Authors: Walter Chaw Archives - Page 5 of 145

SDAFF ’23: In Water

November 7, 20232023, Authors: Walter Chaw, Drama, Esoterica, Film Festivals, San Diego Asian Film Festival, South Korea

물안에서
Mul-an-e-seo
***/****
starring Ha Seong-guk, Kim Seung-yun, Shin Seokho
written and directed by Hong Sang-soo

by Walter Chaw I’ve been thinking a lot about my dad lately, It’s the time of year when he died, and though I’m terrible with dates, my body seems to remember. I usually think my moods must have something to do with autumn and the change in the weather–but I love the autumn, the smell of rotten leaves, the halo around the moon, the chill. And then I remember. Korean master Hong Sang-soo reminds me of my dad, too. It’s how he’s so irritatingly self-assured, I think. So mulishly iconoclastic. My dad never really listened to anything anyone else told him. Sometimes that worked out for him; often it didn’t. But the path of his life was defiantly his. My dad was learned, extraordinarily well-read in books written in languages I can’t read, and tortured. He’s been gone twenty years this year. Is it the “china” anniversary for death, as it is for marriage? Are the traditions the same, or do we fail to memorialize loss in the same way? My dad’s death is almost old enough to drink. When I was much younger, I would ask him big questions–life, the universe, everything–and he would answer with quotations and philosophies: aphorisms, fables, poems. I don’t remember anything about them except that they made me feel frustrated, mocked a little, and left to worry my thoughts alone like a cat with a tail of yarn. And now he’s gone.

SDAFF ’23: Cobweb

November 6, 20232023, Authors: Walter Chaw, Comedy, Drama, Esoterica, Film Festivals, San Diego Asian Film Festival, South Korea

거미집
Geomijip
**½/****
starring Lim Soo-jung, Oh Jung-se, Song Kang-ho
written by Kim Jee-woon, Yeon-Shick Shin
directed by Kim Jee-woon

by Walter Chaw Kim Jee-woon is such a fine technical director that, for a while, the slapdash of his behind-the-scenes, Living in Oblivion insider piece feels like a meticulously orchestrated machine where every piece hits its mark instead of what I think is intended: silly slapstick arising from sloppy improvisation. There might be a path charted for this picture, but it all plays a little like Calvinball. What I like least is how many edits are timed to various shrieks: the last refuge of the desperate and the wayward. Screams of comic frustration, screams of theatrical fear, screams of manufactured ecstasy, screams of the righteous artist at war with a corporate machine trying to grind him down. Such is the plight of Kim (Song Kang-ho), a director labelled as a peddler of pop “content” who, wounded for the last time by a table of smug film critics, rewrites the ending to his latest endlessly-replicable soaper and, swimming upstream, seeks to wring two extra days from a fickle cast under the nose of state regulators suspicious about the sudden change in direction in a state- approved and financed picture. Kim Jee-woon handles the meta, film-within-a-film conceit by shooting Director Kim’s magnum opus in Universal Horror black-and-white while leaving his studio-bound escapades in vivid, drawing-room colour. The picture he’s making looks to be a Hitchcockian thriller of some kind–a metaphor for the labyrinthine cobweb the truly inspired must navigate in order to realize their vision.

SDAFF ’23: Monster

November 5, 2023****/****, 2023, Authors: Walter Chaw, Drama, Film Festivals, Japan, San Diego Asian Film Festival, Thriller

****/****
starring Ando Sakura, Kurosawa Koya, Nagayama Eita
written by Sakamoto Yûji
directed by Hirokazu Kore-eda

by Walter Chaw Hirokazu Kore-eda is a keeper of secrets, a guardian of hidden things and a priest of the ritual of childhood. Watching his stuff feels like an invitation into intimate spaces, and I can’t shake the feeling, however impossible, that they’re places I’ve been before. I recall, for instance, a little half-loft built into the silversmithing store my father used to own. When I was too young to work or too tired from working, I’d climb up into it to read, or sleep, or peep down onto the sales floor, where customers would mill in and out. I hadn’t thought at all of that tiny vantage, a crow’s nest floating above a turgid sea of confused nostalgia, until I saw Kore-eda’s new film, Monster, which, of course, has nothing to do with silversmithing stores or fathers who have journeyed past the horizon or boats unmoored and lost in listless seas.

