Drama Archives - Page 33 of 120 - FILM FREAK CENTRAL

The Wind Rises (2013) + Frozen (2013)

February 25, 2014****/****, 2013, 2014, Adventure, Animation, Authors: Walter Chaw, Biopic, Comedy, Disney, Drama, Family, Japan, Musical, Romance, War

THE WIND RISES
****/****
written and directed by Hayao Miyazaki

FROZEN
**½/****
screenplay by Jennifer Lee, inspired by Hans Christian Andersen’s “The Snow Queen”
directed by Chris Buck and Jennifer Lee

Editor’s Note: This review pertains to the original Japanese-language version of The Wind Rises.

by Walter Chaw Hayao Miyazaki’s alleged swan song The Wind Rises is mature, romantic, grand storytelling that just happens to be something like a romanticized biography of Jiro Horikoshi, the aeronautical engineer behind the design of the Mitsubishi A5M, which led, ultimately, to the Zero. Indeed, for a Western audience, watching Jiro’s dreams of squadrons of Zeros buzzing over fields of green is chilling, and advance critics seemed unable to distinguish the Japanese war machine from the film’s focus on a life lived in pursuit of dreams. In truth, separating these two aspects of the picture–the proximate and the historical–is self-defeating. (Dismissing the movie out of hand is equally blinkered.) One without the other, The Wind Rises loses anything like substance, resonance, importance. It would fall on the one side into gauzy bullshit, on the other into Triumph of the Will. As is, it’s something more akin to Studio Ghibli’s own Grave of the Fireflies in its humanizing of a man whose dreams were corrupted into something terrible. Einstein would be one of the West’s potential Horikoshi corollaries–and if Miyazaki had done Albert’s biography, I’d expect to see mushroom clouds illustrating his fantasies of relativity. For Horikoshi, Miyazaki provides upheavals and disasters as highlight to each of his life events: He first meets his wife in a train crash; in a lilting epilogue, when Jiro bids farewell to his dead wife, Miyazaki offers fields of devastation and a village in flames. Throughout, Miyazaki presents earthquakes, rainstorms, sudden bursts of wind as reminders of…what? The inevitability of change? The portents of war? The cycles of life and death? All of that; but what compels is the idea of helplessness in the face of larger forces–that although we chase our dreams, we’re never really in control of our destinies.

Nebraska (2013) – Blu-ray + DVD + Digital HD

February 17, 20142013, 2014, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Drama, DVD

Nebraska1

***½/**** Image A Sound A Extras C+
starring Bruce Dern, Will Forte, June Squibb, Stacy Keach
screenplay by Bob Nelson
directed by Alexander Payne

by Walter Chaw Alexander Payne returns to form after the disappointing The Descendants with the muted, often hilarious, and sentimental-without-being-schmaltzy filial road trip Nebraska. It’s easily his most tender work, despite the mordant, sometimes bitter humour Payne has become known for in his best work (Election remains his crowning achievement; About Schmidt is no slouch, either), and it makes a brilliant move in offering a showcase opportunity for national treasure Bruce Dern. Shot in black-and-white, with a spare, minimal production design making it an expressionist piece projecting the barren interiors of its broken characters, Nebraska, though not the adaptation of the identically-named collection of Ron Hansen short stories I initially hoped it was, at least possesses the same wintry, intellectual mien.

Arrow: The Complete First Season (2012-2013) + Supernatural: The Complete Eighth Season (2012-2013) – Blu-ray Discs

February 12, 20142012, 2013, 2014, Action, Adventure, Authors: Jefferson Robbins, Blu-ray Disc, Crime, Drama, DVD, Horror, Mystery, Sci-Fi, Superhero, Television, Werewolf

Supernatural1

ARROW: THE COMPLETE FIRST SEASON
Image A Sound B Extras B-
“Pilot,” “Honor Thy Father,” “Lone Gunmen,” “An Innocent Man,” “Damaged,” “Legacies,” “Muse of Fire,” “Vendetta,” “Year’s End,” “Burned,” “Trust but Verify,” “Vertigo,” “Betrayal,” “The Odyssey,” “Dodger,” “Dead to Rights,” “The Huntress Returns,” “Salvation,” “Unfinished Business,” “Home Invasion,” “The Undertaking,” “Darkness on the Edge of Town,” “Sacrifice”

