DIFF/SDFF Archives - FILM FREAK CENTRAL

Punch-Drunk Love (2002) [Two-Disc Special Edition] – DVD|[The Criterion Collection] – Blu-ray Disc

November 21, 2016****/****, 2000s, 2016, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, DIFF/SDFF, Directors: Paul Thomas Anderson, DVD, Esoterica, FFC Must-Own, Film Festivals, Romance, The Criterion Collection

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****/****
BD – Image A Sound A+ Extras B+
DVD – Image A+ Sound A+ Extras C+
starring Adam Sandler, Emily Watson, Philip Seymour Hoffman, Luis Guzmán
written and directed by Paul Thomas Anderson

by Walter Chaw Indicated by spacious compositions and a bracing unpredictability, Paul Thomas Anderson’s romantic comedy Punch-Drunk Love is a marriage, if you will, between Claire Denis’s audacious Trouble Every Day and Steven Shainberg’s sadomasochism fairytale Secretary. Here’s a trio of films that announce 2002 as a year perhaps best defined by its aggressively non-traditional, hopelessly romantic love stories (toss Todd Haynes’s Far From Heaven, Cronenberg’s Spider, and Roger Avary’s The Rules of Attraction into that mix).

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.

SDFF ’13: I Used to Be Darker

November 24, 20132013, DIFF/SDFF, Drama, Film Festivals, Music

***/****
directed by Matthew Porterfield

by Walter Chaw Matthew Porterfield's quiet and humane I Used to Be Darker provides an interesting contrast to Richard Linklater's talkier improvisations while covering the same interpersonal landscapes of how people speak to one another, react to one another, and interact physically within a space. One of the first images is of a little Irish girl, Taryn (Deragh Campbell), taking a knife to a couple of paintings. It's a rejection of many things, as well as a declaration. I Used to Be Darker will privilege the cinematic (i.e., showcase the complexity and eloquence of communication through moving pictures), and Porterfield's DP on this production, Jeremy Saulnier, who's pulled off something like a masterpiece with his own Blue Ruin, is just the man to do it. Taryn, run away from the UK all the way to the U.S. to stay with her aunt and uncle, discovers that she's gone from perceived familial strife to tangible familial strife, as the pair is in the process of separating–leaving Taryn's cousin Abby (Hannah Gross) embittered and caught in the middle. More clues to Porterfield's intent come in the casting of musicians Ned Oldham and Kim Taylor as the aunt and uncle: non-actors (as is Porterfield's practice through three films), both, they inhabit their roles with the winsomeness, and indistinctness, of dedicated artists. It's not a far reach for them to access the despair that's essential, I think, to a certain kind of creation, and Porterfield allows them each a moment to express themselves in song: one in a basement before Oldham destroys his instrument, the other on stage and then over the closing-credits, with the coda being a sigh from Taylor and a little shake of her head. I Used to Be Darker isn't about anything more complicated than observing unhappiness and conflict; take it as the counterpoint to Felix Van Groeningen's Broken Circle Breakdown: the quiet between notes, a celebration if you can call something this downbeat celebratory, of what film should act like and look like when you leave it alone.

“Are Movies Breaking Bad?”: See Walter Chaw in Person

November 16, 20132013, DIFF/SDFF, Film Festivals

Our own Walter Chaw will be speaking on a panel tomorrow (Sunday, November 17th) at the Starz Denver Film Festival. From the Denver Film Society website: Are Movies Breaking Bad? Happening: Sunday, November 17, 12:15 PM Duration: 120 Minutes Venue: SDFF Sie FilmCenter Lines along various parts of the entertainment/arts continuum seem to be blurring on a daily basis. Long gone are the days when watching a movie meant buying a ticket and sitting in a theater. But over the past decade or so, series—most aired on premium cable channels—have accomplished what many criticize the movies for not doing: focusing…

SDFF ’13: The Fifth Season

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

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, mild Maury, who walks the streets in search of lost souls to invite to bunk with him in his little apartment. Shades of Viridiana, and for all of Silver's protestations to the contrary, there's a certain formalism in his satire that gives an arc to what was, by his report, an almost-completely improvised, looser-than-loose adaptation of Dostoevsky's The Idiot, with only the character of poor, saintly, benighted Prince Myshkin remaining somewhat intact in Maury. Soft in the Head is saved from pretension, though, by the complete naturalism of the performances. Exteberria astounds for her unself-consciousness as a character irredeemable, defined by her lack of impulse control and horrific decisions. A friend, Hannah (Melanie J. Scheiner), provides the film its foil while Hannah's autistic brother Nathan (Carl Kranz) has a pivotal moment where he speaks directly to Natalia's essential problem as an insufficient object of desire. The last moments between Natalia and Maury are touching, and the final scene, where I swear I see Maury moving his hand on her thigh, speaks to puzzles, deep, in how there may be no such thing as holy saints invested in pure altruism. The only thing worse than a world with Myshkins, after all, is a world without them.