Mission: Impossible – Dead Reckoning Part One (2023) – 4K Ultra HD + Digital Code

November 3, 2023****/****, 2023, 4K Ultra HD, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Espionage, FFC Must-Own, Thriller, Tom Cruise

Note: all framegrabs were sourced from the 4K UHD disc

****/**** Image A Sound A+ Extras B
starring Tom Cruise, Hayley Atwell, Ving Rhames, Henry Czerny
written by Christopher McQuarrie & Erik Jendresen
directed by Christopher McQuarrie

by Walter Chaw I’ve liked every film in this series to some extent, the last few very much. Yet, pressed, I couldn’t tell you what any of them are about. If you ask me to recount the plot of this latest entry, Mission: Impossible – Dead Reckoning Part One (hereafter Dead Reckoning), I would have a tough time only a few minutes out of the screening. This isn’t an inherently bad thing. If you were to ask most people who’ve seen North by Northwest, they wouldn’t know it’s about microfilm being smuggled in South American figurines, just as they will not question whether a crop duster is the best way to kill someone waiting for a bus in the middle of nowhere. They wouldn’t remember that Notorious is about radioactive ore hidden in wine bottles, or that Psycho is about a petty embezzlement scheme. That’s because it doesn’t matter. You’d probably even get pushback about how that’s not really what those films are about anyway, which is correct. Hitchcock called those things that matter a lot to everyone in the film–and almost nothing to anyone watching it–the “MacGuffin.” The Mission: Impossible films are the quintessential modern example of an old concept: if you do everything well enough, if you understand how to keep things snappy and populate the story with characters who feel like real, live people (thus imbuing all the noise with stakes), well, it doesn’t matter what the picture’s about, because what it’s actually about is so instantly relatable. Will they survive? Will they fall in love? Archetype and craft. There’s nothing simpler and nothing more complex.

Priscilla (2023)

October 26, 20232023, Authors: Walter Chaw, Biopic, Directors: Sofia Coppola, Drama, Italy, Music, Theatrical

***½/****
starring Cailee Spaeny, Jacob Elordi, Dagmara Dominiczyk
based on the book Elvis and Me by Priscilla Presley with Sandra Harmon
written and directed by Sofia Coppola

by Walter Chaw Sofia Coppola takes a lot of heat for making movies about what she knows. This strikes me as peculiar, because I don’t really have any desire to see a Sofia Coppola film about, say, enslaved African peoples. But one about a rich little girl lost? Yes, please. It seems, in fact, that what Coppola is doing as an author is the kind of thing generally celebrated with auteur theories and canonization. I wonder why she’s been popularly singled out as a creator who’s failed to checklist minority groups outside her own. What would the reception of her remarkable remake of The Beguiled have been like had she foregrounded the enslaved African American character and attempted to write her through the lens of Sofia Coppola’s experience? Was her eliding of the character seen as whitewashing, was that the problem? How was the character treated in Don Siegel’s version? How do the Oscar-winning depictions of enslaved African Americans in Gone with the Wind fare? I wonder if the cries for Coppola to have more diversity in her films is a disingenuous complaint driven primarily by a general dislike of Coppola because she’s some combination of a woman and a nepo-baby who doesn’t seem the least bit interested in catering to a larger audience. I wonder why Jean Renoir didn’t get crucified for the same thing. Honestly, I don’t wonder.

Rosemary’s Baby (1968) – 4K Ultra HD + Blu-ray

October 22, 2023****/****, 2023, 4K Ultra HD, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Drama, FFC Must-Own, Horror

Note: all framegrabs were sourced from the 4K UHD disc

****/**** Image A- Sound A- Extras B-
starring Mia Farrow, John Cassavetes, Ruth Gordon, Ralph Bellamy
based on the novel by Ira Levin
written for the screen and directed by Roman Polanski

