, Scream/Shout! Factory, Thriller, Vampire

Demon Knight
***/**** Image B+ Sound B Extras A
starring Billy Zane, William Sadler, Jada Pinkett, Brenda Bakke
written by Ethan Reiff & Cyrus Voris & Mark Bishop
directed by Ernest Dickerson

Bordello of Blood
*/**** Image B Sound C+ Extras A
starring Dennis Miller, Erika Eleniak, Angie Everhart, John Kassir
screenplay by A.L. Katz & Gilbert Adler
directed by Gilbert Adler

by Walter Chaw I didn’t have HBO as a kid. Didn’t even have cable. When I went over to friends’ houses, I would spend a lot of time wanting to watch MTV to try to catch up on all the popular culture I was missing. “Remote Control”, the first Jon Stewart show, “Dream On”, “The Kids in the Hall”–each of them represent gaping holes in my pop education. Lump in the Walter Hill-produced “Tales from the Crypt” anthology program with that group of things I knew about but only by title and reputation. My first exposure to the EC Comics-inspired/adapted-from show was through reprints of “Tales from the Crypt” and “Strange Tales” comics during the early-’90s industry boom. Then Ernest Dickerson’s fantastic Tales from the Crypt Presents Demon Knight (hereafter Demon Knight) satisfied every single expectation I had of something seeking to honour the ghoulish, sometimes puerile depravity of William Gaines’s seminal source material. It’s as gory as it is corny and smart as hell for recognizing that those were the only requirements. Doesn’t hurt that the practical-effects work is goopy and inventive. Oh, and the cast is exceptional.

Creed (2015)

November 25, 20152015, Authors: Walter Chaw, Drama, Sports, Stallone, Theatrical

***/****
starring Michael B. Jordan, Sylvester Stallone, Tessa Thompson, Phylicia Rashad
screenplay by Ryan Coogler & Aaron Covington
directed by Ryan Coogler

by Walter Chaw I love this movie. I do. It’s not perfect. The love interest is underbaked and the fight choreography of the final match is unfortunately disjointed. But I love this movie–unconditionally, I guess. The story goes that Ryan Coogler, the young director of Fruitvale Station, pitched Sylvester Stallone on the idea of rebooting Rocky with Apollo Creed’s son. (Something the Indiana Jones series needs to do with a grown-up Short Round, by the way.) The auto-critical analysis of the film is that it’s essentially a father/son intrigue, which lends some insight into the Rocky/Mickey relationship of the original Rockys, and there are enough references to same to gratify the cultists. What I liked most about Stallone’s willingness to take a shot on a fresh idea from a minority perspective–this is the first instalment of one of his two venerable franchises not to spring from a Stallone-written script–is that it feeds into the idea of Stallone as an auteur maybe, a canny cultural anthropologist definitely. Every Rocky, every Rambo, is distinctly a product of its time. I don’t feel qualified to talk about this, but to the extent that I understand the theory, I’m sold.

The Hunger Games: Mockingjay – Part 2 (2015)

November 22, 20152015, Adventure, Authors: Walter Chaw, Sci-Fi, Theatrical

***/****
starring Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Donald Sutherland
screenplay by Peter Craig and Danny Strong, based on the novel by Suzanne Collins
directed by Francis Lawrence

by Walter Chaw The first four hours of The Hunger Games: Mockingjay – Part 2 (hereafter Hunger Games 3.2) are interminable. Because I barely remember anything from any other movie in this series (I had to go back and reread my reviews, not just to refresh my memory, but to affirm that I’d even seen the previous films), everything that wraps up loose threads, the two (count ’em) times characters are forced to give Biblical genealogies to the probable delight of ardent fans, the deadening nonsense involving love triangles, all that jazz, is exactly like watching paint dry. It’s bookkeeping. They could just be moving their lips and making smacking noises. I like how the late Philip Seymour Hoffman handles these scenes: chin to the chest, looking for all the world like he’s counting minutes. It’s not unlike that part of The Sound and the Fury (which is my favourite book, by the way, so I’m not really complaining) that most people skim. And for good reason. Moby Dick has one, too. I’m saying this in the vain hope that you lay off in the comments section. Oh, I also still hate the silly Dickensian names. They’re stupid and desperate.

