Authors: Walter Chaw Archives - Page 54 of 146

The Master (2012) – Blu-ray Disc

March 27, 2013****/****, 2012, 2013, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Directors: Paul Thomas Anderson, Drama, FFC Must-Own

****/**** Image A Sound A Extras A-
starring Joaquin Phoenix, Philip Seymour Hoffman, Amy Adams, Laura Dern
written and directed by Paul Thomas Anderson

by Walter Chaw Of all the recognizable and memorable phrases that John Keats contributed to the English language, this ranks high:

A thing of beauty is a joy for ever:
Its loveliness increases; it will never
Pass into nothingness; but still will keep
A bower quiet for us, and a sleep
Full of sweet dreams, and health, and quiet
breathing.

Countess Dracula (1971)/The Vampire Lovers (1970) [Midnite Movies Double Feature] – DVD|The Vampire Lovers (1970) – Blu-ray Disc

March 24, 20131970s, 2013, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, DVD, Horror, Scream/Shout! Factory, UK, Vampire

COUNTESS DRACULA
*½/**** Image B Sound B+ Extras A
starring Ingrid Pitt, Nigel Green, Sandor Eles, Maurice Denham
screenplay by Jeremy Paul
directed by Peter Sasdy

THE VAMPIRE LOVERS
***/****
DVD – Image A Sound B+ Extras A-
BD – Image B+ Sound A- Extras B
starring Ingrid Pitt, George Cole, Kate O’Mara, Peter Cushing
screenplay by Tudor Gates, based on the story “Carmilla” by Sheridan Le Fanu
directed by Roy Ward Baker

by Walter Chaw Britain’s Hammer Studios all but defined the period horror film from the late-Fifties on, making matinee idols of Christopher Lee and Peter Cushing as Bram Stoker’s Dracula and erstwhile vampire hunter Van Helsing. But musty is what most Hammer productions remain (with notable exceptions like Quatermass and the Pit), and as the drive-in exploitation ethic of Herschell Gordon Lewis began to redefine the limits of what could be shown with regards to gore and nudity in the United States (arguably, the European films that found currency in the Sixties with a more sophisticated audience had as much or more to do with the “opening” of America’s notorious piety), the studio found itself distressingly out of touch–Merchant/Ivory doing The Matrix.

The Hobbit: An Unexpected Journey (2012) – Combo Pack: Blu-ray + DVD + Ultraviolet

March 18, 20132012, 2013, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, DVD, Fantasy, New Zealand

Hobbit1

½*/**** Image A Sound A+ Extras B
starring Ian McKellen, Martin Freeman, Richard Armitage, Andy Serkis
screenplay by Fran Walsh & Philippa Boyens & Peter Jackson & Guillermo Del Toro, based on the novel by J.R.R. Tolkien
directed by Peter Jackson

by Walter Chaw Shot at a vaunted 48 frames-per-second to better approximate the television soap opera its mammoth length suggests, Peter Jackson’s vainglorious trainwreck The Hobbit: An Unexpected Journey (hereafter “Hobbit 1“) looks for all intents and purposes like its own porn knock-off. A technological “advancement” that is to the naked eye identical to any episode of reality television or live sporting event you’ve been watching in your living room for years, the 48fps “breakthrough” was for Jackson a way of making the increasingly unpopular new-gen 3-D a little bit less crappy. It’s like putting a dress on a pig. Understand, complaints about “HFR” are not akin to the bellyaching about colour film or CinemaScope, since those innovations didn’t actively cheapen the moviegoing experience. The irony of all that being, of course, that while the image indeed doesn’t stutter or blur as much in 3-D, what we’re forced to look at is overlit, obviously artificial, and reminded me more than once of the jarringly amateurish “Star Wars Holiday Special”.