by Walter Chaw Rosemary is everything. He’s just Guy. It’s that tension–between a woman fully actualized and a man forever frustrated, the Grail vs. the Knights of the Round Table–that serves as the tightrope in Roman Polanski’s Rosemary’s Baby. As portrayed by Mia Farrow, Rosemary is precious and flawed, full of life and surrounded by death. She is the venerated object, the cathedral she imagines the night she’s drugged and violated; the most precious thing, the sanctified earth planted with the pestilential corruption of masculine ambition. Rosemary’s Baby opens with a lengthy consideration of the buildings that surround Central Park like vultures in their priestly black, voracious and solemn, gathered around a carcass that is, in this configuration, the sole hint of life in a metal savannah. Polanski is a genius of architecture and the consideration of it. His spaces are predatory, or at least become so: “Forget it, Jake, it’s Chinatown” and the apartment that sprouts hands from its walls and, here in Rosemary’s Baby, the “Black Bramford.” He puts pretty blondes into the maw of his constructions–sacrifices to the Minotaur wandering through his Labyrinth–and watches them get swallowed by the Stygian black. He is the Minotaur. The pitch is his, along with the appetites. Rosemary’s Baby is his masterpiece, as well as one of the greatest films about what women endure in a world that sees them as seed incubators, nesting fowl, and finally trophies: meek and pretty. But Rosemary isn’t meek, simply outmatched, surrounded, flanked by the men she’s supposed to be able to trust.

Killers of the Flower Moon (2023)

October 19, 20232023, Authors: Walter Chaw, Crime, Directors: Martin Scorsese, Drama, Mystery, Robert De Niro, Theatrical, Thriller, Western

**½/****
starring Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons
screenplay by Eric Roth and Martin Scorsese, based on the book Killers of the Flower Moon: The Osage Murders and the Birth of the FBI by David Grann
directed by Martin Scorsese

by Walter Chaw I think Martin Scorsese is perhaps too principled a filmmaker to indulge in the dark poetry of Killers of the Flower Moon; too bound by limitations he’s aware of and wary of violating, too respectful of the horror of the history to mark it with the crackle of verve and vitality. A sober topic deserves a sober treatment, no question, yet Scorsese at his best is doing lines off the hood of a vintage Impala, not running lines with actors and advisors, all with competing interests and hardwired biases, to find the most cogent, most reasonable way to approach a tripwire. He’s so careful not to set off the powderkeg that is the Osage Murders of 1921-1926 that he doesn’t set off any sparks at all. While I don’t think Scorsese is capable of making a bad movie, with things like Hugo and even The Irishman, he’s shown he can make movies that are enervated in the fatal way of a conversation you have with a beloved elder you’re lucky to engage with but dread, too, for the repetitiveness and dusty formality. I’m not saying Scorsese was the wrong person to adapt white-guy journalist David Grann’s NYT-feted true-crime book Killers of the Flower Moon: The Osage Murders and the Birth of the FBI, a celebration of an organization that has done grievous harm to these very people it swooped in belatedly to protect this one time. On the contrary, he’s told what is probably the most palatable version of that story–but it’s a story I don’t want to hear. I guess I’m saying I have a hard time investing much in devalued institutions and their saviours.

Breaking the Rules: FFC Interviews Demián Rugna

October 9, 20232023, Argentina, Authors: Walter Chaw, Horror, Interviews

Walter Chaw interviews Demián Rugna,
co-writer/director of WHEN EVIL LURKS

At the risk of being premature in my assessment, I think Demián Rugna is the real deal. His Terrified from 2017 was confident and brilliant: a strange, alchemical product of the unimaginable and the familiar; a "fun" extreme gore/horror exercise that crossed the line so often it rewrote it. Now, six years later, here's Rugna's follow-up: When Evil Lurks, which is more–and amplified–innovative obscenity. The large gap between Terrified and When Evil Lurks and the failure of announced projects to materialize have, if anything, only sharpened the cruelty of his images and the atrocity of his ideas. I wondered if Terrified was an anomaly, given that it seemed to come from nowhere, fully formed with its payload of "what the fuck?" lawlessness, but When Evil Lurks confirms the arrival of a major talent.

When Evil Lurks (2023)

October 8, 2023****/****, 2023, Argentina, Authors: Walter Chaw, Disability, Horror, Theatrical

