Colman Domingo in Dead Man's Wire/Miles Teller and Elizabeth Olsen in Eternity

TIFF ’25: Dead Man’s Wire + Eternity

Posted in2025, Authors: Bill Chambers, Biopic, Comedy, Crime, Directors: Gus Van Sant, Drama, Fantasy, Film Festivals, Romance, TIFF

DEAD MAN’S WIRE
**/****
starring Bill Skarsgård, Dacre Montgomery, Cary Elwes, Al Pacino
written by Austin Kolodney
directed by Gus Van Sant

ETERNITY
*½/****
starring Miles Teller, Elizabeth Olsen, Callum Turner, Da’Vine Joy Randolph
written by Patrick Cunnae & David Freyne
directed by David Freyne

by Bill Chambers Bill Skarsgård finally butts up against the limits of his versatility as he lamely channels Michael Shannon in Dead Man’s Wire, Gus Van Sant’s first feature since 2018’s Don’t Worry, He Won’t Get Far on Foot. (Most recently, he worked on Ryan Murphy’s “Feud: Capote vs. The Swans”, directing six of its eight episodes.) Both are based on true stories, an enduring kink of Van Sant’s going back to 1995’s To Die For, which riffed on the Pamela Smart case with a satirical bent that hasn’t really resurfaced in his docudramas since. But when, late in the game, Dead Man’s Wire develops something like a comic edge, it feels like Van Sant might be heckling the material out of boredom, if not something more problematic. The film dramatizes the 1977 kidnapping of mortgage broker Dick Hall (Dacre Montgomery) by Skarsgård’s Tony Kiritsis, who tied a 12-gauge shotgun to Dick’s neck and held him hostage for three days at his rathole apartment in Indianapolis. He believed that Dick and his wealthy father, M.L. Hall (Al Pacino), were waiting for him to fall behind on his mortgage payments so they could poach a valuable piece of property he owned, and he demanded the Halls give him $5 million in damages as well as–and this was the sticking point, according to the film–a full-throated apology in exchange for Dick’s life.

Don’t Worry, He Won’t Get Far on Foot (2018)

Posted in2018, Authors: Angelo Muredda, Biopic, Comedy, Directors: Gus Van Sant, Disability, Drama, Theatrical

Dontworryhewontgetfar

**½/****
starring Joaquin Phoenix, Jonah Hill, Rooney Mara, Kathy Driscoll-Mohler
screenplay by Gus Van Sant, based on the book by John Callahan
directed by Gus Van Sant

by Angelo Muredda "I'm a sucker for quadriplegic movies," VARIETY critic Peter Debruge wrote of Gus Van Sant's Don't Worry, He Won't Get Far on Foot from Sundance, before criticism from disabled activists apparently inspired his editors to do some quiet and uncredited post-publication editing. Whatever its merits as a biopic of an outsider artist–dubious, given the cuddliness offensive of Danny Elfman's insistent score–or a "quadriplegic movie" (minimal, given that its subject, Oregon cartoonist John Callahan, was actually a paraplegic), Van Sant's return to movies people might conceivably care about is at least not so homogenous and tired as that backhanded praise suggests. It's hard to shake the feeling that the film is the belated two-birds-with-one-stone fulfilment of a business deal with Callahan, who died in 2010, and Robin Williams, who first optioned the story and once intended to play Callahan himself. Despite the whiff of old Tupperware leftovers that hangs about it, the film is pleasantly rumpled in the tradition of Van Sant's more interesting work–predictably boring in its rehashing of disability clichés, from casting to writing, yes, but formally unusual, and committed to the repetitive and potentially un-cinematic bootstrap work of self-improvement and forgiveness that movies about addicts and accident survivors tend to sail through.

Promised Land (2012)

Posted in2012, Authors: Walter Chaw, Directors: Gus Van Sant, Drama, Theatrical

Promisedland

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.