Design for Living (1933) [The Criterion Collection] – Blu-ray Disc

March 11, 2013****/****, 1930s, 2013, Authors: Walter Chaw, Blu-ray Disc, Comedy, FFC Must-Own, Romance, The Criterion Collection

****/**** Image A Sound B Extras A+
starring Fredric March, Gary Cooper, Miriam Hopkins, Edward Everett Horton
screenplay by Ben Hecht, based on the play by Noel Coward
directed by Ernst Lubitsch

by Walter Chaw The impulse to call the work of Ernst Lubitsch “frothy” and “bubbly” and otherwise insubstantial (a practice excoriated, rightfully so, by film scholar William Paul on Criterion’s Blu-ray release of Design for Living) obscures the fact that none of Lubitsch’s romantic masterpieces would carry any kind of resonance without an essential heart of darkness and decay. The oft-invoked “Lubitsch Touch”–that well-circulated anecdote that Billy Wilder hung the words “What Would Lubitsch Do” above his office door–suggests to me the wellspring of the asshole element in Wilder’s works: the idea that Wilder was just Hitchcock undercover, with Lubitsch influencing both directors in ways obvious and not so and not in terms of a “light” touch so much as a decidedly bitter one. Take my favourite Lubitsch film, Trouble in Paradise, which begins with a trash barge in the middle of the night in a Venice we don’t see again until Nicolas Roeg’s Don’t Look Now. The picture proceeds to document the love affair between two professional thieves and the innocent woman who falls victim to them. In that, there’s a direct reference to hated President Hoover’s deep-in-the-Depression platitude that “prosperity is right around the corner,” offered in piercing irony for a cash-strapped audience for whom the theatre had most likely just lowered their admission to a dime. The “Lubitsch Touch,” indeed: edged and between the ribs before you know it’s being brandished.

Driving Miss Daisy (1989) – Blu-ray Disc (DigiBook)

March 3, 20131980s, 2013, Authors: Walter Chaw, Best Picture (Academy Awards), Blu-ray Disc, Comedy, Drama

*/**** Image B Sound B Extras B
starring Morgan Freeman, Jessica Tandy, Dan Aykroyd, Patti Lupone
screenplay by Alfred Uhry, based on his play
directed by Bruce Beresford

by Walter Chaw The heart-warming story of how a bitter old Jewess learns to not be such a bitch to a patient Negro driver in an idyllic pre-integration South, Bruce Beresford’s Driving Miss Daisy, released the same year as other such landmark films about race as Ferris Bueller’s Black Civil War Regiment and Do the Right Thing, discusses how forty-one years of forced companionship can overcome even the deepest-seated prejudices and resentments. Or, at least, dementia can. We meet Ms. Daisy (Jessica Tandy) as she crashes her car, and we meet Hoke (Morgan Freeman) when he begs Miss Daisy’s son Boolie (Dan Aykroyd) for a job as her chauffeur–meaning they’re both prisoners of circumstance, see? Meaning this is an unlikely but no less racially naïve remake of Stanley Kramer’s embarrassing melodrama The Defiant Ones, scored by Hans Zimmer with outtakes from his synth-heavy, bullshit-rich Rain Man score, all teddy bears humping and building music boxes and shit. Meaning, essentially, that we are to believe there is no substantive difference between a wealthy white woman needing to hire a driver and a destitute black man looking for work in 1948 Atlanta. My favourite scene is either the one where Hoke asks Miss Daisy’s permission to make water, or the one where Hoke says something and Miss Daisy tells him to “be still.”

The Loneliest Planet (2012) – DVD

February 28, 2013****/****, 2012, Authors: Walter Chaw, Drama, DVD, Thriller

****/**** Image B Sound B- Extras C+
starring Gael Garcia Bernal, Hani Furstenberg, Bidzina Gujabidze
screenplay by Julia Loktev, based on the short story by Tom Bissell
directed by Julia Loktev