Cuando acecha la maldad
****/****
starring Ezequiel Rodríguez, Demián Salomón, Luis Ziembrowski, Federico Liss
written and directed by Demián Rugna

by Walter Chaw I felt like there was a hand pressing down on my chest during Demián Rugna’s When Evil Lurks, a horror film so vicious and uncompromising I wasn’t always sure I could finish it. I’ve seen it three times now, not because I’ve become desensitized to its lawlessness, but because it’s so well-constructed that I’m drawn back to it despite the anxiety it inspires. There’s comfort in the thrall of an artist who’s in complete control of his medium. When Evil Lurks is Rugna’s fifth film, and I don’t think it’s too soon to declare him an important filmmaker and a true innovator. I’ve never seen what he does in the horror genre before; I’d call it experimentation, except that it works on a more than theoretical level. Between this and his previous picture, Terrified (2017), he has deconstructed the familiar, reconstituting it into a beast that feels new and dangerous. When I take a shower now, it’s not Psycho or The Seventh Victim that comes to mind, it’s the long opening sequence of Terrified in which a man traces the source of a strange thumping in the middle of the night to something unspeakable happening to his wife in the bathroom for what must have been hours. There’s nothing new about locating terror in intensely personal private spaces, but there’s a revolution in having the idea to mate Martyrs with Poltergeist.

The Creator (2023)

October 2, 20232023, Action, Adventure, Authors: Walter Chaw, Drama, Sci-Fi, Theatrical, Thriller

*/****
starring John David Washington, Gemma Chan, Ken Watanabe, Allison Janney
screenplay by Gareth Edwards and Chris Weitz
directed by Gareth Edwards

by Walter Chaw Fifty-three minutes into Gareth Edwards’s The Creator, there is a “What is Heaven?” talk between a hardened American soldier broken by grief and regret and a little Asian kid who happens to be a potentially world-destroying cyborg. The cyborg asks the question, and the G.I. says it’s where people go when they’re turned off, then clarifies that he won’t be going there because only good people get into Heaven. The A.I. then observes they have something in common, as it, too, will be denied entrance to Heaven as a non-person and, it goes without saying, non-Christian. I think this is maybe a critique of Christianity, which believes that the 69% of people on this planet who do not share their beliefs will literally burn for an eternity in a lake of fire. Or perhaps it’s a critique of American exceptionalism that believes we have the corner on morality, even as the country’s engaged in vicious dynastic colonialism and has been since its conception. Mostly, and accidentally, it’s a meta-critique of how whenever white creators seek to get all dewy-eyed about trans-humanism (see: Cloud Atlas), they tend to use Asian bodies as the battleground for their philosophical evolution, thus exposing a bias that should probably be examined with the help of non-white creators involved in the decision-making process. Why is it, they might ask these science-fictional advisors and creators, that when you talk about spiritual thought-leaders who transcend this mortal plane, the first thing you think of is a magical, mystical Oriental? Think hard.

That Old Witchcraft: FFC Interviews Tereza Nvotová

September 24, 20232023, Authors: Walter Chaw, Horror, Interviews, Slovakia

Walter Chaw interviews Tereza Nvotová,
co-writer/director of NIGHT SIREN

Tereza Nvotová's Nightsiren (Svetlonoc) was among the handful of titles that blew me away at this year's long-ago-feeling Boston Underground Film Festival. It's smart, beautiful, savage, and from a part of the world, Slovakia, with whose cinema I'm unfamiliar. (Ditto the filmmaking team of Nvotová and her co-writer, Barbora Namerova.) Part folk-horror and part female-empowerment/coming-of-age melodrama, Nightsiren demonstrates an ease with archetype and the courage to use funding provided by the Slovakian government to create a piece that questions the country's systems and traditions uncompromisingly. It's righteous.

Telluride ’23: Daddio

September 21, 20232023, Authors: Walter Chaw, Drama, Film Festivals, Telluride

***/****
starring Dakota Johnson, Sean Penn
written and directed by Christy Hall

by Walter Chaw Girlie (Dakota Johson) gets in a cab from JFK to Manhattan, and over the long drive through construction slowdowns and other diversions, she and driver Clark (Sean Penn)…talk. Girlie receives a few lewd texts from her lover, sure, but Clark praises her for how little she’s on her phone in this age of screen intermediaries. He’s surprised again when she wants to know his name: “You are a human being,” he says, and there’s hardly anyone who could deliver this line the way Penn does: free of insinuation or sarcasm, hinting at emotions like gratefulness and even flattered surprise. Penn is one of our great “face” actors. Robbed of tools other performers rely upon, he won an Oscar for Dead Man Walking, where he spent most of his time behind a glass partition, shackled to a table. The four inches reflected in the rearview mirror in Daddio are a better actor than almost anyone who’s ever done this. His persona outside of film has outgrown him in many ways, but I was shocked by how glad I was to be in his company again. Penn’s large humanitarian gestures and vile history of abuse, spotlighted whenever he shares his unevolved and indeed apparently devolving Neanderthal viewpoints on women and consent have obscured his accomplishments as an actor. Perhaps rightfully so. Seeing him on a big screen again made me realize how much I’d missed him in this context–and how much I wish it were the only context in which I knew him.