Spectre (2015)

November 7, 20152015, Action, Adventure, Authors: Walter Chaw, Espionage, James Bond, Theatrical, Thriller

***/****
starring Daniel Craig, Christoph Waltz, Léa Seydoux, Ralph Fiennes
screenplay by John Logan and Neal Purvis & Robert Wade and Jez Butterworth
directed by Sam Mendes

by Walter Chaw My favourite James Bond movie is On Her Majesty’s Secret Service: the first without Sean Connery as Bond, and the first and only featuring Australian model George Lazenby in the role. It’s the one where Bond falls in love, marries, and, in the end, is unable to protect his new bride from her demons. I like it the best because, despite a few typically silly Bond moments, it has Bond’s Moriarty, Blofeld (Telly Savalas in that film), acting as the spear in our hero’s side, and it has Bond attempting to address his own failures as a human being and being taught, essentially, that the world is a cold place. I like it the best because it feels melancholy and hopeless. Bond is psychotic, you see, a serial philanderer and killer given license to do both by a broken state and the illusion of order. He’s a rapist in Fleming’s novels (and consider the conquest of Pussy Galore in Goldfinger)–literally in some instances, in others just given to taking advantage of women in extremis. It’s a very particular ruling-class fantasy punctuated by gadgets and automobiles–film noir, except the code our ambiguous hero plays by is more Humphrey Bogart’s from In a Lonely Place than Bogey’s from The Maltese Falcon.

Nightbreed: The Director’s Cut (1990) [Blu-ray + DVD Combo Pack] + Clive Barker’s Lord of Illusions (1995) [Collector’s Edition] – Blu-ray Discs

November 1, 20151990s, 2015, Authors: Walter Chaw, Blu-ray Disc, DVD, Horror, Mystery, Romance, Scream/Shout! Factory, Thriller

Clive Barker’s Nightbreed
**/**** Image B+ Sound B+ Extras A
starring Craig Sheffer, Anne Bobby, David Cronenberg, Charles Haid
screenplay by Clive Barker, based on his novel Cabal
directed by Clive Barker

CLIVE BARKER’S LORD OF ILLUSIONS
*½/**** Image B Sound B Extras C+
starring Scott Bakula, Kevin J. O’Connor, Famke Janssen, Daniel Von Bargen
written for the screen and directed by Clive Barker

by Walter Chaw Clive Barker’s too-brief directing career, capping his time as the Stephen King-anointed prince of horror (“I have seen the future of horror and his name is Clive Barker,” went King’s famous endorsement), produced three cult classics: Hellraiser, Nightbreed, and Lord of Illusions. His Hollywood trajectory traces the familiar tale of enfant terrible allowed full reign on his first project, only to find subsequent efforts bowdlerized by non-believers. Director’s cuts of Nightbreed and Lord of Illusions have circulated in some form over the years, with fans claiming–particularly in the case of Nightbreed–that masterpieces had been corrupted, hidden from sight. It’s the kind of intrigue that forms the basis of much of Barker’s work: the hidden grotto, arcane knowledge secreted away, art too beautiful for human eyes. There’s something of the fury of H.P. Lovecraft’s cult of personality in this–something more of the cosplay phenomenon. Each of Barker’s movies evokes the absolute acceptance that outsiders encounter at genre conventions: they are explosions of the internal, actings-out of repressed desires. Find in this explanation of the coda, surprisingly sticky despite the bad pun, to his short-story anthologies: “Everybody is a book of blood; wherever we’re opened, we’re red.” Clive Barker is the Douglas Sirk of splatter.

