Sweeney Todd: The Demon Barber of Fleet Street (2007) + Persepolis (2007)|Sweeney Todd: The Demon Barber of Fleet Street (2007) – Blu-ray Disc

October 23, 2008Posted in****/****, 2000s, Animation, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Directors: Tim Burton, Drama, FFC Must-Own, Horror, Musical, Thriller, War

SWEENEY TODD: THE DEMON BARBER OF FLEET STREET
****/**** Image A Sound A Extras B+
starring Johnny Depp, Helena Bonham Carter, Alan Rickman, Sacha Baron Cohen
screenplay by John Logan, based on the musical by Stephen Sondheim and Hugh Wheeler
directed by Tim Burton

PERSEPOLIS
***½/****
screenplay by Vincent Paronnaud & Marjane Satrapi, based on the novel by Satrapi
directed by Vincent Paronnaud & Marjane Satrapi

Mustown

SWEENEY TODD: THE DEMON BARBER OF FLEET STREET

by Walter Chaw Sweeney Todd: The Demon Barber of Fleet Street is easily Tim Burton's best film. It's uncompromised, deceptively uncomplicated, perverse in the most delightful way, and, maybe most importantly, it represents at last the full potency of Burton's German Expressionist vision. No surprise that it's closest allayed to Burton's previous career-pinnacle, his self-contained fairytale Edward Scissorhands–sporting, like that film, a black-clad protagonist festooned with blades who achieves his adolescence (and purpose) in a slanted attic chamber. This is another gothic romance, no explanation for snow but instead demonstration of the frugal repast of revenge's dish served cold. It's best described as a diary of the unrequited, a journal of terminal, irresolvable frustration. A violent, giallo-lurid succession of leering throat-slashings with a soupçon of cannibalism (I'm kind of shocked, truth be told, that the picture was completed in this form), this adaptation of Stephen Sondheim's genius 1979 musical is a timely film, boasting the sort of contemporary topicality of which only eternal works like Sondheim's are capable. Whatever the circumstances of its creation, watching it in this way speaks explicitly to the dismal tide of 2007, the desire to recover the illusory past (its hero speaks of his younger self as "naïve")–the recognition at the last that things are only ever as terrible as they've ever been; and that the only refuge from despair is embracing the tiny moments of human connection that make life liveable.

John Adams (2008) + Jimmy Carter Man from Plains (2007) – DVDs

October 21, 2008Posted in2000s, Authors: Ian Pugh, Biopic, Directors: Jonathan Demme, Documentary, Drama, DVD, Television

JOHN ADAMS
Image A Sound A+ Extras B+
“Join or Die,” “Independence,” “Don’t Tread on Me,” “Reunion,” “Unite or Die,” “Unnecessary War,” “Peacefield”

JIMMY CARTER MAN FROM PLAINS
***/**** Image A Sound A+ Extras A
directed by Jonathan Demme

by Ian Pugh It’s hardly anything new to explore the professional brilliance and personal failings of those upon whom history has bestowed the title of Greatness, but Tom Hooper’s epic miniseries John Adams bucks genre expectations by refusing to keep us at arm’s length with a standardized character archetypally flawed, deigning to present us instead with an actual human being. Certainly, it forges an entry point in dismissing the sense of harmonious unity we usually attribute to those early American leaders: marvel as the opinion Adams (Paul Giamatti, a delightfully bitter pill) holds of stoic, wooden George Washington (David Morse) sours from respect to resentment; smirk as he barely hides his contempt for the hedonistic Ben Franklin (Tom Wilkinson) and his platitudinous adages; shock as he is too late in realizing the treachery orchestrated by that prick Alexander Hamilton (Rufus Sewell). But it’s not enough to tear down romantic icons by having General Washington–who looks as if he’s leapt out of a Stuart painting–crack one of his false teeth at breakfast. “Bed, both’a ya!” Adams shouts at his children shortly after witnessing the bloody aftermath of the Boston Massacre, and suddenly the shroud of tall tales collapses in a single powerful blast from a man who may represent the antithesis of any preconceived notions we have about the era of powdered wigs and stockings.