Telluride ’23: All of Us Strangers

September 19, 2023****/****, 2023, Authors: Walter Chaw, Drama, Esoterica, Film Festivals, Telluride, UK

****/****
starring Andrew Scott, Paul Mescal, Jamie Bell, Claire Foy
screenplay by Andrew Haigh, based on the novel by Taichi Yamada
directed by Andrew Haigh

by Walter Chaw What if I could? What if I did and they were there, my parents as I remember them when I was 12, and I was not so fixed in time and grief? When I was a child and needed them even though I thought I didn’t, but now, as the old man who knows I still do. What if I went to the place where I grew up and rang the bell and they answered it, and I could tell them the things I had done that would make them proud of me? And the things I never could tell them because I was afraid they’d reject me again for everything I could’ve helped and everything I couldn’t. I can see them in the living room. I can see them in the kitchen. What if they, knowing how short the time had gotten, could tell me what was in their hearts so I didn’t have to wonder? Was there love there that had hardened? Or had it retreated to an armoured place to protect it from breaking? In Andrew Haigh’s All of Us Strangers, a man tells his new lover how something awful happened to him once, but it’s okay because it was a long time ago. His lover corrects him: “A long time ago” doesn’t matter when you’re talking about terrible things. “Oh,” the man says, and quieter, “oh.”

Telluride ’23: El Conde

September 14, 20232023, Authors: Walter Chaw, Chile, Comedy, Esoterica, Film Festivals, Horror, Telluride, Vampire

***½/****
starring Alfredo Castro, Catalina Guerra, Paula Luchsinger, Diego Muñoz
written by Guillermo Calderón & Pablo Larraín
directed by Pablo Larrain

by Walter Chaw El Conde is the bitterest of farces: a satire of excess and great evil that uses vampirism as a blunt metaphor for the forces that sap places and entire peoples of their share of a nation’s fortunes. Always timely, Chilean director Pablo Larraín turns his attention to his country’s last bogey, Augusto Pinochet, who, with the support of the United States government, staged a brutal coup in 1973 and consequently ruled Chile with an iron hand until 1990. Among the disastrous programs initiated by his regime? Abolition of all trade unions–an act that seems specifically pointed, given the millions poured into this project by Netflix. The country’s wealth tanked as Pinochet’s exploded. At the time of his death in 2006, over 300 criminal charges were left pending against him. Larraín speculates that Pinochet staged his death to avoid continued persecution and is, in fact, a centuries-old vampire who once fed on the blood of Marie Antoinette. The image of a young Frenchman licking her blue blood fresh from the guillotine’s blade is, in a tidy nutshell, critique of thaumaturgical contagion: hereditary wealth and power, distilled into the tastes of a vampire so smitten by the tang of royal blood that he steals the Queen’s head and keeps it in a jar as a fetish object. When he seduces a young nun in the present day of the film, he first makes her dress up like Antoinette and is dismayed when she shows not just disinterest in the onanistic trophy he uses as a reference for her costume, but actual disgust.

Telluride ’23: Nyad

September 13, 20232023, Authors: Walter Chaw, Biopic, Drama, Film Festivals, Sports, Telluride

*/****
starring Annette Bening, Jodie Foster, Rhys Ifans, Johnny Solo
screenplay by Julia Cox, based on the book by Diana Nyad
directed by Jimmy Chin & Elizabeth Chai Vasarhelyi

by Walter Chaw Film festivals are expensive and not profitable. They underpay their staff, which mostly comprises volunteers and a nomadic group of technicians who follow festivals around the country like roadies on an eternal tour, and they suffer from the need to please their wealthiest supporters, who, for the most part, have more money than taste. Certainly, they have more desire to be coddled than hunger for risk-taking. That’s why, every year at the Telluride Film Festival, one of the most prestigious film festivals in the country, there’s an entry like thrill-seeker documentarians Jimmy Chin and Elizabeth Chai Vasarhelyl’s Oscar-bait biopic Nyad. Last year it was Empire of Light, and the year before it was King Richard, and the year before that it was Judy. In 2017, there was that Battle of the Sexes thing about Billie Jean King, the only one I’ve mentioned to get zero traction at the Academy Awards. Each of these movies is as functionally formulaic as a suppository: machine-tooled and well-lubed, with only one measure for its success or failure. It either wins the middlebrow’s greatest honour, thus enriching its producers, or it fails to do so. But are these movies any good? I wouldn’t know how to begin to answer that question. Is a suppository good? I dunno, man, I don’t spend much time thinking about a capsule I shoot out of my ass annually around this time of year.