by Walter Chaw Julia Loktev’s The Loneliest Planet is an existentially terrifying little film about life’s essential loneliness, the absolute mutability of interpersonal relationships, and the ways our identities are formed not only by our perceptions of others, but by our preconceptions of the roles we play and, in turn, cast others to play, unbeknownst to them or to anyone. It gives the lie to the possibility of an unconditional relationship, to the idea that we can ever truly know ourselves or the people with whom we choose to share our lives. Most uncomfortably of all, it posits that everything we believe, everything we hold most dear about who we are and who we think we are, can change in an instant. It’s about love in that way, but love only in the context of the brutal, capricious, arbitrary world–love in the sense that we invest everything in it in acts of faith entirely unjustified by Nature and circumstance. There’s a scene in The Loneliest Planet where two pairs of feet play with each other on top of a sleeping bag, followed fast, after something small but terrible happens, by the owner of one pair of those feet watching the owner of the other walk away and eventually disappear into the ugly, insensate terrain of Russian Georgia’s Caucasus mountains. I think it’s no accident that the film takes place there, where mythology places Titan Prometheus in his eternal torment: Prometheus the bringer of fire, and life, and foresight (literally, in his name)–the father of Man flayed bare and reintroduced to the carnal night.

The Man Who Knew Too Much (1934) [The Criterion Collection] – Blu-ray Disc

February 20, 20131930s, 2013, Adventure, Authors: Walter Chaw, Blu-ray Disc, Directors: Alfred Hitchcock, Espionage, The Criterion Collection, Thriller, UK

Manwhoknewtoomuch34

***½/**** Image A Sound B Extras A+
starring Leslie Banks, Edna Best, Peter Lorre, Nova Pilbeam
screenplay by Charles Bennett, D.B. Wyndham-Lewis, Edwin Greenwood and A.R. Rawlinson
directed by Alfred Hitchcock

by Walter Chaw The first fascination of Alfred Hitchcock’s original The Man Who Knew Too Much is that when a dashing foreign agent (Pierre Fresnay) is shot just minutes into the film, it’s Jill (Edna Best), the wife in the heroic central couple, who’s privy to his last words. They’re dancing together in the middle of a ballroom that feels like a glass cage (naturally) when the dastardly deed is done, a married English woman on holiday with husband Bob (Leslie Banks) and daughter Betty (Nova Pilbeam), who look on approvingly. When Hitchcock remakes this movie 22 years later with Doris Day and Jimmy Stewart, he has Ugly American Jimmy (the one privy to the dying man’s last words) drug his hysterical wife in the first of many instances of Hitchcock undermining Stewart’s status as everyone’s favourite Yank. 1934’s The Man Who Knew too Much, like so much of Hitchcock’s British output (this is the first of his six films for Gaumont), remains current for scholars looking for tropes, images, sequences that prefigure his later work. The premature demise of what would have traditionally been the star of the picture (poor, dead Louis, also a champion ski-jumper) prefigures Psycho, of course, while the glass cages recur everywhere from Young and Innocent (which likewise features the musical plot point of this film) to Notorious to Hitch’s collaborations with Tippi Hedren. A gaze at the 34-minute mark through wrought-iron gates predicts the moment of discovery in Strangers on a Train, followed fast by a deliciously uncomfortable dentist sequence I’m surprised Hitch never came back to. Leave that, I suppose, to William Goldman and Marathon Man.

A Good Day to Die Hard (2013)

February 13, 20132013, Action, Authors: Walter Chaw, Theatrical, Thriller

½*/****
starring Bruce Willis, Jai Courtney, Sebastian Koch, Mary Elizabeth Winstead
screenplay by Skip Woods
directed by John Moore

by Walter Chaw A Good Day to Die Hard (hereafter Die Hard 5), or whatever the fuck it’s called, teaches that the only thing anyone seems to know about what’s left of the Soviet Union is that something happened at someplace called “Chernobyl,” and whatever that something was, it had to do with radioactivity. (Or Transformers.) It’s a film that believes there’s a magic spray that neutralizes radiation; that bringing up father issues is the same thing as depth; and that commissioning a screenplay from Skip Woods (the asshole behind Hitman, Swordfish, X-Men Origins: Wolverine, and The A-Team) is, hey, a great idea! Dreadful doesn’t begin to describe it–and consider that I’ve liked, really liked, three of the previous four movies in this franchise, to the extent that the direction the last film took in suggesting the John McClane character is a Terminator felt to me pleasantly self-knowing, even brilliant. I wanted, desperately, to like this thing, but by the tenth or eleventh time McClane shook his grizzled head and muttered “Jesus” gravely under his breath (that is, around thirty minutes in), I checked out for good. Die Hard 5 is also the kind of movie that has its foreign bad guys speak English to one another even when they’re alone; it features an extended, much-hyped car chase to nowhere with no sense of space or innovation before finally just settling on a series of explosions as lazy and disinterested as the way Bruce Willis fires off a million rounds nowadays. Apathetic isn’t the same thing as cool, and Willis, let’s face it, ain’t trying anymore.