Fox Horror Classics, Vol. 2 – DVD

October 17, 2008Posted in1930s, 1940s, Adventure, Authors: Alex Jackson, Drama, DVD, Fantasy, Horror, Mystery, Romance, Sci-Fi, Thriller

CHANDU THE MAGICIAN (1932)
***½/**** Image B- Sound C Extras A-
starring Edmund Lowe, Bela Lugosi, Irene Ware, Henry B. Walthall
directed by Marcel Varnel and William Cameron Menzies

DRAGONWYCK (1946)
**/**** Image A Sound A Extras B+
starring Gene Tierney, Walter Huston, Vincent Price, Glenn Langan
screenplay by Joseph L. Mankiewicz, based on the novel by Anya Seton
directed by Joseph L. Mankiewicz

DR. RENAULT’S SECRET (1942)
*/**** Image A Sound A- Extras B
starring J. Carrol Naish, John Shepperd, Lynne Roberts, George Zucco
story by William Bruckner and Robert F. Metzler
directed by Harry Lachman

by Alex Jackson SPOILER WARNING IN EFFECT. I confess to feeling a little insecure while reading the entry for Chandu the Magician in Leonard Maltin’s Movie & Video Guide, wherein the learned film historian derides Chandu as “disappointing” and “not as good as most serials in this genre, and even sillier.” The suggestion is that he’s wholly sympathetic to the material and was actually hoping to see a good movie before being “disappointed.” Mr. Maltin may very well be in a better position than me to determine the relative merits of Chandu the Magician. Speaking as a layman, I found it to be sublime pulp fiction. Prototypical of George Lucas’s Indiana Jones and Star Wars franchises, the film is remarkably shameless in its goofiness, never veering into self-deprecation or camp. It’s one of those rare pop entertainments that genuinely make you feel like a kid again.

Constantine (2005) – Blu-ray Disc

October 13, 2008Posted in2000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Drama, Fantasy, Germany, Horror, Mystery

*/**** Image A+ Sound A+ Extras B
starring Keanu Reeves, Rachel Weisz, Shia LaBeouf, Tilda Swinton
screenplay by Kevin Brodbin and Frank Cappello, based on the DC comic
directed by Francis Lawrence

by Walter Chaw The problem with casting Keanu Reeves in the role of DC Comics anti-hero John Constantine, a chain-smoking, blue-collar bloke who happens to have a foot in a supernatural parallel world occupied by angels and demons, is that because of the actor's ethereal–some would say "stoned"–demeanour, he never for a moment convinces that his is the sympathetic point of view. Imagine Robert Redford as Snake Plisskin, or Pierce Brosnan playing Ash in the Evil Dead films: Constantine, if they were insisting on an American actor, should have been Denis Leary. By inserting Reeves as your avatar, suddenly the whole shooting match is about CGI effects and impossible things doing impossible things (witness the last two Matrix films). But even without Reeves as the central distraction, Constantine avoids much of what made the "Hellblazer" mythology so compelling (that Lucifer is beautiful, that Constantine is genuinely an asshole instead of a lovable loser), with its worst crime coming in making the film something of an anti-smoking tract. Displaying the Surgeon General's warning centre stage in one fiery moment and having the hero quit in the movie's worst, most toadying, most cowardly joke, Constantine amounts to a straw man.

Bright Lights, Big City (1988) [Special Edition] – DVD

October 8, 2008Posted in1980s, Authors: Walter Chaw, Drama, DVD

*/**** Image B Sound C+ Extras A
starring Michael J. Fox, Kiefer Sutherland, Phoebe Cates, Dianne Wiest
screenplay by Jay McInerney, based on his novel
directed by James Bridges

by Walter Chaw Jay McInerney's nouveau second-person Bright Lights, Big City was my Catcher in the Rye (or, more precisely, his nameless protagonist was my Holden Caulfield), because I caught that bug in the same time of life that most people discover Salinger. I remember a 15-year-old me being disappointed when I saw James Bridges's Bright Lights, Big City on the big screen–not because Michael J. Fox wasn't poised for a dramatic breakthrough (he'd have one the following year in Casualties of War), but because Bridges is one of those old-timey directors without any discernible style who can be counted on for the same exhausted, completely lifeless movie no matter the era or the subject. No one else makes a nuclear meltdown (The China Syndrome) exactly as interesting as an aerobics class (Perfect) and Harvard Law (The Paper Chase). I mean, seriously, this is the guy who went out of his way to work with Debra Winger and John Travolta twice during the Eighties. Bridges's picture, surprise to no one, is a limp dick. The vibrancy–the exhilarated, doomed hedonism–of the McInerney novel gets subsumed under cotton-packed fathoms of complete incomprehension of what the source offered in spades: that note of melancholy in the lovelorn and the lost, that feeling of being swept up in something bigger than you. The Bridges picture is flyblown, devoid of pace and heat; it's such a mortician's slab that it's hard to even tell if the Fox performance is wasted on it, though I suspect it is. It's a bigger crime because someone else should have done this book.