Telluride ’23: The Zone of Interest

September 11, 2023****/****, 2023, Authors: Walter Chaw, Drama, Film Festivals, Poland, Telluride, UK, War

****/****
starring Sandra Hüller, Christian Friedel, Freya Kreutzkam, Ralph Herforth
screenplay by Jonathan Glazer, based on the novel by Martin Amis
directed by Jonathan Glazer

by Walter Chaw A real sense of evil permeates every nook and cranny of Jonathan Glazer’s The Zone of Interest, which is an adaptation of the Martin Amis novel in the same way Glazer’s Under the Skin is an adaptation of Michel Farber’s novel. That is to say, one of tone and mood that discards all but the broadest strokes of the original premise. If Glazer applied the same process to this film as his previous one, he let the mysterious currents of his intuition guide his hand across the text. He is the philosopher as artist, an anthropologist locating himself in a human blind and documenting the mysterious movement of the dark as it oozes from one crooked and low place to another. I don’t know how he finds the threads he pulls, but his fingers must be more sensitive than mine. I also don’t entirely understand how he sneaks toxins past my defenses, desensitization, and tolerances: the draft you can never locate after the first freeze of a long winter locks you in place. Glazer isn’t interested in moralizing, in trying to understand, even contextualize, how an ordinary, upper-middle-class military family in The Zone of Interest can owe their existence to mechanized genocide and feel no call to conscience. He doesn’t see his characters as so complex they defy binary judgment; he sees them as so mechanical and simple they defy binary judgment. The universe tends to comfort. It’s a fool’s mission to impose systems of understanding on the ant Isserly beholds at the beginning of Under the Skin. Trying to do so could drive one to madness. Trying to do so says more about you than it does the ant.

Telluride ’23: Fallen Leaves

September 8, 20232023, Authors: Walter Chaw, Comedy, Drama, Esoterica, Film Festivals, Germany, Telluride

Kuolleet lehdet
***½/****
starring Alma Pöysti, Jussi Vatanen, Janne Hyytiäinen, Nuppu Koivu
written and directed by Aki Kaurismäki

by Walter Chaw I adore Aki Kaurismäki, the deadpan, live-action Bill Plympton of Finland, who tells his small stories, little romances and tiny tragedies, with a style one might call rigid but that for me plays like the legacy of Fassbinder carried through into our dotage. (Mine and his, had he lived.) Kaurismäki’s latest film, Fallen Leaves, reminds me a lot, in fact, of Fassbinder’s winsome Ali: Fear Eats the Soul (1974), about a young Tunisian immigrant who falls for an older cleaning lady in West Germany. Its story of star-crossed lovers, separated by culture and generation, race and creed, is presented with the kind of simplicity that’s all the more emotionally lacerating for its reserve. Fassbinder’s slow, mannered pace allows his actors to find their breath, to expand into the skins of their characters so that we register every minute change in expression, every tightening of the skin by the eye, every roll of the muscle in the jaw when a small slight lands like a blow. Kaurismäki’s pictures engage in the same slowing-down, the same understated dialogue, the same complexity of emotion.

Telluride ’23: The Royal Hotel

September 6, 20232023, Australia, Authors: Walter Chaw, Film Festivals, Horror, Telluride, UK

