Drama Archives - Page 25 of 119 - FILM FREAK CENTRAL

Sunset Song (2015)

May 13, 20162016, Authors: Walter Chaw, Drama, Luxembourg, Theatrical, UK

***½/****
starring Agyness Deyn, Peter Mullan, Kevin Guthrie
written and directed by Terence Davies

by Angelo Muredda If ever a film deserved to close with not a modest writing credit but an ostentatious “Adapted by,” it’s Terence Davies’s Sunset Song, a characteristically moving and plaintive take on Lewis Grassic Gibbon’s 1932 novel about a young woman riding out the turbulent waves of turn-of-the-century Scotland. Davies has now logged more adaptations than autobiographical works, but it’s frivolous to guess which strand of his filmography is the more personal, given the way he infuses even the most cobwebbed Great Book with his signature melancholy. For all its literary pretensions, Sunset Song is as steeped in domestic, regional, and national reminiscence–both fond and tortured–as Davies’s most ostensibly intimate works, like his acerbic but loving first-person ode to Liverpool Of Time and the City. And though it will surely be deemed minor by some because of its muted register (compared to the more rapturous aesthetic of The Deep Blue Sea), the film is, in its more understated way, as resonant and gutting a statement as any Davies has made about how living means being in thrall to the past.

Sonny Boy (1989) – Blu-ray Disc

May 1, 20161990s, 2016, Action, Authors: Bryant Frazer, Blu-ray Disc, Drama, Esoterica, Scream/Shout! Factory, Thriller

**½/**** Image B+ Sound B+ Extras B
starring David Carradine, Paul L. Smith, Brad Dourif, Michael Griffin
original screenplay by Graeme Whifler
directed by Robert Martin Carroll

by Bryant Frazer David Carradine wears a dress and nobody says a word about it for the duration of Sonny Boy, a low-budget thriller set in a timeless Panavision desert where the preferred modes of transportation are dirt bikes and dusty pickup trucks. It eschews mainstream cultural signifiers–the one glaring exception is the blonde with tousled music-video hair and ridiculous outfits straight out of Desperately Seeking Susan–and instead dedicates itself to world-building, making its arid small-town environment a microcosm for the cold world outside. So complete is Sonny Boy‘s conception of a cruel universe in miniature that it comes with a downbeat theme song written and performed, right there on screen, by Carradine himself. (A lyric from said song* is engraved, I kid you not, on Carradine’s tombstone.) Carradine is the big name, but the whole cast is better than it needs to be, and that makes a difference. They add a recognizably human element to an otherwise demented scenario and, even more importantly, they keep a film that sometimes feels almost like outsider art from amplifying its self-conscious idiosyncrasies to the point of out-and-out parody.

The Huntsman: Winter’s War (2016)

April 22, 20162016, Action, Adventure, Authors: Walter Chaw, Drama, Fantasy, Theatrical

*/****
starring Chris Hemsworth, Charlize Theron, Emily Blunt, Jessica Chastain
written by Evan Spiliotopoulos and Craig Mazin
directed by Cedric Nicolas-Troyan

by Walter Chaw It’s not offensive, or provocative, or particularly funny, or especially exciting. It doesn’t do anything very well, but neither does it do anything very poorly. It has a ridiculously overqualified cast game for anything in the way that good sports are when engaged in a losing battle against poor pacing and essential silliness; frankly, I don’t have anything against silliness per se. In that spirit, Cedric Nicolas-Troyan’s The Huntsman: Winter’s War (hereafter Huntsman 2) reminds a lot of pleasant disasters like Ladyhawke and Krull, with its biggest crime maybe being that it’s not ridiculous enough, given how the fantastic commitment of Charlize Theron, reprising her role from the previous film (which I’m sure I saw and probably reviewed), seems ultimately squandered. A shame that she’s in the movie for about five minutes, spending some of that as a CGI phantom and a lot of that screaming. It’s telling that she still manages to be the most interesting thing in it.