Needing Bigger Boats: FFC Interviews Larry Fessenden

October 24, 20152015, Authors: Walter Chaw, Horror, Interviews

illustration by Bill Chambers

It was within the first six months or so of trying this thing out professionally that I reviewed Larry Fessenden's third film (and masterpiece), Wendigo. I was moved, deeply, by its observation of childhood and innocence lost. I was taken by the care of its presentation. It was thematically tight. And technically? On point, including a fantastic stop-motion, practical conception of the titular bogie. It's a lovely bit of myth-making that understands why we make myths in the first place. Years later, when Fessenden directed his "aquatic" film Beneath for basic cable, certain wags would brand it his Jaws–knowing, famously, that Spielberg's maritime yarn was among Fessenden's favourites. The boat they missed is that his Jaws is actually Wendigo: childhood's end; death of the father; the parents' inability to protect their young; and, yes, the creation of myths to contextualize what it could and explain the rest away.

Fantastic Fest ’15: Belladonna of Sadness (1973)

October 19, 2015****/****, 1970s, 2015, Animation, Authors: Walter Chaw, Drama, Fantastic Fest, Fantastic Fest '15, Fantasy, Film Festivals, Japan

****/****
written by Yoshiyuki Fukuda, Eiichi Yamamoto, based on the novel La sorcière by Jules Michelet
directed by Eiichi Yamamoto

by Walter Chaw The completion of Osamu Tezuka's "Animerama," a trilogy of early-'70s erotica initially imagined as a tie-in to that era's "pink films" that eventually applied their boundary-testing to its own form and function, Belladonna of Sadness is the only one of the three pictures to, ironically, feature no direct involvement from Tezuka. Instead, longtime collaborator Eiichi Yamamoto takes the reins and, in this loose adaptation of a non-fiction tract on witchcraft and Satanism, produces the headwaters for everything from hentai to Andrzej Zulawski's Possession. It's a template that parallels Ralph Bakshi's dabbling in ani-porn, a thing that runs on evocations of Roman Polanski in not just its function and form, but also the drawing of its heroine, Jeanne, as the very image of Sharon Tate. The fate of pretty blondes is a primary concern of Polanski's in this period–no less so enacted through this saga of a woman, raped and humiliated before, in the end, like Yeats's Leda, she takes on the power of her patriarchal tormentors to exact precise, poetic vengeance.

Fantastic Fest ’15: Short Films

October 16, 2015****/****, 2015, Animation, Authors: Walter Chaw, Canada, Comedy, Disability, Drama, Esoterica, Fantastic Fest, Fantastic Fest '15, Film Festivals, Horror, Japan, Romance, Satire, Sci-Fi, Short Films, Sweden, ZERO STARS

by Walter Chaw

The Babysitter Murders ****/**** (d. Ryan Spindell) For certain artists working in the short-film format, I don't have any idea how or why it is they haven't been called up to the big leagues yet. This speaks as much to my prejudice, obviously: there's nothing wrong with the short form. In literature, many of my favourite writers are best in the short form. In film, though, there's so little real opportunity for distribution that it seems a particular shame when guys like Ryan Spindell have only produced shorts. I'm not complaining (his work is excellent), merely hoping he has the means to continue. Spindell's latest, The Babysitter Murders, is so expertly composited that it would be kind of a shame to dissect it at all. Sufficed to say that it unearths a new place to take Wes Craven's Scream meta funhouse, and does it without a hint of smugness or show-off-y insecurity. It's beautifully paced, conceived, and executed. Look at a cooking scene early on, set to "Fast & Sweet" by Mondo Boys feat. Kestrin Pantera–the way it's shot and edited, the way Elie Smolkin's camera stalks and Eric Ekman cuts it all together. The movie's premise–a babysitter alone on a stormy night when a psycho escapes from an asylum–is as rote as they come, but Spindell, as he did with The Root of the Problem and dentists, finds something new to say. The performances are to a one pitch-perfect and the gore is appropriately horrifying; it's a film balanced in that space between hilarity for its excess and hilarity for its brilliance. I'm out of superlatives. Spindell is one of the finest voices working in genre right now, carving out a niche that's neither self-serious nor self-abnegating. He's full of joy, this one, and his movies are treasures.