**½/****
starring Julia Garner, Jessica Henwick, James Frecheville, Hugo Weaving
written by Kitty Green & Oscar Redding
directed by Kitty Green

by Walter Chaw Aussie hyphenate Kitty Green’s follow-up to her superlative office horror The Assistant is The Royal Hotel, a lighter, distaff version of Wake in Fright in which two college girls looking for a little adventure but out of money find themselves in the Outback tending bar to a bunch of despicable degenerates. Hanna (Julia Garner) is the cautious one and Liv (Jessica Henwick) is the broken one, leading to a few uncomfortable scenes where Liv gets fall-down drunk while surrounded by a bunch of men who would most assuredly like to rape and murder her. Maybe not in the bright light of day, but a few dozen pints later all’s fair in love and the poor decisions most of us somehow survive. For the record, I liked Hanna very much and loathed Liv, which is evidence of not only a profound empathy gap in me that stops me from caring about people who, by their damage, end up damaging those who’ve made themselves responsible for them, but also a script (by Green and Oscar Redding) that leans perhaps too heavily on the horror-movie dichotomy of good girl/party girl. What works so well about Wake in Fright is how its hero is both a respectable doctor and a drunken gambling addict with a sadistic streak. You hate him, but you hate everyone else a tiny bit more. Still, when he puts a gun to his temple, you hope he doesn’t miss. Imagine the film now with a friend for the hero who is fully equipped with a working human warning system that no one will heed. It’s distracting; it becomes a different movie when there’s someone in it making sense.

Telluride ’23: Poor Things

September 5, 2023****/****, 2023, Authors: Walter Chaw, Esoterica, Film Festivals, Ireland, Romance, Sci-Fi, Telluride, UK

****/****
starring Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef
screenplay by Tony McNamara, based upon the novel by Alasdair Gray
directed by Yorgos Lanthimos

by Walter Chaw Ex Machina by way of Anaïs Nin, Yorgos Lanthimos’s Poor Things is a libertine exercise-cum-fable about the hypocrisies of politesse and the occasional eruptions of collective sexual hysteria designed exclusively for shackling women to proverbial bits and millstones. It is the final of three films in 2023 that use Mary Shelley’s Frankenstein as a launchpad for progressive genre explorations, locating in the novel’s stitched-together creature a fulsome metaphor for the indignities afforded the spirit encased in prisons of rotting flesh. Rather than quibble about the merits of one over the other, watch all three (Bomani J. Story’s The Angry Black Girl and Her Monster and Laura Moss’s Birth/Rebirth being the other two) in any sequence to witness the unfolding of an extended treatise on gender and racial politics delivered with brio, invention, wicked intelligence, and bracing creative courage. It’s possible to make a movie of a lecture, but it’s more effective to make dangerous, even experimental, art from which all manner of lecture and examination will eventually be constructed. The former is the province of creators limited by their fear and ignorance, the latter of mad scientists inordinately confident in the ability of their cinematic children to find a way through the rubble of a drowned and ruined world. I don’t know that these three films are the best three films of the year, but they’re among them, and certainly, they comprise an uncanny trilogy for a period in which the United States has stripped women of their bodily autonomy at the moment of a suspiciously-timed rise in fascist white nationalism and its handmaiden, Puritanism. They’re doing it in the open: raising a flag of moral panic waved by Evangelical fucknuts pushing hard for an Apocalypse they hope will consign everyone else on this burning Earth to a damnation born of their perverse, onanistic fetishism.

Telluride ’23: Fingernails

September 4, 20232023, Authors: Walter Chaw, Drama, Esoterica, Film Festivals, Romance, Sci-Fi, Telluride, UK

½*/****
starring Jessie Buckley, Jeremy Allen White, Riz Ahmed, Luke Wilson
written by Christos Nikou, Stavros Raptis, Sam Steiner
directed by Christos Nikou

by Walter Chaw If you ever wondered what a tuneless Yorgos Lanthimos rip-off would look like, Christos Nikou’s Fingernails has your answer. It’s lifeless, pointless, idiosyncratic in the basic, formula-bound way non-idiosyncratic people imagine idiosyncrasy to be like, and it staggers around trying to make sense of its internal logic before it’s too late–but it’s too late. There’s no plan here that makes sense, only a high concept that sounded smart one night and a trillion-dollar corporation desperate for something to fill the voracious maw of its content extruder. Fingernails is the stupid-person’s version of Dogtooth, substituting an explicitly violent and sexual fable for the dangers of oppressive belief systems with a conspicuous nothing-burger that, not knowing what it’s about or how to be about it, is predictably a dumpster fire that thinks it’s about the indomitability of love yet in execution is about nothing. The movie has going for it three of the very finest actors working right now in Jessie Buckley, Riz Ahmed, and Jeremy Allen White–and it has going against it a script that feels like a first draft, desperate direction, and a technical presentation that, at least in its festival incarnation, was marred with flaws that exacerbated the impression the film’s brand is “undercooked.” Everyone deserved better.