Authors: Walter Chaw Archives - Page 50 of 146

Ms. 45 (1981)

January 17, 20141980s, 2014, Authors: Walter Chaw, Crime, Revenge, Theatrical

Ms. .45
***½/****
starring Zoë Tamerlis, Bogey, Albert Sinkys, Darlene Stuto
screenplay N. G. St. John
directed by Abel Ferrara

by Walter Chaw SPOILER WARNING IN EFFECT. I first saw Abel Ferrara’s Ms. 45 the way I suspect most men my age saw it: furtively, in my bedroom, on VHS. It had about it that aura of skeeviness I spent a good portion of my time hunting for at the local video store. My nose for such things had been rewarded with likes of I Spit on Your Grave and The Last House on the Left, films that never failed to be prurient in their rape sequences, no matter their nods to subsequently avenging our fair, fairly defiled, maidens. What Ferrara presents with this, arguably his second-most notorious film (The Addiction is unbelievable, and still only available on VHS), is a rape-revenge tale that does nothing to de-feminize its heroine–rather correctly, powerfully, identifying that the loci of a woman’s power is indeed her sexuality, even as that sexuality draws the objectifying, dehumanizing gaze. It’s why, after all, so many fertility goddesses are also destroyers, isn’t it? There’s a moment in the third Terminator where the female Terminator, played by the already-intimidating Kristanna Loken, makes a decision to enlarge her breasts prior to confronting a male victim. If only the rest of that film were so wise.

Message from Space (1978) – DVD

January 15, 20141970s, 2014, Action, Adventure, Authors: Walter Chaw, DVD, Japan, Sci-Fi, Scream/Shout! Factory

***/**** Image C+ Sound C- Extras C Madness A
starring Vic Morrow, Sonny Chiba, Philip Casnoff, Peggy Lee Brennan
screenplay by Hiroo Matsuda
directed by Kinji Fukasaku

by Walter Chaw Essentially a big-budget, feature-film version of Calvinball if Bill Watterson were a manga artist undergoing a psychotic break, Kinji Fukasaku’s balls-insane Message from Space is a very special brand of genius. It honours no structural logic that I can discern, though it does have a kinetic kid-logic, the kind honed from endless summer afternoons tromping around with your buddies, making shit up and being happier than you’ll ever be again in your life. Message from Space captures that headiness, that heedlessness, the sort of reckless creativity that charts the course between memorable films by someone like Ed Wood and forgettable films by every other hack with the same level of talent but not the same joyful dedication. I’m not saying Message from Space is a good movie–I can’t even say that the reasons for its existence are particularly honourable (it’s an obvious Star Wars cash-grab). But I can say that Message from Space is crazy-energetic and has more delightful moments packed into it than a dozen “normal” movies. I also wouldn’t underestimate its influence on a generation of kids Star Wars-hungry during that three-year gap between the first film and The Empire Strikes Back. Herein, find the source of Will Ferrell’s Ron Burgundy at least, and, incidentally, the better version of Mel Brooks’s Spaceballs (and Stewart Raffill’s The Ice Pirates).

Synchronicity: FFC Interviews Aharon Keshales & Navot Papushado, writers/directors of “Big Bad Wolves”