Tomorrowland (2015) – Blu-ray + DVD + Digital HD

October 15, 20152015, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Disney, DVD, Family, Mystery, Sci-Fi

***/**** Image A+ (ultra) Sound A+ Extras C+
starring George Clooney, Hugh Laurie, Britt Robertson, Raffey Cassidy
screenplay by Damon Lindelof and Brad Bird
directed by Brad Bird

by Walter Chaw Brad Bird’s Tomorrowland is a mess and it knows it. It’s unruly, barely contained, just this side of completely falling apart. There are many and distracting continuity errors, and though it makes a joke of it, it’s clear immediately that the movie doesn’t know how to start, much less end. It has an engaging, irrepressible heroine it strands at the moment she should be doing something (“Am I supposed to be…doing something?” she actually asks), and it has a visit to a memorabilia/collectibles store run by unusual proprietors that is packed to the girders with Brad Bird ephemera of the Iron Giant and Incredibles variety. Tomorrowland has hanging about it, in other words, all the elements of disaster: winky meta references, lack of narrative cohesion, desperation-born mistakes, bad screenwriter/Nick-Riviera-bad script doctor Damon Lindelof as Bird’s co-author…and yet it’s good somehow. Credit Bird, who knows his way around spatial relationships, and credit a simple, plaintive idea that the world can be better if we believe that it can be better. If the sign of a great filmmaker is his ability to make a bad actor seem good, Bird is a frickin’ genius for making something Lindelof worked on not an utter catastrophe. It’s big and simple and corny in a Lone Ranger, Captain America, Silver Age Superman kind of way–the kind of big and simple and corny I can get behind.

Crimson Peak (2015)

October 14, 20152015, Authors: Walter Chaw, Drama, Horror, Mystery, Romance, Theatrical, Thriller

*/****
starring Mia Wasikowska, Jessica Chastain, Tom Hiddleston, Jim Beaver
written by Guillermo del Toro & Matthew Robbins
directed by Guillermo del Toro

by Walter Chaw I love Guillermo del Toro. I love the ethic driving Cronos and The Devil’s Backbone and the Frankenstein and Pinocchio myths driving Mimic. I love the Prodigal Son of Blade II, the ferocity, of course, and vision of Pan’s Labyrinth, and all of Hellboy II: The Golden Army, my favourite of his films; every frame is wonder. I didn’t like Pacific Rim but I did think it was at least all-in and there’s something to be said for that. And now here’s Crimson Peak, which is just, you know, really bad and for no one. I have a friend who referred to del Toro’s book version of The Strain (I’ve never read it) as arrogant. I didn’t understand that, but it tickled during Pacific Rim and has found full flower now in Crimson Peak. There’s a point at which someone who is an expert in something can go from teacher to pedant. What begins as a conversation, nurturing and full of joy, becomes patronizing and solipsistic. I myself probably crossed over years ago. Now I have company. Del Toro at his best shares what he loves. At his worst (and Crimson Peak is del Toro at his worst, by a long shot), he believes that he’s talking over your head. You couldn’t possibly understand. You’ll never catch all his references, he says. And suddenly the party’s over and he’s all by himself in his self-aggrandizing echo chamber of curiosities.