SUPERNATURAL: THE COMPLETE EIGHTH SEASON
Image A Sound B+ Extras B
“We Need to Talk About Kevin,” “What’s Up, Tiger Mommy?,” “Heartache,” “Bitten,” “Blood Brother,” “Southern Comfort,” “A Little Slice of Kevin,” “Hunteri Heroici,” “Citizen Fang,” “Torn and Frayed,” “LARP and the Real Girl,” “As Time Goes By,” “Everybody Hates Hitler,” “Trial and Error,” “Man’s Best Friend with Benefits,” “Remember the Titans,” “Goodbye Stranger,” “Freaks and Geeks,” “Taxi Driver,” “Pac-Man Fever,” “The Great Escapist,” “Clip Show,” “Sacrifice”

by Jefferson Robbins Kindred shows in more ways than just their sharing a network, a Vancouver, B.C. shooting base, and a David Nutter-helmed pilot, The CW’s “Arrow” and “Supernatural” also share a gestalt. Post-“The X Files”, post-“Buffy”, they grapple with family legacies, duty versus desire, and bonds (specifically male) threatened by the intrusion of a) monsters and b) lovers. Watching the debut season of the former alongside the eighth season of the latter, it becomes clear that “Arrow”‘s showrunners, headed by Greg Berlanti, Marc Guggenheim, and Andrew Kreisberg, are just as steeped in the modes and methods of this youth-oriented action programming as “Supernatural” creator Eric Kripke. Both series find young, handsome protagonists consumed with the bloody twilight work left undone by their dead fathers; and both–despite “Arrow”‘s roots as a second-tier DC Comics property straining for multimedia relevance–are better, and bloodier, and in some ways more relevant, than one has any right to expect.

The Monuments Men (2014)

February 6, 20142014, Action, Authors: Angelo Muredda, Drama, Theatrical, War

*½/****
starring George Clooney, Matt Damon, Bill Murray, Cate Blanchett
screenplay by George Clooney & Grant Heslov, based on the book The Monuments Men: Allied Heroes, Nazi Thieves and the Greatest Treasure Hunt in History by Robert M. Edsel and Bret Witter
directed by George Clooney

by Angelo Muredda There have been far worse prestige films than George Clooney’s delayed Oscar season also-ran The Monuments Men, but there’s rarely been a more misguided one. Hinging on a conceit that even the filmmaker appears to realize is weak sauce and based on a true story that’s probably worth its weight in magazine articles that really make you think, the film follows the exploits of a team of ragtag art dealers and curators turned Allied troops, sent into Europe in the closing days of WWII to save the Western world’s finest paintings, sculptures, and, yes, monuments, before Hitler could destroy them. It’s perhaps a mild credit to Clooney the humanitarian that the overwhelming gaucheness of the premise–that European art is the thing most worth preserving amidst a war that saw the systematic genocide of 6 million Jews–rates not just a mention but a guilty structural response, too, in the form of a framing story that sees Clooney the actor, as team leader Stokes, lecturing his overseers on the ambiguous value of the mission. It’s also to his shame as a screenwriter (alongside usual partner Grant Heslov) that the response is so ill-considered–the same canned “Art is all of us” spiel politicians who couldn’t give a damn about art give in the promotional material for government-funded cultural events.

Weekend (1967) [The Criterion Collection] – Blu-ray Disc

January 30, 2014****/****, 1960s, 2014, Authors: Angelo Muredda, Blu-ray Disc, Comedy, Drama, Esoterica, France, Road Movie, Satire, The Criterion Collection

WEEK END
****/**** Image A- Sound B Extras B
starring Mireille Darc, Jean Yanne, Georges Staquet, Juliet Berto
written and directed by Jean-Luc Godard

by Angelo Muredda “The horror of the bourgeois can only be overcome with more horror.” So says a militant cannibal as he stands over the remains of one such bourgeois husk late in Weekend, Jean-Luc Godard’s farewell to the alienated pop art and American genre gerrymandering of his early period. As the line about horrors piled upon horrors implies, Weekend is nasty, as valedictory addresses go–a scorched-earth attack on France under Charles de Gaulle that finds nearly all of its citizens massacred in car crashes of their own design and converted into consumable products, namely food. The humanism of minor tragedies like Vivre sa vie and the heedless joy of Frank Tashlin homages like Une femme est une femme has here curdled into a new, ugly form. Although its title suggests a world of leisure and free play, one doesn’t enjoy Weekend so much as one endures it.