Midnight Special (2016)

April 15, 20162016, Adventure, Authors: Walter Chaw, Drama, Road Movie, Sci-Fi, Theatrical, Thriller

***½/****
starring Michael Shannon, Joel Edgerton, Kirsten Dunst, Sam Shepard
written and directed by Jeff Nichols

by Walter Chaw Jeff Nichols’s Midnight Special is beautiful. It’s a film about aspiration and sacrifice. It believes that the world is still a mysterious place anchored by love and hope and devotion to simple ideas about how hard it is to be a parent–and how important. It’s about nurturing a thing with all your heart and letting it go when it’s strong enough. It’s about listening when it’s the last thing you want to hear; it’s about believing there’s a future for your kids even if all evidence seems to suggest the opposite. It’s like Tomorrowland in many ways, but mostly in its suggestion that there’s a place maybe where things feel like they used to feel when you were a kid and everything was still possible. Even though nothing made sense, things would make sense one day when you were big. Midnight Special deserves its comparisons to films like E.T. and Starman and especially Close Encounters of the Third Kind. It works in the same small places with ordinary characters who grow to fill larger, echoing spaces. Nichols puts us in medias res with Roy (Michael Shannon) and his best friend Lucas (Joel Edgerton) on the run from cult leader Calvin Meyer (Sam Shepard), having fled at some point before the movie starts with Roy’s son, Alton (Jaeden Lieberher). We learn it was around Alton’s oddities that the cult largely formed. We learn that Alton’s oddities are perhaps supernatural, or extraterrestrial, or interdimensional. It doesn’t really matter. They’re profoundly strange, and there are times it appears that he’s able to tell a little of the future.

Bitter Rice (1949) [The Criterion Collection] – Blu-ray Disc

April 10, 2016****/****, 1940s, 2016, Authors: Bryant Frazer, Blu-ray Disc, Drama, FFC Must-Own, Italy, The Criterion Collection

Riso amaro
****/**** Image A- Sound A- Extras B
starring Vittorio Gassmann, Doris Dowling, Silvana Mangano, Raf Vallone
screenplay by Corrado Alvaro, Giuseppe De Santis, Carlo Lizzani,Carlo Musso, Ivo Perilli, Gianni Puccini
directed by Giuseppe De Santis

by Bryant Frazer Bitter Rice is a heck of a film. It’s the story of a couple of refugees from an American film noir who stumble into a grindhouse showing an Italian social-issues drama. The beautiful losers are Walter and Francesca (Vittorio Gassman and Doris Dowling), a pair of small-time crooks on the run following the heist of a lifetime. The social conscience is personified by a class of peasant women who have for hundreds of years travelled from all over the country to work hard days in the rice fields of northern Italy, and also by, to some degree, ethical, committed soldier Marco (Raf Vallone), who lingers in the rice fields after his discharge because he has come to care about the fate of the women there. And the sex appeal is provided, in spades, by Silvana Mangano, a bombshell and a half. When producer Dino de Laurentiis and director Giuseppe De Santis cast the 18-year-old in the role, she had already appeared in a few films and had been the teenaged girlfriend of young Marcello Mastroianni. But her performance in Bitter Rice–a role that had her shaking her tits, swinging her hips, and hiking her skirt up to here–made her an overnight sensation.

The Hateful Eight (2015) – Blu-ray + DVD + Digital HD

March 28, 20162015, 2016, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Crime, Directors: Quentin Tarantino, Drama, DVD, Mystery, Thriller, Western

**/**** Image A Sound A Extras C-
starring Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Bruce Dern
written and directed by Quentin Tarantino