Boardwalk Empire: The Complete First Season (2010) – Blu-ray Disc

February 12, 20132000s, 2010, 2013, Action, Authors: Walter Chaw, Blu-ray Disc, Directors: Martin Scorsese, Drama, DVD, Gangster, Television

Image A- Sound A+ Extras A
“Boardwalk Empire,” “The Ivory Tower,” “Broadway Limited,” “Anastasia,” “Nights in Ballygran,” “Family Limitation,” “Home,” “Hold Me in Paradise,” “Belle Femme,” “The Emerald City,” “Paris Green,” “A Return to Normalcy”

by Walter Chaw SPOILER WARNING IN EFFECT. Two things right off the bat about HBO’s “Boardwalk Empire”. First, the Martin Scorsese who directed the pilot would eat the tedious old guy who made Hugo for lunch. Second, for as good as the first season turns out to be, it’s based almost entirely on the strength of a cast minimizing the disappointment of opportunities lost. Even the actors, though, can be something of a liability, in that the mere presence of Michael Shannon cues us that straitlaced, proto-Untouchable Agent Nelson Van Alden is on his way to becoming a full-blown nutter. The premise is tired, too, as almost a century’s remove from the 1920s American gangster cycle has made the whole genre exhausted. There are no new delights in a midnight Tommy-gun execution in the woods, or an unhinged Guido unloading on a hapless shopkeeper. There’s not much joy, either, in trainspotting the parade of gangsters, the Lucky Lucianos (Vincent Piazza) and Al Capones (Stephen Graham, late of Public Enemies) and Meyer Lanskys (Anatol Yusef), partly because if you’re a student of gangland history, you’re immediately cued to their fates. Implanted spoilers, if you will. The real revelations of “Boardwalk Empire” are Jack Huston as a mutilated WWI doughboy and Gretchen Mol, who spent the first half of her career as Cameron Diaz’s haircut (see also: Malin Akerman) but emerges in this venue as an actress of complexity and intelligence. It’s enough to wonder what the series might have been were the casting not so otherwise on the nose–a strange liability, I know.

The Vampire Diaries: The Complete First Season (2009-2010) – Blu-ray Disc

February 7, 20132000s, 2010, 2013, Authors: Walter Chaw, Blu-ray Disc, Horror, Romance, Teen, Television, Vampire

Image C+ Sound B- Extras C-
“Pilot,” “The Night of the Comet,” “Friday Night Bites,””Family Ties,” “You’re Undead to Me,” “Lost Girls,” “Haunted,” “162 Candles,” “History Repeating,” “The Turning Point,” “Bloodlines,” “Unpleasantville,” “Children of the Damned,” “Fool Me Once,” “A Few Good Men,” “There Goes the Neighborhood,” “Let the Right One In,” “Under Control,” “Miss Mystic Falls,” “Blood Brothers,” “Isobel,” “Founder’s Day”

by Walter Chaw You can diagnose things like Kevin Williamson’s tween opera “The Vampire Diaries” by how much of the dialogue consists of peoples’ names. “Hey, Ben is with Carrie down in the tomb with Josie and Halley. Chris said he and Caroline would meet us there, but then Damon said that Stefan was going instead, but Stefan still has feelings for Elena…” OMFG, amiright? Add to that a liberal use of music by the likes of Matt Kearney, The Fray, and Bat for Lashes, mix sloppily with flavour-of-the-month genre fetish, and, voilà!, the kind of thing everyone describes as a “guilty pleasure”–which basically means they’re not telling you they also enjoy “Here Comes Honey Boo Boo”. The remainder of the dialogue is interested in secret parentage, secret siblings, and this and that about lore to establish credibility while simultaneously demonstrating that everyone involved in this one has read more books than Stephenie Meyer (a low bar) and is aware of Stephenie Meyer…and Heath Ledger…and Emily Brontë. Never mind, you wouldn’t understand. Similarly difficult to understand are magic rings that allow vampires to walk around in daylight, ancient tombs sealed by Creole witches led by that bitch from “A Different World”, and a complex series of events that need to happen before one of this show’s vampires are able to turn one of this show’s hot little nymphos into a vampire. It’s a metaphor–not for abstinence, per se, but maybe for embarrassing tumescence. That’s right, “The Vampire Diaries” is a boner joke.