Bridge of Spies (2015)

October 13, 20152015, Authors: Walter Chaw, Coen Brothers, Drama, Espionage, Spielberg

*/****
starring Tom Hanks, Mark Rylance, Amy Ryan, Alan Alda
screenplay by Matt Charman and Ethan Coen & Joel Coen
directed by Steven Spielberg

by Walter Chaw Steven Spielberg is the great Hollywood pastry tube. He’s packed to the brim with sugary, awards-season sweetness, and he extrudes little nuggets of prestige with the greased regularity of a lifelong prune-eater. In his latest bit of machine-tooled calculation, Bridge of Spies, he makes the unintentional statement during his patented unforgivable epilogue that the American public is a disgusting, moronic, animalistic mob ruled by prejudices and the media (which is the foundation of a different, good movie on the subject of Bridge of Spies)–ironic, because it’s those very deficiencies in critical discernment, moral certitude, and sophistication that Spielberg has made a cottage career of taking advantage of. If it’s true that all films manipulate but we only complain when they do it poorly (and it’s more true than not), then let me complain that Spielberg is an absolute visual savant–proof of it in the first ten, wordless minutes of Bridge of Spies (compare it to the wordless section of Amistad)–and an absolute pandering whore in his inability to deliver an ambiguous ending. He’s said as much. He’s the only living director who could turn out a masterpiece from a Philip K. Dick short story and ruin it with a sunshine double-happiness lollipop of a ridiculous Hollywood ending. But have no fear: Bridge of Spies never threatens to be a masterpiece for even a moment. It’s no Munich or Saving Private Ryan–more like The Terminal. Bridge of Spies is decrepit, highly-polished garbage from almost the beginning, with no relief from its elderly ministrations all the way through to the end.

Fantastic Fest ’15: Sensoria

October 13, 20152015, Authors: Walter Chaw, Drama, Fantastic Fest, Fantastic Fest '15, Film Festivals, Horror, Sweden, Thriller

**/****directed by Christian Hallman by Walter Chaw Swede Christian Hallman's first feature, Sensoria, sports a couple of nice, creepy moments but ultimately adds little to the "we have always been here" subgenre of haunted-house movies. In this iteration, Caroline (Lanna Ohlsson), freshly single and lamenting that her circle of friends consists largely of digital phantoms offering ephemeral support through social media, discovers that her new bachelorette pad is maybe haunted by the ghost of a little dead girl, My (Norah Anderson). Not helping her isolation and increasing paranoia are a pervy landlord and a dotty old lady of the kind that…

Pan (2015)

October 10, 20152015, Action, Adventure, Authors: Walter Chaw, Family, Fantasy, Theatrical

***½/****
starring Hugh Jackman, Garrett Hedlund, Rooney Mara, Levi Miller
screenplay by Jason Fuchs
directed by Joe Wright

by Walter Chaw Paired with Hanna, his take on the Little Red Riding Hood story, Joe Wright’s Pan suggests that the director’s closest career analogue is that of J.J. Abrams. Wright’s askew take on Anna Karenina hints at a sympathetic penchant for ebullient reinterpretation–no less so his adaptations of Atonement (by an author essentially making a career of taking a piss) and Pride & Prejudice, which, in its sparseness and emotional economy, could stand alongside Andrea Arnold’s magnificent Wuthering Heights. Hanna, his best film, achieves at least a portion of its greatness through its bull-headed perversity. No premise is too fanciful to be presented seriously by Wright. In Pan, when we’re introduced to the pirate Blackbeard (Hugh Jackman), a Fury Road‘s collection of orphan miners sing-chants “Smells Like Teen Spirit” in obeisance to their monstrous overlord. It’s something born of Brian Helgeland’s anachronistic A Knight’s Tale and of Terry Gilliam in its antic set design and costuming and of David Lynch, even, in a sequence where Blackbeard dons a mask aboard his flying ship to breathe deep something that resembles the Spice. There’s another sequence in which a pirate ship, a 16^th-century galleon, engages in midair with a trio of British Hawker Hurricanes (I think) defending Mother England against the German blitz before breaking through the clouds for a brief, weightless moment.