by Walter Chaw Quentin Tarantino’s eighth film, The Hateful Eight, features eight hateful people trapped in a small space during a blizzard. The hullabaloo surrounding its release has to do with the production shooting in an extinct widescreen format (70mm anamorphic) and putting up a lot of money so that it can be screened accordingly in select theatres. A few critics have misidentified its vistas as belonging to Wyoming (it was filmed in Telluride, Colorado), which is understandable given that only about five minutes of the 187-minute running-time is spent outside. There hasn’t been a Tarantino feature until this one that I haven’t loved; I believe he is our finest working film critic. He understands things about the movies he pulls from–that certain traditions of Japanese and exploitation filmmaking are strongly feminist, that blaxploitation was initially empowerment before it was instantly gentrified, that the best slave narratives involve legacies of violence, which is why Lalee’s Kin and Django Unchained have a biological connective bridge. I’ve learned more about movies from watching Tarantino than I have from watching Godard, who’s actually trying to teach me something. I think the Kill Bill saga is a remarkable statement about motherhood. I find his dialogue to be distinctive and sometimes exhilarating. I struggled with disliking The Hateful Eight for each of its 187 minutes. It’s the first time I’ve ever understood the popular criticism of Tarantino as self-indulgent, nihilistic, misogynistic, even racist. I don’t agree with every charge, but I do get it now. It’s the first time, too, that I was troubled by a plot point in his film: there’s someone in the piece who hates Mexicans, see, but when we get a flashback to this person engaging with a Mexican, we see that this is a fallacy. I can’t figure out if this was intentional; I fear that it wasn’t. I fear, more, that this is evidence that, for the first time, Tarantino has lost control of his screenplay. I also finally felt the loss of Sally Menke, who was his Marcia Lucas. I hope it’s not a harbinger of things to come.

In the Heart of the Sea (2015) – Blu-ray + DVD + Digital HD

March 14, 20162015, 2016, Action, Adventure, Authors: Bill Chambers, Blu-ray Disc, Disaster Movie, Drama, DVD

Intheheartofthesea1

*/**** Image A- Sound A+ Extras B+
starring Chris Hemsworth, Benjamin Walker, Cillian Murphy, Brendan Gleeson
screenplay by Charles Leavitt, based on the book In the Heart of the Sea: The Tragedy of the Whaleship Essex by Nathaniel Philbrick
directed by Ron Howard

by Bill Chambers In the Heart of the Sea is Ron Howard’s water movie, just like Backdraft is his fire movie, Far and Away is his earth movie, and Apollo 13 is his air movie. It’s also his first fish movie since Splash, suggesting that Howard is retracing his steps in a career reboot that began with Rush, his first car movie since his directorial debut, Grand Theft Auto. But one waits for history to repeat itself with some sign of accrued wisdom beyond obvious markers like technical proficiency. In fact, in its show-off-iness and ersatz emotionalism, In the Heart of the Sea seems the less mature film next to Splash, which has a formal self-control and hints of real pathos despite a fantastical premise that sees a landlubber falling in love with a woman who’s secretly a mermaid. (It’s the first film to seize on Tom Hanks’s Jimmy Stewart quality, as well as the rare one to tap into his anger.) There’s hardly a genuine moment in In the Heart of the Sea, and a framing device only exacerbates the problem by adding another layer of dramatization to something that already plays like a big-budget History Channel re-enactment.

Knight of Cups (2016)

March 11, 2016****/****, 2016, Authors: Walter Chaw, Directors: Terrence Malick, Drama, Esoterica, Romance, Theatrical

****/****
starring Christian Bale, Cate Blanchett, Natalie Portman, Wes Bentley
written and directed by Terrence Malick

by Walter Chaw Terrence Malick’s Knight of Cups is an obvious companion piece to Sofia Coppola’s Somewhere and Fellini’s 8½, and a less obvious spiritual companion to the Coens’ Hail Caesar!, Cronenberg’s Maps to the Stars, and even Fosse’s All That Jazz. Its most direct influence is John Bunyan’s The Pilgrim’s Progress, with Malick borrowing phrases entire from its text along with its sense of wandering, seeking, and the pilgrim meeting various incarnations of sin and redemption on the road to salvation. Malick, as has become his hallmark, places people against images of eternity. In Los Angeles, the only external nature he can find is the ocean, and so he sends his “Christian” (Bale), playing a film director named “Rick,” to the shore repeatedly with a succession of women who are incarnations of Bunyan’s “Evangelical” and “Faithful” and “Mercy,” including his wife (Cate Blanchett), whom he rejects and, if Malick follows form, who will be the centre of another story all her own. Rick wanders through streets, studio lots, highrise suites that are Bunyan’s City of Destruction and Vanity Fair and, in a sequence where one guide (Natalie Portman) reveals that she’s pregnant with either Rick’s child or her husband’s, Slough of Despond, before finally discovering peace of sorts alone in the Delectable Mountains of Joshua Tree.