January 12, 20142014, Authors: Walter Chaw, Film Festivals, Interviews, Israel

Just a couple of weeks after I caught writer-director Aharon Keshales and Navot Papushado’s Big Bad Wolves at the 4^th Mile High Horror Film Festival, Quentin Tarantino, having seen it himself at the Busan International Film Festival, declared it to be his favourite movie of 2013. Turns out QT screening the picture at a South Korean event represents a special kind of synchronicity, given that both he and South Korea’s fulsome genre cinema were key influences on Kehsales & Papushado. Seeing both of Keshales and Papushado’s films when I did (before I got a chance to screen Big Bad Wolves, I was inspired by the buzz on it to track down their 2010 debut, Rabies) felt like a bit of synchronicity in itself–or, at least, I felt lucky that I was able to catch this wave right at the moment that it crests and heads to shore. When I reached out to Mr. Keshales to see if he might be interested in an interview, he was quick to agree and then, over missed connections, a miscommunication about time zones (8 p.m. in Israel is 11 a.m. in Colorado, go figure), a bad Skype link, a newly-purchased cell-mike still package-fresh, and finally a cell call from a street in Israel (where Papushado almost got creamed by a car) to a suburb in the foothills of the Rocky Mountains, I was able to chat at last with Keshales and Papushado: the faces–the only ones, as it happens–of Israeli horror and a new day dawning in Israeli cinema.

Lone Survivor (2013)

January 7, 20142013, 2014, Action, Authors: Walter Chaw, Drama, Theatrical, Thriller, UK, War

***/****
starring Mark Wahlberg, Taylor Kitsch, Emile Hirsch, Eric Bana
screenplay by Peter Berg, based on the book by Marcus Luttrell with Patrick Robinson
directed by Peter Berg

by Walter Chaw Peter Berg is a great action director. He does it with verve, a good sense of space (which is increasingly rare these days), and a sense of both weight and humour. He has excellent timing, as well as an understanding of what’s meaningful visual information in there among the dross of motion and impact. Moreover, he seems obsessed with working through issues surrounding what it means to be a man–how, too often, it means your social interactions are limited to violence, threats to your sexuality, and hazing rituals dangerous and bestial. I’m a huge fan of his debut feature, Very Bad Things; visually, I think it’s wrong to underestimate how influential is his romantic rack-focus gimmick from Friday Night Lights. I love Berg’s Hancock, the movie that Man of Steel aspired to be (and if we’re talking secondary influences, Zack Snyder owes much of his cinematic vocabulary to Berg). I love The Rundown, and while Battleship is inarguably a misfire, it’s also less of a misfire than it could have been. With Lone Survivor, based on the memoir of Navy SEAL Marcus Luttrell, the titular lone survivor of a botched four-man special forces mission in Afghanistan, Berg’s examinations of the masculine take their logical turn from bachelor parties to football to superheroes to military action. And for long moments, Lone Survivor is fantastic.

Eyes Without a Face (1960) [The Criterion Collection] – Blu-ray Disc

January 5, 2014****/****, 1960s, 2014, Authors: Walter Chaw, Blu-ray Disc, FFC Must-Own, France, Horror, The Criterion Collection, Thriller

Les yeux sans visage
****/**** Image A Sound A Extras C
starring Pierre Brasseur, Alida Valli, François Guérin, Edith Scob
screenplay by Pierre Boileau, Thomas Narcejac, Jean Redon and Claude Sautet, based on the novel by Jean Redon
directed by Georges Franju

by Walter Chaw Five films changed the conversation in 1960. They were the fire, though the embers were stoked in the years leading up to them. Looking for signposts in the Eisenhower Fifties, you find the juvenile-delinquent cycle, plus the outré horror flicks of England’s Hammer Studios, or Japan’s tokusatsu, or France’s Nouvelle Vague. More directly, you find a pair of films based on works by the team of Pierre Boileau and Thomas Narcejac, Diabolique and Vertigo. But in 1960, there was this quintet, each the product of parallel genesis, each proof after a fashion of a Jungian collective unconscious, perhaps, certainly that things long-simmering inevitably boil over. There’s an idea in my head, put there by Ethan Mordden’s Medium Cool, that everything that happened in the arts in the United States throughout the Fifties points to what was about to happen in our culture in the Sixties. Mordden is the source of my favourite teaching point when it comes to the two eras: that in the Fifties, if you didn’t listen to Mother, society was doomed; and in 1960, if you listened to Mother, you were Psycho.