The Client (1994) – Blu-ray Disc

January 29, 20131990s, 2013, Authors: Walter Chaw, Blu-ray Disc, Drama, Thriller

Client1

*/**** Image A Sound B Extras D
starring Susan Sarandon, Tommy Lee Jones, Mary-Louise Parker, Brad Renfro
screenplay by Akiva Goldsman, based on the novel by John Grisham
directed by Joel Schumacher

by Walter Chaw Joel Schumacher’s The Client starts out like a sequel to Schumacher’s own The Lost Boys, as two little boys (one of them Brad Renfro) try out cigarettes and John Grisham’s awful dialogue (augmented by awful screenwriter Akiva Goldsman) in a verdant backwoods Eden before witnessing the suicide of mob lawyer Jerome Clifford (Walter Olkewicz). “Romey” is despondent, see, because he knows where mobster Muldano (Anthony LaPaglia) has buried a body. Because little Mark (Renfro) spent quality time with the goombah before his voyage to the great Italian restaurant in the sky, Mark is now Little Italy’s Most Wanted. Cut to Muldano polishing off a Shirley Temple–judging by the way Schumacher makes love to the maraschino cherry between LaPaglia’s teeth–at a sleazy New Orleans nightclub to complete the impression that all schlockmeister Schumacher ever wanted to make was variations on arrested-vampire movies. At least it sports Will Patton in a supporting role back when he was a well-kept secret. And JT Walsh, and William H. Macy, and Mary-Louise Parker. Plus, Anthony Edwards, Bradley Whitford, Ossie Davis, Dan Castellaneta, William Sanderson…

The Apparition (2012) – Blu-ray + DVD + Digital Copy

January 27, 20132012, 2013, Authors: Walter Chaw, Blu-ray Disc, DVD, Horror

Apparition6

*/**** Image B Sound B+ Extras HILARIOUS
starring Ashley Greene, Sebastian Stan, Tom Felton, Julianna Guill
written and directed by Todd Lincoln

by Walter Chaw I think you enter into a handshake agreement with The Apparition that it’s never, not for a moment, going to be scary when in its prologue, we’re introduced to Harry Potter alum Tom “Draco” Felton as a grad student or something in a Doc Brown helmet prattling on about “anomalistic psychology” in that affected, pained way the Harry Potter alums (see: Emma “Hermione” Watson in The Perks of Being a Wallflower) seem to have adopted post-franchise. Or maybe it’s the first scene between central pretties Kelly and Ben (Ashley Greene and Sebastian Stan), which, without fail, sports extra, meaningless, unintentionally hysterical blank reaction shots, thus announcing, in addition to hyphenate Todd Lincoln’s inability to cast, his inability to frame shots or hire an editor (or three, as the case may be). To The Apparition‘s credit, though, milquetoast hero Ben is wearing the Bauhaus T-shirt I used to wear in high school when I wasn’t trying to be hip, so…yay for being old enough to have a direct connection to a hipster reference. As for the rest of it, it’s kind of astonishing that this didn’t land as a dtv relic submitted for the immediate disapproval of the Netflix-streaming peanut gallery.