10 Cloverfield Lane (2016)

March 11, 20162016, Authors: Walter Chaw, Drama, Mystery, Sci-Fi, Theatrical, Thriller

***½/****
starring John Goodman, Mary Elizabeth Winstead, John Gallagher Jr.
screenplay by Josh Campbell & Matt Stuecken and Damien Chazelle
directed by Dan Trachtenberg

by Walter Chaw I don't believe that art ever occurs in a vacuum. I believe that movies, no matter their relative quality, speak to the time in which they were created, eloquently or accidentally–sometimes both. In that context, Dan Trachtenberg's 10 Cloverfield Lane, the follow-up to Matt Reeves's badly-underestimated Cloverfield (which itself pairs with Spike Lee's 25^th Hour as the best elegies for 9/11 New York (Reeves's film even more in some ways, in its emulation of Japan's kaiju cycle)), is about the way the frightening underbelly of paranoid American fanaticism has suddenly gained legitimacy and voice in the mainstream. When speaking mournfully of his estranged daughter and how his wife has taken her away from him, survivalist Howard (John Goodman) mutters that some people just can't understand what's in the best interest of their survival. He's shut himself in an underground bunker with the bunker's architect, Emmett (John Gallagher Jr.), like some Egyptian Pharaoh, girding himself against an apocalypse that may or may not be personal. He's also "abducted" a young woman passing by, Michelle (Mary Elizabeth Winstead), though Howard would say he saved her from the end of the world. His plan, see, is that the three of them wait out the fallout from whatever seismic event did or didn't happen, as a makeshift family. No touching.

The Guardian (1990) – Blu-ray Disc

March 9, 20161990s, 2016, Authors: Bryant Frazer, Blu-ray Disc, Directors: William Friedkin, Drama, Horror, Mystery, Scream/Shout! Factory, Thriller

*½/**** Image B Sound B+ Extras B
starring Jenny Seagrove, Dwier Brown, Carey Lowell, Brad Hall
screenplay by Stephen Volk and Dan Greenburg and William Friedkin, based on the novel The Nanny by Greenburg
directed by William Friedkin

by Bryant Frazer The Guardian, made in 1990 as an apparent attempt to cash in on director William Friedkin’s reputation as the man behind The Exorcist, is one of those terrible movies by a powerful director working at the low ebb of his career. The wildest thing about The Exorcist–one of the greatest horror movies–is that despite its defining influence on his career, Friedkin has never shown much interest in horror. (That’s one of the things that makes The Exorcist work so well: Despite the requisite special-effects outlay required to depict demonic possession, on one level The Exorcist is just the story of a problem and the professionals who are dispatched to address it; on another level, it’s a family drama about a single parent dealing with adolescent rebellion.) So while it’s understandable that either Friedkin or the studio bankrolling The Guardian would see commercial potential in a return to genre filmmaking, any attempt at out-and-out horror was probably ill-fated from the start. That the story being attempted (loosely adapted from a novel by Dan Greenburg) was so very woolly–the supernatural villain the title references is a sexy, polymorphous druid who takes jobs as a live-in nanny to steal babies from their parents–would have been an advantage in, say, a potboiler out of Charles Band’s Empire Pictures. In the hands of a no-nonsense craftsman like Friedkin, alas, it was a blueprint for disaster.

Creed (2015) – Blu-ray + DVD + Digital HD

March 2, 20162015, 2016, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Drama, DVD, Sports, Stallone