FFC’s Best of ’13

January 1, 20142013, 2014, Authors: Angelo Muredda, Authors: Bill Chambers, Authors: Walter Chaw, Best-of Lists, Blog

by Walter Chaw Searching for themes in 2013, you come upon the obvious ones first: the frustrations of the forty-five percenters; the growing income gap; and the death of the middle class, encapsulated in brat-taculars like The Bling Ring and Spring Breakers and prestige pics like Martin Scorsese’s The Wolf of Wall Street, David O. Russell’s American Hustle, and, um, Michael Bay’s Pain & Gain. You see this preoccupation with the economy in Nebraska‘s quest for a million-dollar Clearinghouse payday, and in Frances Halladay’s desire for a place to sleep and a career that can subsidize it (see also: To the Wonder and Byzantium). It’s there in the identity theft of Identity Theft and the motivations of the prefab family from We’re the Millers, paid off with picket fences in an ending with echoes of My Blue Heaven and Goodfellas. Consider All is Lost, an allegory for pensioners who’ve lost everything to the wolves of Wall Street, adrift on a limitless span, taking on water but plucky, damnit. Too plucky, in the case of Redford’s Everyman hero–who, frankly, would’ve better served his allegory had he drowned with salvation in sight.

Her (2013)

December 18, 2013****/****, 2013, Authors: Walter Chaw, Drama, Romance, Sci-Fi, Theatrical

****/****
starring Joaquin Phoenix, Amy Adams, Rooney Mara, Scarlett Johansson
written and directed by Spike Jonze

by Walter Chaw Two moments early on in Spike Jonze’s Her. The first when our hero, Theodore (Joaquin Phoenix), initiates his new operating system, Samantha (voiced by Scarlett Johansson), and is asked to characterize his relationship with his mother; the second when, in flashback, Theodore and his ex, Catherine (Rooney Mara), pretend to choke each other. They’re waypoints Jonze establishes for his piece: in one direction, there’s Blade Runner and its questions of proximate humanity; in the other, there’s Eternal Sunshine of the Spotless Mind and its mad love. Jonze establishes, too, that this will be a work of science-fiction owing its parentage to the best sources, that its premise will be fantastic but grounded in characters and their place in the world. Of all the compliments I can think to pay this film, the best is that Her is at least the equal of its waypoints. More, when its solution recalls the metaphysical coda to the great The Incredible Shrinking Man, it’s the equal of that as well.

The Lone Ranger (2013) – Blu-ray + DVD + Digital Copy

December 15, 20132013, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Disney, DVD, Superhero, Western

Loneranger1

***/**** Image A Sound A+ Extras C+
starring Johnny Depp, Armie Hammer, Tom Wilkinson, Helena Bonham Carter
screenplay by Justin Haythe and Ted Elliott & Terry Rossio
directed by Gore Verbinski

by Walter Chaw What Gore Verbinski’s The Lone Ranger has going for it, in addition to a genuinely ugly streak of nihilism and a surprisingly high body count, is that it doesn’t seek to “darken” its titular boy scout hero so much as offer that his brand of do-gooderism seems naïve and ineffectual in the modern conversation. It’s the same tactic taken by Arthur Penn’s own picaresque western Little Big Man, the film it most resembles right down to the framing story: an aged narrator relating his sometimes fanciful tale to a modern chronicler, used to amusing effect when the plot gets out of hand, Princess Bride-style. It’s like a lot of movies, I guess (including two Simon Wincer westerns, Quigley Down Under and Lightning Jack), which doesn’t mean it’s derivative so much as it means that it plays like any number of satires of the kind of innocence that made the Lone Ranger character a favourite of impressionable young Americans for generations. It’s more the anachronism of The Brady Bunch Movie than the update of Man of Steel, in other words–and the better for it, even if its ultimate message appears to be that the crimson tide has overtaken us, once and for all, and there’s no real room left in the world for the idealism represented by a hero with a list of creeds, the first of which is that to have friends one must first be a friend.