Cosmopolis (2012) – Blu-ray Disc

January 6, 2013****/****, 2012, 2013, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Directors: David Cronenberg, Esoterica, FFC Must-Own, Satire

Cosmopolis1

****/**** Image B+ Sound A Extras A
starring Robert Pattinson, Juliette Binoche, Sarah Gadon, Paul Giamatti
screenplay by David Cronenberg, based on the novel by Don DeLillo
directed by David Cronenberg

by Walter Chaw David Cronenberg’s North by Northwest, his adaptation of Don DeLillo’s Cosmopolis functions as a difficult, arctic précis of the Canadian filmmaker’s career-long obsession with the insectile nature of, and indulgence in, hunger. Cronenberg’s proclivity for parasites, after all, is essentially the admiration of creatures defined by their hunger. His latest is Eric Packer (Robert Pattinson), a voracious sexual predator who lives in the dark cocoon of his stretch limo as it inches its way across Midtown to a barbershop that would be more at home in the bucolic small town of A History of Violence than in the metal canyons of Manhattan. Its existence, like a little diner along the way, like a bookshop with paper- and leather-lined walls, is further evidence of infestation–pockets of disease on the glistening skin and sterile surfaces of industry. No wonder the filthy rabble protesting in Gotham’s streets have as their unifying symbol the rats that are the true inheritors of man’s work. Cronenberg recalls his own Crash in these ideas–and not just in his desire to adapt literary properties considered unadaptable. He recalls his Naked Lunch in the idea that language is a neurological contagion, and he recalls most of all both his Videodrome (in his identification of screens with every intercourse) and his eXistenZ (in the erasure of any meaningful line between our interiors and exteriors). Cosmopolis is dense and multifarious–the absolute pinnacle of pretentious, too, in its desire to explain not only its creator, but all of the world at this moment in time in our age of missing information.

Notorious (1946) – Blu-ray Disc

January 6, 2013****/****, 1940s, 2012, Authors: Walter Chaw, Blu-ray Disc, Directors: Alfred Hitchcock, Espionage, Romance, Thriller

****/****
Image B Sound B- Extras C+
starring Cary Grant, Ingrid Bergman, Claude Rains, Louis Calhern
screenplay by Ben Hecht
directed by Alfred Hitchcock

by Walter Chaw Other than Psycho, the most examined, most carefully raked-through picture in Hitchcock’s filmography might be the cold, meticulous, perfect Notorious. It serves as a model for technique, offered as the pinnacle of Hitchcock’s early American period and used as proof by some that Hitch was a misogynist. The Dark Side of Genius author Donald Spoto wrote a fitfully interesting (if ultimately useless) article about how the first half of the film is a mirror image of the second–rising to a midpoint before diminishing at the end to the same composition as the first shot. (I’d argue that you could say the same for Shadow of a Doubt–particularly during the movie’s character-/setting- establishing sequences.) Stories of how the FBI began a file on Hitch because of his prescient use of uranium as his MacGuffin in Notorious are among the most beloved Hitch arcana, and critics who favour Lacan as the prism through which to analyze the Master of Suspense have found in the picture compelling demonstrations of spectatorship and gender construction. For Freudians, it has its Oedipal elements, its Madonna/Whore complexities–it’s a very fine historical relic, one of maybe only two of the director’s films (the other being Shadow of a Doubt) that’s ever entered into a noir conversation. And at the end–among those in the know, at least–it’s the better version, in every way that matters, of Casablanca. Robin Wood writes a brilliant piece on it in his second Hitchcock book, taking on previous brilliant takes by Laura Mulvey, Raymond Bellour, and Michael Renov. I probably like Raymond Durgnat’s quick-hit the best, however, for his pegging of the picture’s iciness and of Hitch at this moment as midway between idealistic and cynical (though I’d go farther and say he’s pretty much all the way cynical by now). Notorious is possibly, neck-and-neck with Vertigo, the best film Hitchcock ever made, though it’s seldom identified–unless you’re Francois Truffaut–as anyone’s favourite (leave that for the bitterest (North by Northwest), the most nihilistic (Psycho), the least sick (Rear Window)), and when the dust settles, the prospect of writing about it is almost as intimidating as pretending that there’s anything new to say about it. But here goes.