Creedblu1

***/**** Image A- Sound A Extras B
starring Michael B. Jordan, Sylvester Stallone, Tessa Thompson, Phylicia Rashad
screenplay by Ryan Coogler & Aaron Covington
directed by Ryan Coogler

by Walter Chaw I love this movie. I do. It’s not perfect. The love interest is underbaked and the fight choreography of the final match is unfortunately disjointed. But I love this movie–unconditionally, I guess. The story goes that Ryan Coogler, the young director of Fruitvale Station, pitched Sylvester Stallone on the idea of rebooting Rocky with Apollo Creed’s son. (Something the Indiana Jones series needs to do with a grown-up Short Round, by the way.) The auto-critical analysis of the film is that it’s essentially a father/son intrigue, which lends some insight into the Rocky/Mickey relationship of the original Rockys, and there are enough references to same to gratify the cultists. What I liked most about Stallone’s willingness to take a shot on a fresh idea from a minority perspective–this is the first instalment of one of his two venerable franchises not to spring from a Stallone-written script–is that it feeds into the idea of Stallone as an auteur maybe, a canny cultural anthropologist definitely. Every Rocky, every Rambo, is distinctly a product of its time. I don’t feel qualified to talk about this, but to the extent that I understand the theory, I’m sold.

The Life and Death of Colonel Blimp (1943) [The Criterion Collection] – Blu-ray Disc

February 16, 2016****/****, 1940s, 2016, Authors: Walter Chaw, Blu-ray Disc, Comedy, Drama, FFC Must-Own, Romance, The Criterion Collection, UK, War

Colonelblimp3

****/**** Image A+ Sound A- Extras A
starring Anton Walbrook, Deborah Kerr, Roger Livesey, Roland Culver
written and directed by Michael Powell and Emeric Pressburger

by Walter Chaw The prototype in many ways for Charlie Kaufman’s Synecdoche, New York, Powell and Pressburger’s The Life and Death of Colonel Blimp, although lighthearted and easily mistaken for a romp, is an existential horror film that, for all the things it’s otherwise about, is most vitally about what it’s like to grow old. There’s a moment early on–when our hero, Clive Candy (Roger Livesey), realizes he’s let the love of his life marry his best friend–that clarifies exactly what the picture has on its mind. For the rest of the film, as the kingdom of his memories grows to a size that dwarfs modernity rushing past, Candy finds shades of the lost Edith (Deborah Kerr), his personal Lenore, resurfacing in the faces of young women the world over. The Life and Death of Colonel Blimp understands that as one grows old, an entire village sprouts in the mind, full of beloved businesses and places that have long since disappeared, peopled by old flames and loved ones, dead or just vanished, but in any case never again to resume the form in which memory has frozen them. Though memorable for its technical brilliance, its Technicolor vibrancy, and its courageously sprung narrative structure, The Life and Death of Colonel Blimp‘s ability to pinion the sadness, the loneliness, that experience carries with it is what makes the movie what it is. Life as a process of emotional attrition: Last man standing is cold comfort, indeed.

Snow White and the Seven Dwarfs (1937) [The Signature Collection] – Blu-ray + DVD + Digital HD

February 10, 2016****/****, 1930s, 2016, Animation, Authors: Bill Chambers, Blu-ray Disc, Comedy, Disney, Drama, DVD, Family, Fantasy, FFC Must-Own, Musical, Romance

****/**** Image A Sound A Extras A-
story adaptation Ted Sears, Richard Creedon, Otto Englander, Dick Richard, Earl Hurd, Merrill De Maris, Dorothy Ann Blank, Webb Smith
supervising director David Hand

by Bill Chambers Walt Disney was shooting for the moon with 1937’s Snow White and the Seven Dwarfs, not just his first but the first animated feature. He of the Silly Symphony wanted it to have prestige, fostering an obsessive-compulsive streak within the studio that is curiously reflected in the film’s epic preoccupation with orderliness, cleanliness, and labour. It has the air of manifesto when one considers that of the eight songs on the soundtrack, two, “Whistle While You Work” and “Heigh-ho,” are about the satisfaction of work¹ while a third, “Bluddle-Uddle-Um-Dum,” is a set of bathing instructions subtitled “The Dwarfs’ Washing Song.” In her unrelenting fastidiousness, Snow White reeks of self-portraiture (armchair Freuds might speculate on Snow White’s other qualities, such as her being so perfect as to drive the competition mad, as they apply to Disney, already an Ozymandian figure armed with multiple Academy awards by the time of production), and it’s because of this that her predilection for housework doesn’t feel like the typical chauvinism abundant in the Disney canon. When she scolds two squirrels for sweeping dirt under the carpet, it’s difficult not to hear it as an ethos.