Electra Glide in Blue (1973) – Blu-ray Disc

January 26, 20141970s, 2014, Authors: Walter Chaw, Blu-ray Disc, Crime, Drama, Mystery, Scream/Shout! Factory, Thriller

***½/**** Image A Sound B Extras A
starring Robert Blake, Billy (Green) Bush, Jeannine Riley, Elisha Cook
screenplay by Robert Boris
directed by James William Guercio

by Walter Chaw SPOILER WARNING IN EFFECT. By 1973 in the United States, film had already become chronicles of listless motion, failed ideologies, ironic Westward expansion, and rampant paranoia. American cinema was in the process of cannibalizing itself in great gulps of genre reconsideration, taking the lead of the movies-by-critics of the French New Wave and reassessing the western/film noir/thriller cycle of studio-era Hollywood through a new mirror darkly: The iconography of the hero mythology Americans hold most dear (cowboy, hardboiled detective, two-fisted man of action), forced now to be populated by incoherent psychopaths and, worse, effeminate ones–lawyers, journalists, ex-cons, ex-soldiers back from an unpopular war, unloved, disrespected, lost and still losing.

Stranger by the Lake (2013)

January 17, 20142013, 2014, Authors: Angelo Muredda, Drama, Theatrical, Thriller

L’inconnu du lac
***½/****
starring Pierre Deladonchamps, Christophe Paou, Patrick d’Assumçao, Jérôme Chappatte
written and directed by Alain Guiraudie

by Angelo Muredda Late in Alain Guiraudie’s Stranger by the Lake, a detective sent to investigate the murder of a young man at a nude male beach designated as a gay cruising spot breaks from his procedural script to unload his exasperation on a potential suspect. “You guys have a strange way of loving each other sometimes,” the investigator (Jérôme Chappatte) points out when it seems that no one can provide him with so much as the first names of their recent conquests, much less recall the moment the handsome guy with the ballcap vanished without a trace, save for his abandoned beach towel. His assessment cuts two ways in a film that, before veering into the territory of gothic sex thrillers with uncommon ease, takes a wry anthropological approach to good sex and bad love in a space designed to indulge both in their most rarefied forms. On the one hand, the detective is an anticipatory mouthpiece for the conservative critics who would rain down on the movie he’s in, eager perhaps to brand this tribe he’s wandered into as perverse, borderline sociopathic death-seekers with no regard for their fellow neighbours. Yet his curiosity and suspension of judgment might also mark him as Guiraudie’s ideal audience: a serene observer held in thrall to the strange lengths people will go to satisfy their desires.

Lone Survivor (2013)

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

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

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

The Wolf of Wall Street (2013)

December 24, 20132013, Authors: Angelo Muredda, Biopic, Comedy, Crime, Directors: Martin Scorsese, Drama, Theatrical

***½/****
starring Leonardo DiCaprio, Jonah Hill, Margot Robbie, Jean Dujardin
screenplay by Terence Winter, based on the book by Jordan Belfort
directed by Martin Scorsese

by Angelo Muredda “For us, to live any other way was nuts,” Ray Liotta’s schnook turned gangster Henry Hill explains early on in Martin Scorsese’s Goodfellas. With that, spoken over a montage of permed Italian men in tailored suits gorging themselves at an upscale restaurant, Hill at once launched a wave of lesser, faux-conflicted pictures about the swanky perks and ethical compromises of organized crime, and raised the fundamental moral question of Scorsese’s latest, The Wolf of Wall Street. An unashamedly indulgent, ribald, and formally troubled biopic of Jordan Belfort, this unofficial Goodfellas follow-up likewise revolves around the kind of work that makes living like a pig in shit possible. His kinship to Hill aside, Belfort has had an unusually clear-sailing trajectory to garner the interest of a filmmaker who tends to be drawn to Catholic tales of excess followed by redemptive suffering. Belfort is still a born stockbroker and swindler, despite his working-class origins and federal inquiries and stints in rehab; the fact that he debuted on Wall Street the day of the crash and remains in demand as a guru well after the financial crisis of 2008 seems to give Scorsese and screenwriter Terence Winter pause, as well the astonishing survival rate of cockroaches should. What better way to make a film about such a man, Scorsese and Winter appear to have concluded, than to structure his story as a Roman orgy?