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 to new heights as a filmmaker. As is always the case with Verhoeven, it's very likely that this whole project is some elaborate satire of exactly how stupid we are. His RoboCop, Starship Troopers, Basic Instinct, Total Recall, and Showgirls have each enjoyed long, healthy second lives as critical darlings; in his way, he's the Douglas Sirk of the late-'80s/early-'90s: dismissed in the moment, but appreciated through the perspective afforded by time. I'm a fan. Enough so that I want to believe the prototypical mad-director persona Verhoeven inhabits in this thing is a piss on self-important meta stuff like The Five Obstructions. (Honestly, just the jaunty "fuck you" score suggests that Verhoeven is fully aware of the game he's playing here.) As for the short film that occupies the latter 50 minutes or so, it's a tale of corporate intrigue featuring unknown but game actors, playing out a sexual blackmail that feels more the lark for the context provided by the attendant documentary. Indeed, it's impossible to see the two halves as independent entities, however unintentionally, and as such, the product of the experiment lands as Verhoeven's most conventional film…ever. It's an example of the fallibility of giving people what they think they want and indulging what they think they understand. That doesn't make it better, though it does suddenly make it make sense.

Starz Denver Film Festival ’13: All Together Now

November 3, 20132013, Authors: Walter Chaw, Comedy, DIFF/SDFF, Drama, Film Festivals, Music

**½/****screenplay by Ryan Kasmiskie & Alexander Mireckidirecting Alexander Mirecki by Walter Chaw Two scenes: one featuring a bonfire-illuminated kiss against a forest backdrop, the other a man standing on a platform in a clearing as a crowd fills in around him. Both are captured in glorious 16mm, shot through with grain and lit by natural light; both are suffused with a magical, twilit glow that only really happens in exactly this way when you use old, some would say obsolete, technology. These moments almost, by themselves, justify the existence Alexander Mirecki's All Together Now. At the least, there's nothing about…

Dogtown and Z-Boys (2001) [Deluxe Edition] – DVD|Blu-ray Disc

January 4, 20102000s, 2010, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, DIFF/SDFF, Documentary, DVD, Film Festivals, Sports

***/****
DVD – Image A Sound A Extras B
BD – Image C- Sound A Extras B
directed by Stacy Peralta

by Walter Chaw Winner of the Audience and Director's awards at the 2001 Sundance Film Festival, the kinetic social history document Dogtown and Z-Boys suggests that the amalgamation of art and sport created a unique brand of protest performance art centred around eight kids growing up in the "dead wonderland" of Venice Beach (and the surrounding urban wasteland referred to by the locals as Dogtown). Directed by Stacy Peralta, a member of the legendary Zephyr Skating Team that almost single-handedly defined the modern X-Game at the 1975 Del Mar Nationals Bahne-Cadillac Skateboard Championship, Dogtown and Z-Boys accomplishes several tasks at once, evoking the ethic that captured the imagination of American punks, portraying the dangers of stardom, and telling a rags-to-riches fable about how boys (and a girl) from the wrong side of the tracks sometimes make good on their own terms. The film is so intent on harnessing the off-the-cuff spirit that informed the Zephyr Team ("Z-Boys") that we hear narrator Sean Penn cough and clear his throat.

DIFF ’06: The Aura

December 6, 20062000s, Argentina, Authors: Walter Chaw, Crime, DIFF/SDFF, Drama, Film Festivals, France, Spain, Thriller

El aura***½/****starring Ricardo Darín, Dolores Fonzi, Pablo Cedrón, Nahuel Pérez Biscayartwritten and directed by Fabián Bielinsky by Walter Chaw The late Argentine director Fabián Bielinsky's swan song, The Aura (El Aura) is a throwback in spirit and execution to the grim, inward-gazing paranoia dramas of the 1970s. Hero Esteban (Ricardo Darin) is an epileptic taxidermist who wakes up, as the film opens, in a bank vestibule; we proceed to follow him into a credits sequence that sees him resurrecting, in his meticulous craft, a fox for a museum panorama. The title The Aura might refer to that illusion of life…

DIFF ’06: Starfish Hotel

December 4, 20062000s, Authors: Walter Chaw, DIFF/SDFF, Drama, Film Festivals, Japan

*½/****starring Kôichi Satô, Kiki, Tae Kimura, Akira Emotowritten and directed by John Williams by Walter Chaw Stylishly shot, enough so that the neophyte might mistake it for a sparkling example of J-horror, Starfish Hotel addresses that old saw of a character wondering if he's a "character" as mysterious events unfold around him. Handled with more care and intelligence by the first 4/5ths of Marc Forster's Stranger Than Fiction, Starfish Hotel acts as a survey of other pictures (most notably the mascot motifs of Donnie Darko and Kontroll) as it goes on its merry non-horror, In the Mouth of Madness way.…

DIFF ’06: The Architect

December 2, 20062000s, Authors: Walter Chaw, Crime, DIFF/SDFF, Drama, Film Festivals, Romance, ZERO STARS