Che (2008) + Milk (2008)

Posted in2000s, 2008, 2009, Authors: Walter Chaw, Biopic, Directors: Gus Van Sant, Directors: Steven Soderbergh, Drama, France, Mexico, Spain, Theatrical, War

CHE
***½/****
starring Benicio Del Toro, Demián Bichir, Santiago Cabrera, Vladimir Cruz
screenplay by Peter Buchman, based on the memoir Reminiscences of the Cuban Revolutionary War by Ernesto “Che” Guevara
directed by Steven Soderbergh

MILK
*½/****
starring Sean Penn, Emile Hirsch, Josh Brolin, Diego Luna
screenplay by Dustin Lance Black
directed by Gus Van Sant

by Walter Chaw Steven Soderbergh’s Che is the curative to the Hollywood biopic formula that insists on reducing interesting/important historical figures to their workshop elements. It sees Ernesto “Che” Guevara as a charismatic figure but no T-shirt deity, as a guerrilla fighter with blood on his hands but also a revolutionary almost holy in his single-minded conviction that things weren’t fair in the world and that one man–or one small group of heavily-armed men–could affect change that mattered. It’s not a political film in the sense that it takes sides, rendering it a political film by the fact of it having no agenda except to make it difficult to condemn or celebrate first the events leading up to the success of the Cuban Revolution, then the failure of the Bolivian Revolution (which ended in Che’s death). Soderbergh goes from close and medium shots in the first half–known as Che Part One in its marathon “roadshow” incarnation and as The Argentine in parts of the country where it and Che Part Two (a.k.a. The Guerrilla) are being treated as unique films–to an increasing distance for the second, a subtle, evocative move away from Che’s idealism.

The Beat That My Heart Skipped (2005); Hustle & Flow (2005); Last Days (2005)

Posted in****/****, 2000s, Action, Authors: Walter Chaw, Biopic, Crime, Directors: Gus Van Sant, Drama, France, Music, Theatrical, Thriller

De battre mon coeur s'est arrêté
***/****
starring Romain Duris, Niels Arestrup, Jonathan Zaccaï, Gilles Cohen
screenplay by Jacques Audiard, Tonino Benacquista, based on the screenplay for Fingers by James Toback
directed by Jacques Audiard

HUSTLE & FLOW
*/****
starring Terrence Howard, Anthony Anderson, Taryn Manning, Taraji P. Henson
written and directed by Craig Brewer

LAST DAYS
****/****
starring Michael Pitt, Lukas Haas, Asia Argento, Scott Green
written and directed by Gus Van Sant

by Walter Chaw On my better days, I still think of film as the quintessential artform of the last century–a medium for expression uniquely suited to our Modernist Yeatsian decomposition, what with its malleability beneath the knife, as it were, cut and spliced back together again as the un-spooling literalization of some patchwork Prometheus. Likewise, in its 24 flickers a second, it's an illusion of life, teased from the amber of still photography, drawing, painting; mixed with symphonies; blended with dance and movement; enslaved to the syncopation of words and imaginary drum beats. It's a miracle, a golem, capable of illuminating the rawest humanity in one stroke and of exhuming the most abject failure of human impulse in the very next. Its tractability is astonishing–protean, not too much to say magical; in describing his first film experience as a visit to "the kingdom of shadows," Maxim Gorky brushes up against the ineffable sublimity of a medium that mimics the eye, stimulates the ear, and has as one of the key elements of its academic study a concept that suggests the moment a viewer finds himself "sutured" into the text. Like all fine art, then, when it's right, its "rightness" is indescribable–Frank Zappa's "dancing about architecture." And like the stratification of art imposed by some in varying orders to describe the proximity of each to the inexpressibility of their souls (prose to dance to painting to poesy to music, for me), when film aspires to combine the more abstract elements of human expression in its mélange, the results, always mixed, at least have the potential to be grand.

Even Cowgirls Get the Blues (1994) – DVD

Posted in1990s, Authors: Travis Mackenzie Hoover, Comedy, Directors: Gus Van Sant, Drama, DVD, Esoterica, Romance, Western

***/**** Image A- Sound A- (DD)/A (DTS)
starring Uma Thurman, Lorraine Bracco, Angie Dickinson, Noriyuki "Pat" Morita
screenplay by Gus Van Sant, based on the novel by Tom Robbins
directed by Gus Van Sant

by Travis Mackenzie Hoover From its disastrous premiere at the Toronto International Film Festival (which prompted a hasty re-edit) to the unanimous critical drubbing it received a short while later, few films have had harder luck than Gus Van Sant's Even Cowgirls Get the Blues. The reviews were at best vague, alluding to some thing in the theatre that defied description as much as it discouraged it, while those brave souls not scared off by the word-of-mouth–even fans of Tom Robbins's 1973 source novel, people who could at least be said to have known what they were in for–came away hostile and perplexed. But anything that inspires this kind of uncomprehending panic is a special sort of film–that's right, I'm one of those lonely few who actually liked Even Cowgirls Get the Blues. And analyzing its successful failure is hugely instructive, specifically in showing how certain social forces, then as now, unfairly shape what is considered aesthetic treason.