The Last Days on Mars (2013)

December 12, 20132013, Authors: Walter Chaw, Horror, Sci-Fi, Theatrical, Thriller

*½/****
starring Liev Schreiber, Elias Koteas, Romola Garai, Olivia Williams
screenplay by Clive Dawson, based on the short story “The Animators” by Sydney J. Bounds
directed by Ruairi Robinson

by Walter Chaw Sort of expecting an impressionistic adaptation of David Bowie’s “Ziggy Stardust” cycle, imagine my surprise to discover that Ruairi Robinson’s The Last Days on Mars is a derivative, flaccid little space-set horror flick that proves the maxim that movies with “Mars” in the title tend to suck. It boasts an exceptional cast, anchored by the ever-steady Liev Schreiber, who receives strong assists from Olivia Williams, Romola Garai, and Elias fucking Koteas. And it features a script by Clive Dawson, based on a Sydney Bounds short story, that is so familiar to genre enthusiasts by now that if you can’t predict who lives, who dies first, even what the last shot will be, well, you just aren’t paying attention. See, The Last Days on Mars is about the last hours for this scientific expedition looking for proof of life. On the verge of giving up, they find proof of life. But the life is evil and it turns them into space zombies. No, seriously.

Saving Mr. Banks (2013)

December 10, 20132013, Authors: Walter Chaw, Biopic, Disney, Drama, Theatrical, ZERO STARS

ZERO STARS/****
starring Emma Thompson, Tom Hanks, Paul Giamatti, Colin Farrell
screenplay by Kelly Marcel and Sue Smith
directed by John Lee Hancock

by Walter Chaw Oh, I get it, haha, this is some kind of joke, right? Because no one in their right mind would remake Finding Neverland as this twee bullshit. …Wait, really? Okay. Because I’m assured that this happened, presented for your approval is (snicker) Saving Mr. Banks, directed by (haha) John Lee Hancock from a screenplay by a team one half of which (bwahaha) is currently writing the Fifty Shades of Grey adaptation. This is rich–are you serious? Okay, okay. So Saving Mr. Banks is based on the adorable true story of how everyone’s favourite union-busting, HUAC finger-pointing anti-Semite Walt Disney (Tom Hanks) convinced brittle British bitch P.L. Travers (Emma Thompson, the “I’m so veddy cross” ‘elevens’ crease between her eyes upstaging her in nearly every scene) to sell him the rights to her creation, Mary Poppins. He all of practiced, televisual charm and she all of powder and crumpets; how will Walt ever batter down the barriers that Ms. Travers has erected from the hell of her Andrew Wyeth flashback childhood, complete with (snigger) Colin Farrell as her fatally-flawed (and handsomely alcoholic) da, Robert. Who gives a shit? More rhetorical questions: Who really likes–I mean really likes–garbage like this? Is there anyone at this point who thinks it a great idea to peanut-butter a shameless Thomas Newman score over every exposed nook in a movie aimed at cat ladies in Mickey Mouse sweatshirts? Saving Mr. Banks is dribble of the first order. What I wouldn’t give to see Hanks play Disney’s 1931 nervous breakdown, moreover to have our very own Jimmy Stewart choose the same late-career path as the actual Stewart and begin playing darker roles in less conventional films. Admittedly, Captain Phillips is mostly crap, but it’s not drool, and Hanks is great in it.

Inside Llewyn Davis (2013)

December 8, 2013****/****, 2013, Authors: Walter Chaw, Coen Brothers, Comedy, Drama, France, Music, Theatrical, UK