ZERO STARS/****starring Anthony LaPaglia, Viola Davis, Isabella Rossellini, Hayden Panettierewritten and directed by Matt Tauber by Walter Chaw I am sick to death of pieces of shit like Matt Tauber's The Architect--sick of the White Guilt Trip, which here finds architect Leo (Anthony LaPaglia) the boogeyman behind all the cultural evils housed in the Cabrini-Green tenement he designed. When he protests to neo-Alfre Woodard Neely (Viola Davis) that he's just the mastermind behind the building's outline and thus unaccountable for the collapse of urban civilization housed therein, the effect is one of outrage not at the arrogance of The Man,…

DIFF ’06: Breaking and Entering

November 30, 20062000s, Authors: Walter Chaw, Crime, DIFF/SDFF, Drama, Film Festivals, Romance, UK

*½/****starring Jude Law, Juliette Binoche, Robin Wright Penn, Ray Winstonewritten and directed by Anthony Minghella by Walter Chaw Carefully modulated for maximum inoffensiveness and awards-season consideration, Anthony Minghella's King's Cross diary Breaking and Entering plays less like a London native's Crash than like Woody Allen's solipsistic version of the same. Find the Aryan faction led by architect Will (Jude Law) and girlfriend Liv (Robin Wright Penn) and the foreigners by Croatian single-mom Amira (the increasingly one-note Juliette Binoche) and, in another star-making turn by Vera Farmiga, a Polish hooker named Oana. A weary detective (Ray Winstone) verbalizes the social schism…

DIFF ’06: The Lives of Others

November 24, 20062000s, Authors: Walter Chaw, DIFF/SDFF, Drama, Film Festivals, France, Germany, Mystery, Thriller

Das Leben der Anderen***/****starring Martina Gedeck, Ulrich Mühe, Sebastian Koch, Ulrich Tukurwritten and directed by Florian Henckel von Donnersmarck by Walter Chaw Florian Henckel von Donnersmarck makes his hyphenate debut with The Lives of Others (Das Leben der Anderen), a picture revolving around the days leading up to and immediately following the fall of the Berlin Wall as experienced by prominent playwright Dreyman (Sebastian Koch), his actress girlfriend Christa (Martina Gedeck), and the Stasi investigator Wiesler (Ulrich Mühe) assigned to listen in on their conversations for evidence of dissent. The premise--monster grows a soul in the presence of humanity--is tired,…

DIFF ’06: Americanese

November 24, 20062000s, Authors: Walter Chaw, Comedy, DIFF/SDFF, Drama, Film Festivals, Romance

**½/****starring Chris Tashima, Allison Sie, Sab Shimono, Munda Razookiscreenplay by Eric Byler, based on the novel by Shawn Wongdirected by Eric Byler by Walter Chaw Eric Byler's follow-up to his haunted, blue Charlotte Sometimes is this adaptation of Shawn Wong's American Knees, which, like Charlotte Sometimes, follows the day-to-day of Asian-Americans--though unlike that film, it fails to find that buried thrum to tie together the little glimpses comprising the whole. It's not for lack of trying, as Byler (over)uses the dissolve as his primary editing tactic in what tracks as an attempt to poeticize the essentially mundane and to literalize what, in the novel,…

DIFF ’06: Rescue Dawn

November 22, 20062000s, Action, Adventure, Authors: Walter Chaw, Biopic, DIFF/SDFF, Directors: Werner Herzog, Drama, Film Festivals, Luxembourg, Thriller, War

**½/****starring Christian Bale, Steve Zahn, Jeremy Davies, Marshall Bellwritten and directed by Werner Herzog by Walter Chaw Though a perfectly serviceable actioner, one that avoids almost every pitfall and cliché of the POW genre while supporting a singularly eccentric performance, Werner Herzog's Rescue Dawn, sadly, could have been directed by any one of a dozen directors. Gripping but not especially memorable, it lacks the mad Bavarian's insanity: his belief that nature is obscene, as well as his ability to make a trance from the mendacity of routine. (Because Herzog is a rare talent, his films butt up against greater expectations.) The…

DIFF ’05: Love, Ludlow

November 24, 20052000s, Authors: Walter Chaw, Comedy, DIFF/SDFF, Film Festivals, Romance

**/****starring Alicia Goranson, David Eigenberg, Brendan Sexton III, Andrea Maulellascreenplay by David Patersondirected by Adrienne J. Weiss by Walter Chaw Utterly stagebound and seldom anything but a small Sundance indie version of Dominick & Eugene, Adrienne Weiss's Love, Ludlow, against all odds, kicks free of its quirk crutches at around the halfway mark--long enough for it to modestly divert, if not especially edify. "Roseanne"'s Alicia "Lecy" Goranson is a tough-talking Queens girl, Myra, charged with the care of her bi-polar, Shakespeare-quoting brother Ludlow (Brendan Sexton III). That she gives the most self-conscious performance in a film about some sort of…