The Apartment (1960) – Blu-ray Disc

January 2, 2013****/****, 1960s, 2013, Authors: Walter Chaw, Best Picture (Academy Awards), Blu-ray Disc, Comedy, Directors: Billy Wilder, Drama, FFC Must-Own, Romance

****/**** Image A Sound A- Extras B
starring Jack Lemmon, Shirley MacLaine, Fred MacMurray, Ray Walston
screenplay by Billy Wilder and I.A.L. Diamond
directed by Billy Wilder

by Walter Chaw The older I get, the better I understand Billy Wilder. And the better I understand Billy Wilder, his weariness and acerbic sense of humour, the more I feel comfortable saying, with that complicated mix of affection and fair warning that I think indicates his work as well, that his movies are assholes and mean it. Billy Wilder, the ten-cents-a-dance Austrian gigolo, the roommate of Peter Lorre who learned English by listening to Dodgers games on the radio, the admirer of Ernst Lubistch. The guy who demanded he be allowed to direct his own screenplays and so made a legendary hyphenate debut with Double Indemnity. The writing partner of both Charles Brackett and I.A.L. Diamond, the man who made whores of Audrey Hepburn and Marilyn Monroe and Shirley MacLaine, because nothing could ever be as simple, as innocent, as it appeared at first glance. The guy who lost family in Nazi concentration camps, who came up with the best closing line in movie history, which was “nobody’s perfect.” Maybe the last line of The Apartment–“Shut up and deal”–is a close second. Narrative context tells us the line refers to a card game; the Wilder context suggests a certain way of looking at the world: coping, acceptance, fatalism. Would you believe The Apartment is actually one of Wilder’s optimistic films? Optimistic because the way it views the world is through a scrim of absolute cynicism–and despite it, despite all the towers falling down, there’s the possibility of love, sweet and simple, between Ms. Kubelik and Mr. Baxter.

Film Freak Central’s Top 10 of 2012

January 1, 20132012, 2013, Authors: Angelo Muredda, Authors: Bill Chambers, Authors: Walter Chaw, Best-of Lists, Blog, Directors: Paul Thomas Anderson, Directors: Steven Soderbergh

Top102012

by Walter Chaw I wish To the Wonder had been released this year–Take Shelter, too. The one because I love Terrence Malick and I’m excited that he’s working so much, the other because I fear that Take Shelter is the last time Michael Shannon will anchor a picture without being instantly Christopher Walken-ized. It’s his The Dead Zone, and he’s amazing in a movie that takes big risks and pays off in a meaningful way; if he were to star in it now, I think it would be mistaken for camp. I also wish I’d seen Margaret in time for my 2011 list. Alas, local publicity has never been terribly interested in my participation. Nevertheless, thanks mostly to Netflix and FYC screeners, I saw a great many great films this year.

Promised Land (2012)

December 28, 20122012, Authors: Walter Chaw, Directors: Gus Van Sant, Drama, Theatrical

½*/****
starring Matt Damon, John Kraskinski, Frances McDormand, Rosemarie DeWitt
screenplay by John Krasinski & Matt Damon, based on a story by Dave Eggers
directed by Gus Van Sant

by Walter Chaw The first warning sign is that Gus Van Sant’s Promised Land is named after a Natalie Merchant song, though that’s really all the warning you need. Give this to Steven Soderbergh, another director who, like Van Sant, has alternated small, personal projects with the occasional crowd-pleaser: At least when Soderbergh does it, it’s not simpering crap like Finding Forrester or Milk. (The best Van Sant film of the year, in fact, is Julia Loktev’s astounding The Loneliest Planet.) Here, alas, Van Sant is reunited with Good Will Hunting buddy Matt Damon, directing a screenplay Damon co-wrote with co-star John Krasinski from a story by (gulp) Dave Eggers. Featuring enough self-satisfaction to power Ed Begley, Jr.’s enviro-car for a century, Promised Land is the kind of movie that suggests everything Conservatives believe about Lefties being tree-hugging, privileged morons is pretty dead on the mark. What I’m saying is that it’s stupid; Ayn Rand ain’t got nothin’ on Damon and Krasinski.