****/****
starring Oscar Isaac, Carey Mulligan, John Goodman, Justin Timberlake
written and directed by Joel Coen & Ethan Coen

by Walter Chaw I love the Coen Brothers, despite my suspicion that most of their movies don’t think much of me at all. What’s often read as disdain for their characters I’ve read mainly as antipathy for their audience: I believe they like their characters just fine, it’s just that they could give a shit about your opinion of what happens to them. I love the Coens for their literary acumen, for their fine ability to understand not simply the form of genre–and, in their adaptations, of authors–but the entire function as well. They don’t just adapt Cormac McCarthy and Charles Portis novels, they adapt those writers’ entire bodies of work. O Brother, Where Art Thou? is a remarkable retelling of The Odyssey, for instance, because in addition to following the outlines of the poem, it adapts its themes and storytelling strategies; it’s a dissection and a representation and glorious, of course. They return now to The Odyssey–or, at least, to the character of Odysseus–in Inside Llewyn Davis, a picture set in 1961, among the bohos and coffee shops of a Greenwich Village on the verge of Bob Dylan and the counterculture, and it’s populated with lost souls in overlapping underworlds. Transpose that passage from Homer where Odysseus fills troughs with sheeps’ blood to draw the undead (and finds his poor deceased mother there at her drink) to scenes in Pappi’s (Max Casella) infernal nightclub as proto-hipsters and neo-beatniks assemble blandly on the edge of a trembling something while performers bleed out before them. In rituals for new gods, after all, there must be lambs to slaughter.

SDFF ’13: Borgman

November 26, 2013****/****, 2013, Authors: Walter Chaw, DIFF/SDFF, Esoterica, Film Festivals, Netherlands, Thriller

****/****
starring Jan Bijvoet, Hadewych Minis, Jeroen Perceval, Sara Hjort Ditlevsen
written and directed by Alex van Warmerdam

by Walter Chaw Screening at the SDFF and now travelling with the Alamo Fantastic Fest, Alex van Warmerdam’s Borgman gets the Yorgos Lanthimos Award for Most Devastating Absurdist Metaphor for Familial Dysfunction. Smart as hell and unapologetically surreal, its central motivating image is a tableaux vivant of Henry Fuseli’s “The Nightmare,” tipping off not just the ethos of the film, but also that there may be running threads concerning mothers (Fuseli was Mary Wollstonecraft’s lover), monsters (Mary being the mother of Mary “Frankenstein” Shelley), the empowerment of women (the mother again), nightmares, of course, and maybe Romanticism, if only in the picture’s awareness and perversion of nature. Demanding a specific kind of active spectatorship, Borgman is a complex film with heat, and somewhere in the middle of it there’s a performance within a performance that ends with a declaration of intent that stands as one of the most existentially chilling things in cinema this year.

The Hunger Games: Catching Fire (2013)

November 20, 20132013, Action, Adventure, Authors: Walter Chaw, Sci-Fi, Theatrical, Thriller

*½/****
starring Jennifer Lawrence, Liam Hemsworth, Josh Hutcherson, Philip Seymour Hoffman
screenplay by Simon Beaufoy and Michael Arndt, based on the novel by Suzanne Collins
directed by Francis Lawrence

by Walter Chaw Portentous, eagerly anticipated, ending on an abrupt cliffhanger aboard a spaceship… Yes, I’m talking about The Matrix Reloaded–I mean, The Hunger Games: Catching Fire (hereafter Catching Fire), which, for all the conceptual visual improvements inherent in moving from The Hunger Games director Gary Ross to director Francis Lawrence for this instalment, still suffers from hilarible, unspeakable dialogue and a scenario seldom honoured by the execution. Those who haven’t read the books (myself included), fair warning that you’ll not be able to follow a moment of this one without revisiting the first film–again like The Matrix Reloaded. From what I could glean based on the fragments of The Hunger Games I haven’t blocked out is that this girl, Katniss (Jennifer Lawrence, earnestly dreadful), has won a televised deathmatch sponsored by a monolithic government to keep control of twelve impoverished, racially- and class-coded districts. I get it, it’s a metaphor and, um, a satire of some sort.