Ghost Story (1981) – Blu-ray Disc

February 8, 20161980s, 2016, Authors: Walter Chaw, Blu-ray Disc, Drama, Horror, Scream/Shout! Factory, Thriller

Please note that these screencaps are from an alternate source and do not necessarily reflect the Blu-ray presentation.

*/**** Image B+ Sound A Extras A+
starring Fred Astaire, Melvyn Douglas, Douglas Fairbanks, Jr., John Houseman
screenplay by Lawrence D. Cohen, based on the terrifying best-selling novel by Peter Straub
directed by John Irvin

by Walter Chaw Jack Cardiff’s reputation as a world-class cinematographer began, really, with the Archers, progressed through Hitchcock’s underestimated, and gorgeous, Under Capricorn (every inch as beautiful a film as Powell and Pressburger’s The Red Shoes, Black Narcissus, and A Matter of Life and Death), and was maintained in collaborations with the likes of John Huston, Joe Mankiewicz, King Vidor, and Henry Hathaway. He did two films with John Irvin: the great Dogs of War, and this, 1981’s seedy, singularly unpleasant Ghost Story, which represents the final screen appearances of Fred Astaire, Douglas Fairbanks, Jr., and Melvyn Douglas. I think the biggest disappointment of the film is that it doesn’t look better, given Cardiff’s behind the camera. In fact, it looks like a TV movie (acts like one, too, as it happens); the possibilities of having Cardiff lens a classic ghost story in the gothic style are delicious and, until the last ten minutes or so, largely frustrated. Blame the picture’s settings, various brightly-lit exteriors and contemporary environments (office buildings, college campuses)–even when the movie is in a grand old house, our aged heroes’ Chow-duh Society huddled together in pools of shadow, scaring each other with spooky stories, the joke seems to be that someone is always turning on the lights.

Hail, Caesar! (2015)

February 6, 2016****/****, 2016, Authors: Walter Chaw, Coen Brothers, Comedy, Drama, Musical, Mystery, Scarlett Johansson, Theatrical

Hail, Caesar!: A Tale of the Christ
****/****
starring Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes
written and directed by Joel & Ethan Coen

by Walter Chaw Halfway through the Coen Brothers’ Hail, Caesar!, studio head/fixer Eddie Mannix (Josh Brolin playing Jon Polito) stands against the opulent, grand entrance to his golden-age Hollywood movie studio and talks about the coming of the future. There’s a scene in a Chinese restaurant where someone pulls out a photograph of a mushroom cloud taken at a freshly-nuked Bikini Atoll and declares, solemnly, that it’s a picture of the future. There’s another scene where waves crash against a pair of rocks in a direct callback to Barton Fink, the Coens’ other golden-age Hollywood homage, outside the bachelor-pad mansion of Gene Kelly-type Burt Gurney (Channing Tatum), who happens to be the head of an enclave of Communists (are there ten?) calling themselves “The Future.” The Coens at their best describe spiritual blight. They do it in a lot of ways, across multiple genres. Hail, Caesar! opens with Mannix, a real-life figure in Hollywood tangentially connected to George Reeves’s death (murder? Suicide? Who knows?), in a confessional just a day after his last confession and a day before his next. (“Really, it’s too much Eddie. You’re not that bad.”) Mannix–more fictional than actual, it should be noted, in exactly the same way that O Brother, Where Art Thou? is the most faithful adaptation of The Odyssey there ever was despite having almost no relationship to the literal text–indeed doesn’t seem all that bad when most of what he confesses is lying to his wife (Alison Pill) about quitting cigarettes. “It’s hard, Father.” And he cries. The movie is about spiritual blight, and the sin that Mannix is constantly trying to confess is that he doesn’t know what he believes. For me, the Coens are at their best when they tackle this spiritual blight through the prism of artists and their attempts to create. Every artist is a Frankenstein. Every work is a monster.