Elephant (2003) – DVD

Posted in****/****, 2000s, Authors: Bill Chambers, Authors: Walter Chaw, Crime, Directors: Gus Van Sant, Drama, DVD, FFC Must-Own, Palme d'Or Winner, Teen, Thriller

****/**** Image A Sound A- Extras B-
starring Alex Frost, Eric Deulen, John Robinson, Elias McConnell
written and directed by Gus Van Sant

Mustownby Walter Chaw I live about five minutes from Columbine High School. In the year following the shootings, Littleton, a strange place already, got even stranger: a man killed himself in a crowded Burger King parking lot, a child was found in a dumpster behind a local strip mall, two kids were killed in a Subway, and so on. It was mass psychic fallout, and something that none of the inquiries into Columbine seem to address; in time, I'm sure, people will forget that there were aftershocks and tremors.

TIFF ’03: Elephant

Posted in2000s, Authors: Bill Chambers, Crime, Directors: Gus Van Sant, Drama, Film Festivals, Palme d'Or Winner, Teen, Thriller, TIFF
***½/****starring Alex Frost, Eric Deulen, John Robinson, Elias McConnellwritten and directed by Gus Van Sant by Bill Chambers Though it ultimately garnered Gus Van Sant the Best Director prize (in addition to the Palme d'or), Elephant's lukewarm reception among ink-slingers at last May's Cannes Film Festival confirms the dulled senses of the critical establishment--that a contemporary masterwork can practically blind with its colour scheme and still go unrecognized as such by cinema's ambassadors is more terrifying than anything in Van Sant's searing interpretation of the Columbine atrocity. The first film intended for theatrical exhibition to be screened in Academy ratio…

Mala Noche (1988) + Gus Van Sant shorts

Posted in1980s, 1990s, 2000s, Authors: Travis Mackenzie Hoover, Directors: Gus Van Sant, Drama, Short Films, Theatrical

***/****
starring Tim Streeter, Doug Cooeyate, Nyla McCarthy, Ray Monge
written and directed by Gus Van Sant

by Travis Mackenzie Hoover The most amazing thing about Gus Van Sant’s debut feature Mala Noche is that it was made in the midst of the ’80s. While mainstream cinema was building cruelly childish whirligigs and the arthouses were smugly preoccupied with the pastel nightmare of suburban life, Van Sant was in the skids, training his camera on the outcasts of society and judging no one. His hero, despite engaging in a one-sided amour fou with a Latino migrant worker that would normally raise some cultural hackles, is an understandable creature of misunderstood desire–the film refuses to denounce him even as it avoids backing up his obsession in toto. Like Van Sant’s Drugstore Cowboy and My Own Private Idaho, Mala Noche sets up shop in the space between the director’s camera and his subjects–a halfway-meeting that would never otherwise have made it in the distanced and vindictive climate of the ’80s.

Finding Forrester (2000) – DVD

Posted in2000s, Authors: Walter Chaw, Directors: Gus Van Sant, Drama, DVD

**/**** Image A- Sound A- Extras D+
starring Sean Connery, F. Murray Abraham, Anna Paquin, Busta Rhymes
screenplay by Mike Rich
directed by Gus Van Sant

by Walter Chaw Not content to play Salieri on film just once, F. Murray Abraham, after years of toiling away in decidedly lowbrow productions subsequent to Amadeus, has returned to the role that made him fitfully famous. It’s interesting to me that an actor who found fleeting celebrity (as a composer who borrowed fame very briefly) would choose to make a ‘comeback’ portraying a once almost-famous writer/now frustrated teacher of English at a snotty prep school. Still, given the level of relative originality in Finding Forrester, it’s not entirely unexpected that a secondary character played by a rather limited character actor is transplanted whole cloth from another film. On the other hand, something of a surprise is that Sean Connery would reprise his performance as an antisocial genius (who opens his heart to a creature of the Bronx) from Medicine Man, and that Gus Van Sant would try to resuscitate the flyblown carcass of Good Will Hunting by cleverly splicing it together with The Paper Chase.