Dallas Buyers Club (2013)

November 19, 20132013, Authors: Walter Chaw, Drama, Theatrical

*/****
starring Matthew McConaughey, Jennifer Garner, Jared Leto, Denis O’Hare
screenplay by Craig Borten & Melisa Wallack
directed by Jean-Marc Vallée

by Walter Chaw Agreeable, well-meaning horseshit in the Lorenzo’s Oil vein (but horseshittier), Jean-Marc Vallée’s really bad Dallas Buyers Club is saved to some extent by a couple of fine, showy performances from a skeletal Matthew McConaughey and a skeletal Jared Leto in drag, but ultimately defeated by the standard straw-man activist biopic formula. Not to put too fine a point on it, it’s this fall’s Promised Land: another liberal movie that injures the credibility of the liberal platform by being so shrill and didactic as to play like melodrama of the worst kind–that is, the self-important kind. All of which is not to say that I didn’t sort of enjoy it in the moment (it’s fun to marvel at how close to death McConaughey looks, and how pretty Leto is), but to say that the act of writing about it means taking the time to think about it, and that Dallas Buyers Club doesn’t suffer much thinking-about.

SDFF ’13: The Fifth Season

November 13, 2013****/****, 2013, Authors: Walter Chaw, Belgium, DIFF/SDFF, Drama, Film Festivals, France, Mystery, Netherlands

La cinquième saison
****/****
starring Aurelia Poirier, Django Schrevens, Sam Louwyck, Gill Vancompernolle
written and directed by Peter Brosens & Jessica Woodworth

by Walter Chaw It begins as a puzzle, the active-engagement kind where a film, maybe an art film not very good and certainly not lacking in pretension, wears all the hopes of its creators on its sleeve. But then, out of nowhere, Peter Brosens and Jessica Woodworth’s The Fifth Season (La cinquième saison) ties together all the pretty pictures into an entirely honourable updating of a few of the ideas from, but most importantly the atmosphere of, Robin Hardy’s The Wicker Man. Truth be told, the pictures are more than just pretty: they’re stunning at times, and it’s easy to be mesmerized by them–by their surrealism and meticulous framing, and, at the end of it all, by their gorgeous absurdity. This is rapturous filmmaking that in its first minutes watches two teens kiss, tentatively, in the cold and the woods, their breath trembling the soft down on each other’s faces. We feel, with them, the discovery of something new. The Fifth Season is a film about textures, but rather than just be a film about textures, it does something that maybe Terrence Malick’s movies do, certainly Bela Tarr’s: it makes its form comment on its function.

SDFF ’13: Blue Ruin

November 10, 2013****/****, 2013, Authors: Walter Chaw, DIFF/SDFF, Film Festivals, Thriller

****/****
starring Macon Blair, Devin Ratray, Amy Hargreaves, Kevin Kolack
written and directed by Jeremy Saulnier

by Walter Chaw Six years after his surprisingly poignant, unexpectedly deft, and, of course, funny debut Murder Party, multi-hyphenate Jeremy Saulnier (he writes, directs, and photographs his movies) returns with something very much like a genre masterpiece with Blue Ruin, the best Coen Bros. noir since they were making them. Grim in exactly the way that can be delightful, it’s paced beautifully, written beautifully, and performed, that’s right, beautifully. Saulnier’s intelligent script is a model of restraint and a strong sense of humour. Macon Blair’s reluctant avenging angel Dwight is someone I’ve never met before in a movie, and when Dwight seeks out old pal Ben (Devin Ratray) for help at some point, well, I’d never met him before, either. It’s fair to say that nothing that happens in Blue Ruin happens the way I thought it would happen, if it happens at all. Note an early moment in the picture where Dwight sets up an ambush and doesn’t pay it off, or that standard thing in movies now where the hero goes to a drugstore to pick up the supplies they need to perform self-surgery, which here ends with…that would be telling. All the requirements are there for a grand satire, it’s true, yet Blue Ruin isn’t that. Instead, it’s a film that understands exactly what it is and what space it occupies, and at the end it’s not merely an extraordinary character piece (Blair’s turn would be star-making in a just universe), it’s also a nimble thriller full of outrageous fortune and stunning reversals meted out perfectly between its breathless moments and the moments where it breathes.