The Finest Hours (2016)

January 30, 20162016, Action, Adventure, Authors: Walter Chaw, Drama, Theatrical, Thriller

*½/****
starring Chris Pine, Casey Affleck, Ben Foster, Eric Bana
screenplay by Scott Silver and Paul Tamasy & Eric Johnson, based on the book by Casey Sherman and Michael J. Tougias
directed by Craig Gillespie

by Walter Chaw Craig Gillespie makes a play to be the new Ron Howard by not only following up Ron Howard’s waterlogged maritime tale of dashing Captain Handsome and his feats of historical derring-do with his own, but also studiously crafting bland, empty, crowd-pleasing, middlebrow gruel for the sedate appreciation of people who are almost dead. Gillespie’s is The Finest Hours, the tale of a heroic small-boat Coast Guard rescue in 1951 off the coast of Nantucket that sees four really boring white guys putting out during a storm to save thirty waterlogged oil-tanker guys. The Finest Hours never for a moment made me not think of that SNL sketch where Mark Wahlberg asks a goat if it’s seen A Perfect Storm–which admittedly is not the worst thing that a film hasn’t been able to make me not think about.

Code Unknown (2000) [The Criterion Collection] – Blu-ray Disc

January 11, 2016****/****, 2000s, 2016, Blu-ray Disc, Drama, FFC Must-Own, France, Germany, Romance, Romania, The Criterion Collection

Codeunknown1

Code Unknown: Incomplete Tales of Several Journeys
Code inconnu: Récit incomplet de divers voyages
****/**** Image A- Sound A Extras B+
starring Juliette Binoche, Thierry Neuvic, Sepp Bierbichler, Ona Lu Yenke
written and directed by Michael Haneke

by Bryant Frazer In the vignette that opens Code Unknown, a young girl in pigtails, maybe 9 or 10 years old, cowers against a plain wall, trembling before director Michael Haneke’s static camera. If you know Haneke’s work–his previous film at the time, Funny Games, had depicted the torture and murder of a bourgeois French mom and dad plus their fair-haired moppet–the image is more than a little disturbing. But Haneke immediately pulls the rug out. Rather than cry, the girl suddenly stands and smiles, looking expectantly towards the camera. Haneke then cuts to reverse angles on different children, in close-up, also looking towards the camera. The girl has an audience, and so we understand that she was giving a performance. In this case, it’s a game of charades among deaf children, with the spectators attempting to guess, using sign language, what the girl was trying to convey. “Alone?” one girl signs. The girl in pigtails shakes her head. Another signs, “Hiding place?” No. Nor is she trying to convey “guilty conscience,” “gangster,” “sad,” or even “locked up.” In the face of so many impassive classmates, the girl in pigtails finally looks weary and maybe on the verge of tears for real. With that, the screen goes black, and the title appears: Code Unknown.

Concussion (2015)

December 26, 20152015, Authors: Walter Chaw, Drama, Sports, Theatrical, Will Smith

*/****
starring Will Smith, Alec Baldwin, Gugu Mbatha-Raw, Albert Brooks
written and directed by Peter Landesman

by Walter Chaw Peter Landesman's deeply compromised Concussion so shockingly exposes and excoriates the negligence of the NFL in protecting its players that it's constantly advertised during NFL games. The whole thing feels like a redacted security document: It's choppy, skips over entire plot points, short-sells the issues, and gives equal time to celebrating the beauty and the glory of football as it does to how football turns a scary percentage of its players into confused, manic, suicidal zombies. Save for a few minutes spent with Pittsburgh Steelers centre Mike Webster (David Morse), living in a truck and gluing his teeth into his head with superglue, we don't get much of a glimpse at the symptomatology of "CTE," the repeated-trauma disease discovered by Nigerian-born Dr. Bennet Omalu (Will Smith), who's introduced listing off his accomplishments to declare himself the "smartest person you've ever probably met or will probably ever meet." Concussion is what Spotlight would have looked like had it been made by Cardinal Law: you know, some stuff happened, but the Catholic Church is MAJESTIC. To be fair, we don't get much of a glimpse of anything–not even the romance between Omalu and his ward-cum-lover-cum-spouse (Gugu Mbatha-Raw, so astonishing in Belle and Beyond the Lights; welcome to the mainstream, Gugu!), which is treated in a curious, epileptic shorthand. She's a homeless refugee. She's very religious. Oh, now they're dancing and, um, fucking, and married and, wait, pregnant and married. Wait, now she's doing that wife-in-Bridge of Spies thing where she's protecting the family and… And Concussion is terrible.