American Hustle (2013)

December 19, 20132013, Authors: Angelo Muredda, Comedy, Crime, Drama, Theatrical

**/****
starring Christian Bale, Bradley Cooper, Jeremy Renner, Jennifer Lawrence
screenplay by Eric Warren Singer and David O. Russell
directed by David O. Russell

by Angelo Muredda “The world is extremely grey,” a con artist intones in American Hustle, which, for all its ineffectual stabs at ambivalence, is a curiously prescriptive heist movie, the kind that constantly updates its ledger about who deserves what in the end, in case someone should go unrewarded. It’s hard to say when David O. Russell–a formerly prickly sort so effectively housebroken in recent years that he’s now on the fast track to Academy Award nominations four through five–became so square as to depend on this sort of moral calculus for his dramatic fulfillment: Its equally big-picture pronouncements aside, I ♥ Huckabees seems an odd way station between the redemptive U2-scored montage that closes Three Kings and the brotherly hug of The Fighter, as well as a far more pugilistic film than the one about boxing. Whatever the genesis of his newfound softness (which Russell has insisted is the mark of his maturity as an artist), it’s never been as out of synch with either his manic sensibility or his aesthetic of distended, freewheeling set-pieces and outsized actorly emoting as it is here.

Her (2013)

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

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

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

The Hobbit: The Desolation of Smaug (2013)

December 12, 20132013, Action, Adventure, Authors: Angelo Muredda, Drama, Fantasy, Theatrical

*½/****
starring Ian McKellen, Martin Freeman, Richard Armitage, Orlando Bloom
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 Angelo Muredda And so arrives Peter Jackson’s The Hobbit: The Desolation of Smaug (hereafter Hobbit 2), landing at its appointed hour a year after its predecessor’s mixed debut like a job application received after the position has already been quietly filled. While middle entries in trilogies are always awkward stepchildren, Hobbit 2 is a very special problem case: It consists of roughly the midsection of J.R.R. Tolkien’s fleet fantasy book for children, cracked open and fattened with multi-coloured Post-it notes until the spine can bear no more. Here at last, then, we have the week-old meat of the only Hobbit adaptation Jackson could deliver, having spent a decade steering comically overextended editions of the Lord of the Rings trilogy, a 3-hour version of King Kong, and a wrongheaded interpretation of The Lovely Bones as a Nintendo-ready CG light show.

Saving Mr. Banks (2013)

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

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

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

Inside Llewyn Davis (2013)

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

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

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

Frances Ha (2013) [The Criterion Collection] – Dual-Format Edition

December 5, 20132013, Authors: Angelo Muredda, Authors: Bill Chambers, Comedy, Coming of Age, Drama, The Criterion Collection

***½/**** Image A- Sound A- Extras B+
starring Greta Gerwig, Mickey Sumner, Charlotte D’Amboise, Adam Driver
screenplay by Noah Baumbach & Greta Gerwig
directed by Noah Baumbach

by Angelo Muredda There’s a lot to love in Frances Ha, but the highlight is surely a tracking shot of star, muse, and co-writer Greta Gerwig clumsily bounding through the streets of Brooklyn to the sounds of David Bowie’s “Modern Love.” (In a daily dispatch for mubi.com, Fernando Croce astutely toasts her “galumphing radiance.”) You could read this moment as either a joyous corrective to Michael Fassbender’s miserable NYC jog in Shame or a direct lift, down to the song’s abrupt stop, from Leos Carax’s Mauvais sang–think of Gerwig as the Ginger to Denis Lavant’s Fred. Or you could just accept it as the clearest expression of the film’s ambling structure: a lovely, headlong dive through traffic en route to somewhere safe but rewarding.