Les Misérables (2012)

December 24, 20122012, Authors: Walter Chaw, Musical, Romance, Theatrical

*/****
starring Hugh Jackman, Russell Crowe, Anne Hathaway, Sacha Baron Cohen
screenplay by William Nicholson, Alain Boublil, Claude-Michel Schönberg, Herbert Kretzmer, based on Boublil & Schönberg’s stage play and the novel by Victor Hugo
directed by Tom Hooper

by Walter Chaw The title refers to the audience; imagine director Tom Hooper as James Cagney in The Public Enemy, and you’re Mae Clarke getting the grapefruit shoved in your face. Yes, Hooper’s glacial, note-for-note screen adaptation of Schönberg & Boublil’s smash musical Les Misérables is 157 minutes of extreme close-up/wide-angle theatre threatening, at every moment, to slide completely off the screen, given the accidental-auteur’s propensity to ignore half the frame. It’s ugly in the way that only films driven by fanatical vision, unfettered by checks, and galvanized by awards and money can be ugly–so much time is spent horning in up Hugh Jackman’s nose that I spent the first day or so of it thinking I was watching a musical about spelunking. It’s a picture that doesn’t respect your personal space: I’ve never more wanted to mace a movie than this, the umpteenth adaptation of Victor Hugo’s epic but the first of the Broadway phenomenon that pretty much defined the best way to get into a high-school girl’s good graces in the 1980s. After this ordeal, I’d offer that still the best way this musical’s ever appeared on film was its iconic poster making a cameo on Patrick Bateman’s bathroom wall in American Psycho.

This is 40 (2012)

December 20, 20122012, Authors: Walter Chaw, Comedy, Drama, Romance, Theatrical

***/****
starring Paul Rudd, Leslie Mann, John Lithgow, Albert Brooks
written and directed by Judd Apatow

by Walter Chaw It’s scattershot, and sloppy, but any movie about fortysomethings dealing with familial, financial, sexual, and physical issues that ends with Ryan Adams performing “Lucky One” in a little club is a movie I will like. And I do: Judd Apatow’s This is 40 isn’t good, exactly, but it listens and it has a sense of humour, as well as a certain optimism about it. I bristle at Apatow’s desire in his other films to impose a traditionally moral conclusion on all the atrocity that’s preceded it, but in a “spin-off” of Knocked Up, about people exactly my age in roughly my situation discovering they’re the grown-ups for some reason and through no fault of their own, that desire for a hopeful conclusion is extremely compelling. This Is 40 is one of those works that gets you at the right time, I think. I’ve often wondered if the reason I’ve never liked Tolkien is that I didn’t read him when I was 12. I wish I had. For what it’s worth, I’m glad I saw This is 40 in these last six months before my own fortieth birthday. It’s my Twilight. I know it’s terrible–flabby, obviously tinkered with ’til the last minute (the commercials for the film are about 90% cut footage), and packed with digressions that distract rather than edify (a bit with Charlyne Yi is a particular lowlight), but it speaks to me, and when Apatow’s right, I realize, he’s spot on.

The Bourne Legacy (2012) – Blu-ray + DVD + Digital Copy + Ultraviolet

December 11, 20122012, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, DVD, Espionage, Japan, Thriller

Bournelegacy1

½*/**** Image A+ Sound A Extras B-
starring Jeremy Renner, Rachel Weisz, Edward Norton, Stacy Keach
screenplay by Tony Gilroy & Dan Gilroy
directed by Tony Gilroy

by Walter Chaw By the end of Tony Gilroy’s unbearably long and talky The Bourne Legacy, one is left feeling as though the film hasn’t even started yet. Nothing happens in it, and the only thing it inspires is anticipation: it’s all first act; all supplementary material; all self-importance and hot air. Jason Bourne (Matt Damon) sits this one out while another similar soldier, Aaron Cross (Jeremy Renner), occupies a space parallel to the first three films, climbing mountains, Grey-ing wolves, and saving hot virologist Dr. Marta (Rachel Weisz) from the clutches of our evil government so that she can infect him with a virus that makes him smart. This leads to a moment, inevitable, where Cross suggests that losing 12 points off his artificially inflated IQ would result in some personal “Flowers for Algernon” apocalypse where 12 points would probably result in him forgetting his phone number at worst. It also leads to a series of incoherent flashbacks that fit in perfectly with Gilroy’s impossible-to-follow action sequences; if you’re just going to turn a camera on and throw it out a window, why bother trying to set it up? For those keeping score, there are more spinning Lazy Susan shots here than in Transformers: Asshole. You’ve been warned.