Joy (2015)

December 25, 20152015, Authors: Walter Chaw, Biopic, Comedy, Drama, Robert De Niro, Theatrical, ZERO STARS

ZERO STARS/****
starring Jennifer Lawrence, Robert De Niro, Edgar Ramirez, Bradley Cooper
screenplay by David O. Russell
directed by David O. Russell

by Walter Chaw After demonstrating with his last few movies that he’s not Martin Scorsese, David O. Russell has decided to kill two birds with one stone by demonstrating that he is neither Wes nor P.T. Anderson, either. In Joy, he proves that marrying Wes Anderson’s whimsical solipsism with P.T. Anderson’s Pynchon-esque biographical sketches is an amazingly stupid thing to do–one of those science experiments in ’50s B-movies that everyone knows is a bad idea except for the idiot doing the splicing. Yes, Joy is that bad. When it’s not being unbearably twee, it’s perving on Jennifer Lawrence like von Sternberg on Dietrich. But Joy ain’t no Blue Angel, and while I like Lawrence fine, I guess, Russell is sure as hell no von Sternberg. What I’m saying is that Russell is a terrible, glitchy director with a thing for Lawrence that he manifests by shooting her walking towards the camera with sunglasses, without sunglasses, with a wig and without a wig, in slow-motion or at normal speed, in daytime, nighttime; he lights her with the sun, with spots, with discretes, from below, and especially from behind–all in a kind of PENTHOUSE glamour. The only part of Joy that isn’t unwatchable is a sequence shot precisely like identical sequences in P.T. Anderson’s Magnolia, where an obviously tense Bradley Cooper, playing QVC programming director Neil Walker, shows the titular domestic goddess Joy (Lawrence) around the studio. I take it back, those were pretty bad, too. The only thing preventing Joy from being the worst movie of the year is that Pixels happened.

The Good Dinosaur (2015); The Revenant (2015); The Hateful Eight (2015)

December 25, 20152015, Adventure, Animation, Authors: Walter Chaw, Comedy, Directors: Quentin Tarantino, Disney, Drama, Family, Mystery, Pixar, Revenge, Theatrical, Thriller, Western

THE GOOD DINOSAUR
***/****
screenplay by Meg LeFauve
directed by Peter Sohn and Bob Peterson

THE REVENANT
***½/****
starring Leonardo DiCaprio, Tom Hardy, a bear, angry junketeers
screenplay by Mark L. Smith & Alejandro G. Iñárritu
directed by Alejandro G. Iñárritu

THE HATEFUL EIGHT
**/****
starring Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Bruce Dern
written and directed by Quentin Tarantino

by Walter Chaw Arlo (voiced by Raymond Ochoa) is the runt in a frontier family of stylized dinosaur herbivores who struggles to live up to the example of towering Poppa (Jeffrey Wright) on the family farmstead. He’s clumsy, though, and easily frightened, and when he finds himself incapable of killing a mammalian vermin (Jack Bright), he unwittingly causes the death of his father. Arlo joins forces with the vermin, eventually, dubbing him “Spot” (he’s a little orphaned human boy) and relying on him to forage sustenance for him in the wild world outside. Spot, in return, relies upon Arlo for protection in the film’s final set-piece as Spot is set upon by a flock of fundamentalist pterodactyls. Pixar’s The Good Dinosaur is, in other words, a horror western about a frontier bespotted with monsters and monstrous ideologies, set right there at the liminal space–as all great westerns are–between the old ways and the encroaching new. It’s far more disturbing than has generally been acknowledged and, in being disturbing, it offers a tremendous amount of subtext layered onto a deceptively simple story. It posits an Earth where the dinosaur-ending comet misses impact, leading to millions of years of evolved adaptations and ending, as the film begins, with the emergence of homo sapiens on schedule, but skittering around on all fours and howling at their saurian masters. The Good Dinosaur is an existential horrorshow.