A Perfect World (1993) – Blu-ray Disc

November 25, 2013****/****, 1990s, 2013, Authors: Bill Chambers, Clint Eastwood, Drama, Road Movie, Thriller

****/**** Image B+ Sound A-
starring Kevin Costner, Clint Eastwood, Laura Dern, T.J. Lowther
screenplay by John Lee Hancock
directed by Clint Eastwood

by Walter Chaw Time and distance have conspired to replace Clint Eastwood’s Unforgiven with A Perfect World in my mind as his best film and one of the best movies of the ’90s. The two occur within a year of each other and mark, with In the Line of Fire between them, a renaissance of the Eastwood brand that had taken a few licks of late with embarrassments like Pink Cadillac, The Rookie, City Heat, Heartbreak Ridge, and on and on. While I was growing up, Eastwood was a Dirty Harry joke and the guy who acted with Orangutans. The first time I saw him in anything was in Bronco Billy, which, frankly, isn’t the first time you want to see anyone in anything. What Unforgiven did for me was inspire a curiosity about Sergio Leone and, with that, a new reason to respect Eastwood’s legacy; my first time through A Perfect World disturbed my notion of who Kevin Costner was (baseball player/cowboy) at the height of his power and sway in Hollywood, and I was distracted. Every time I’ve revisited A Perfect World since (and I’ve been compelled to revisit it at least once every few years), as Costner’s star has faded and Eastwood’s elder statesmanhood behind the camera has somehow dwarfed his iconhood in front of it, I feel the melancholy nostalgia of the film more and more. It’s an American masterpiece. I make that distinction because it’s distinctly American; and I mean it when I say that it’s as fine an essay of the dying of an age as anything in Cormac McCarthy’s Border Trilogy.

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…

Nature Calls: FFC Interviews Denis Côté|Vic + Flo Saw a Bear (2013)

November 22, 20132013, Authors: Angelo Muredda, Canada, Crime, Drama, Theatrical, Thriller

Not long into Denis Côté’s equal parts unnerving and affecting Curling, we get a taste of what might charitably be called the social life of its cloistered central characters, stolid dad Jean-François (Emmanuel Bilodeau) and his taciturn daughter Julyvonne (Philomene Bilodeau): When Julyvonne does her chores, her father grants her a rare glimpse of the world beyond their home in the chilly Quebec countryside, courtesy of the living-room stereo. Father and daughter quietly tap their fingers and rock their knees to songs like Tiffany’s improbably upbeat “I Think We’re Alone Now”–pop hits from a bygone era that, for all the unschooled Julyvonne knows, could be the present. The irony of that reveal, which is perhaps unsurprising to anyone familiar with Côté’s filmography, is that Jean-François and Julyvonne have their own, perfectly private lives outside this sheltered world, him through his work as a repairman whose job necessitates roaming into hotels and bowling alleys, her through a number of clandestine trips to the forest that put her in touch with a tiger and its possible prey.

Dallas Buyers Club (2013)

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

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

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

Short Term 12 (2013)

November 14, 20132013, Authors: Angelo Muredda, Drama, Theatrical

**/****
starring Brie Larson, John Gallagher Jr., Kaitlyn Dever, Rami Malek
written and directed by Destin Cretton

by Angelo Muredda Of all the specious arguments thrown around during awards season, the most enervating may be the contention, popular among early champions of films that are near-universally acclaimed on the festival circuit, that the first negative reactions to said films are simply backlash. Backlash, the logic goes, is a latecomer’s insincere negative reaction to a title he or she did not have the opportunity to praise when it was still hip to do so–lateness presumably being the only reason a person might have problems with a critical darling. Let it be said, then, that while I could not shake my own feelings of belatedness while recently watching Destin Cretton’s routine Short Term 12, which came out of festivals as diverse as SXSW and Locarno relatively unscathed, my response owes less to my unseasonable viewing conditions than to the film’s own curious belatedness, its tendency to rehash old-fashioned 1950s moralism about family-planning and Dangerous Minds-derivative solemnity about underprivileged teens in a faux-authentic new package.