A Brilliant Young Mind (2015)

October 3, 20152015, Authors: Walter Chaw, Comedy, Disability, Drama, Theatrical, UK

X+Y
½*/****
starring Asa Butterfield, Rafe Spall, Sally Hawkins, Eddie Marsan
screenplay by James Graham
directed by Morgan Matthews

by Walter Chaw Reminding most of Camp in that it's ultimately more of a zoo for curiosities than an invitation for empathy, here's A Brilliant Young Mind, which posits, among all the Rain Man things it posits about autism, that the Chinese, besides being good at backflips, are very good at math. For the Chinese, you see, math is like art. It says so in this book that was written over the course of a thousand years. For the type of audience that gets off on those Olympics puff pieces where the Chinese are portrayed as opportunistic monsters who sell their children to the national team, it's a special sort of Eurocentric auto-flattery. The implication, see, is that although you're about to lose to the Chinese, they're still morally inferior to you. The Chinese, you understand, don't love their children. And they're good at math. Also, they're sexually naive, you know, because it's not like Asia is horrifically over-populated or anything. Later, a British guy quotes Keats in relation to how if truth is beauty and beauty is truth, then math must be the most beautiful thing of all. It's that kind of movie. The kind of movie with a score of industrious violin pulls and ambitious, then sad, keyboards. It has a moment where the evil dragon uncle of the Chinese mathlympians shouts, in perfect Mandarin, "What are you two doing?" and the film translates it as, "Are you in a relationship?" It's that kind of movie. You'll like it if you're that kind of person.

Fantastic Fest ’15: In Search of the Ultra-Sex

October 3, 20152015, Authors: Walter Chaw, Esoterica, Fantastic Fest, Fantastic Fest '15, Film Festivals, France, Satire, Sci-Fi

A la recherche de l'Ultra-Sex½*/****directed by Nicolas Charlet & Bruno Lavaine by Walter Chaw I saw a hacked anime once--pre-Adult Swim and projects of that ilk--that took place on a flying aircraft carrier and had been re-dubbed so that all the characters were offering different euphemisms for flatulence. My favourite was, "I can't seem to take a step without introducing Mr. Wetty." It lasted about four minutes and I enjoyed a good three-and-a-half of it. Nicholas Charlet and Bruno Lavaine's In Search of the Ultra-Sex is a full hour of R-rated excerpts from classic porn, dubbed to be a Plan 9…

Mississippi Grind (2015)

October 2, 20152015, Authors: Walter Chaw, Drama, Theatrical

*½/****
starring Ryan Reynolds, Ben Mendelsohn, Sienna Miller, Analeigh Tipton
written and directed by Ryan Fleck and Anna Boden

by Walter Chaw Completely adequate from start to finish, Anna Boden & Ryan Fleck's Mississippi Grind is essentially California Split without the stylistic innovation or sense of sadness and danger. In it, down-on-his luck gambling addict and self-proclaimed "not a good guy" Gerry (Ben Mendelsohn) runs into bon vivant gambling addict Curtis (Ryan Reynolds), who Cheap Thrills Gerry into a series of escalating gambles before whisking him away on a journey to the Big Game. There's a tremendous scene right in the middle with a loan shark played by the great Alfre Woodard that showcases both her immense warmth and her sudden steel. There's also a whore with a heart of gold (Sienna Miller) and a winsome epilogue that suggests, The Wrestler-like, that this big, lovable, broken-down lug just can't get out of his own way, gosh darn it–isn't that a shame? It is. It's a terrible shame.

Fantastic Fest ’15: Yakuza Apocalypse

October 2, 20152015, Action, Authors: Walter Chaw, Comedy, Fantastic Fest, Fantastic Fest '15, Horror, Japan, Vampire

**½/****directed by Takashi Miike by Walter Chaw Takashi Miike makes one, sometimes two, sometimes three movies a year, which is not so remarkable as the fact that they're often exceptional. He's as fecund as a Fassbender and hasn't shown signs of the same catastrophic burnout. Even his middling projects have moments in them to recommend--no less so his latest, Yakuza Apocalypse, a return to the Yakuza genre that gave him mainstream credibility (such as it was) and the supernatural horror genre that gave him cult immortality. This one isn't about anything that I could ken, really, but it is technically…