SDFF ’13: The Broken Circle Breakdown

November 7, 20132013, Authors: Walter Chaw, Belgium, DIFF/SDFF, Drama, Film Festivals, Music, Romance

***/****
starring Johan Heldenbergh, Veerle Baetens, Nell Cattrysse, Geert Van Rampelberg
screenplay by Carl Joos & Felix Van Groeningen, based on the play by Johan Heldenbergh & Mieke Dobbels
directed by Felix Van Groeningen

by Walter Chaw Felix Van Groeningen’s The Broken Circle Breakdown eventually loses impetus and becomes political theatre, but until it does it’s exceptional melodrama, raw and emotional. It walks the fine line for a while, staying just this side of exploitation in its alinear tale of a little girl who gets cancer and her parents–how they met, the aftermath, and then the far aftermath. The film’s central event, then, isn’t the child’s fate, but rather the meet-cute of the parents, with squarish Didier (Johan Heldenbergh) asking about Elise’s (Veerle Baetens) tattoos in the parlour where she works. A bit shocked, and maybe titillated, that each has a story of a different man attached to it, he invites her to, essentially, come see him perform with his bluegrass band in a tiny club down the way. Van Groeningen, working from an original idea and stage play by Heldenbergh, adroitly alternates the events of the film with Didier’s band’s songs; in other words, The Broken Circle Breakdown owes a greater kinship to Cabaret than to Once–even though, at its best, its intent leans more towards the personal than the political. This means, of course, that once it becomes more political than personal, it also loses its rudder and balance. Already, effortlessly, about so much, it stumbles badly when it tries to be.

SDFF ’13: Soft in the Head

November 6, 20132013, Authors: Walter Chaw, Comedy, DIFF/SDFF, Drama, Film Festivals

**½/**** directed by Nathan Silver by Walter Chaw Nathan Silver's second film in less than two years (he reports he now has four in the can) is the surprisingly affecting Soft in the Head, which works as a detailed study of lives of loud desperation. Natalia (Sheila Etxeberria) is a drunk, makes bad object choices, and is an all-around loser who also has the misfortune of being really pretty, making her the target of just about everyone she comes in contact with. Exteberria, the sister of an ex-roommate of Silver's, is a true find, as is Ed Ryan as kind,…

SDFF ’13: Go Down Death

November 5, 20132013, Authors: Walter Chaw, Comedy, DIFF/SDFF, Drama, Esoterica, Film Festivals

½*/**** written and directed by Aaron Schimberg by Walter Chaw Okay, I'm gonna take a stab at this one. Aaron Schimberg's aggressively pretentious Go Down Death is an attempt to speak to the idea that communal storytelling is the key way in which humans communicate culture. Ostensibly based on a lost folklorist's collected works, it acts like a Guy Maddin, looks like early Jim Jarmusch, and really doesn't work at all, because if the film is a variation on a theme, it's a riff that goes on way, way too long. I spent an evening once watching mushroom prints, stained…

SDFF ’13: Tricked

November 4, 20132013, Authors: Walter Chaw, DIFF/SDFF, Documentary, Drama, Film Festivals, Netherlands, Thriller

Steekspel */**** directed by Paul Verhoeven by Walter Chaw Its title maybe referring to the audience, Paul Verhoeven's newest is a pain-in-the-ass gimmick piece done by a filmmaker I used to really admire and maybe don't so much anymore. The first third is dedicated to a built-in, manic "making-of" featurette that essays, in deadly, deadening detail, how Verhoeven posted four pages of a script online, then invited anybody with a laptop and a Starbucks to submit the next five pages, and the next, and so on and so forth, thus pushing Verhoeven out of his comfort zone and inspiring him…