Body of Lies (2008)

October 3, 2008Posted in2000s, Action, Authors: Walter Chaw, Directors: Ridley Scott, Drama, Romance, Theatrical, Thriller, UK, War

**/****
starring Leonardo DiCaprio, Russell Crowe, Mark Strong, Golshifteh Farahani
screenplay by William Monahan, based on the novel by David Ignatius
directed by Ridley Scott

Bodyofliesby Walter Chaw Perfectly workmanlike, unimpeachably prestige-y, achingly contemporary, and a near-complete failure as revelation, Ridley Scott's Body of Lies tells the tale of modern spook-dom complete with spy satellites, cell-phone eavesdropping, torture, and terrorists. A compelling stew, one would think, yet something that a decade ago would be seen as science-fiction and as recently as a few years ago as satire today offers no surprises–no discernible sharp edges, smooth as a river stone worn down by a few fast years of crippling cynicism. So the United States is a fingernail factory skating on the razored edge of impossible technologies and still, because of two-minutes-ago wisdom and dusty bureaucrats, unable to exterminate subjects and achieve minimal objectives in our ideological war. The film advises that we trust no one, that the issues are complex, that our enemies aren't stupid, and that there will always be a super-suave Sharif-ian Arab in pictures like this lest we forget how much we're capable of getting behind the Disneyfied Aladdin portrait of the Near East when push comes to shove. It reminds that Russell Crowe can get fat with the best of them even if, after The Insider, no one was wondering–and it reminds that Leonardo DiCaprio is pretty good at this intense young man shtick (although no one was wondering that, either). The problem with Body of Lies isn't its craft (indeed, it's one of the most handsomely-mounted, professionally-executed pictures of the year)–the problem is that it's got nothing to say in a media-rich environment awash with pundits, alive with YouTube, and actually awake for all the sleepiness in our mid-section. The irony of Body of Lies is that it's about intelligence but its own is at least a few months behind the curve.

Appaloosa (2008)

October 3, 2008Posted in2000s, Authors: Walter Chaw, Crime, Drama, Romance, Western

*/****
starring Viggo Mortensen, Ed Harris, Renée Zellweger, Jeremy Irons
screenplay by Robert Knott & Ed Harris, based on the novel by Robert Parker
directed by Ed Harris

Appaloosaby Walter Chaw There's a great moment early on in Ed Harris's howler of a vanity piece Appaloosa where gunman-for-hire Virgil Cole (Harris) and his sidekick Everett (Viggo Mortensen) have a friendly conversation with evil Briton Randall Bragg (Jeremy Irons) about law and order in the Old West. The rest of it is garbage. Comparisons of this film to Clint Eastwood's Unforgiven have been floating around, but where that picture is about the complexities of the promises men make to women that they can't keep, Appaloosa is macho juvenilia that espouses the idea of "bros before hos" and, thus, renders all the men unflawed in their limited, brutal glory and all the women bimbos, sluts, or bimbo-sluts. Enter Renée Zellweger's repugnant turn as mattress-back Allison French, her predilection for spreading her legs for the highest-ranking stud viewed not so much as a moral failing as one of those things women do either with principle (see: saloon girl Katie (Ariadna Gil)), or without (Allison). From her bizarre appearance (she looks like a swollen Bill Mumy) to that pinched, kewpie-doll chipmunk chitter-chatter she uses in the mawkish belief that it's an endearing quality in someone past the age of six, Zellweger would appear to be an easy target of blame for the film's general inadequacy. (Likewise shitting in the flan is composer Jeff Beal, whose theme for Allison is one of the most invasive, repugnant bits of musical hate-crime not composed by James Horner; Beal only increases the picture's cartoon feel.) Closer to the mark, though, would be to identify that Appaloosa falls on its ass because its worldview is arrested and incurious, content to offer that women are mercurial trollops and men, good or evil, are the bedrock of civilization. When Appaloosa is described as "old-fashioned," hear spin on more accurate terms like "ossified" and "badly-dated" and "naïve."

The Sixth Sense (1999) [VISTA Series] – DVD|Blu-ray Disc

October 2, 2008Posted in1990s, Authors: Bill Chambers, Blu-ray Disc, Directors: M. Night Shyamalan, Drama, DVD, Mystery, Thriller

***½/****
DVD – Image A Sound A Extras A-
BD – Image A Sound A Extras A-
starring Bruce Willis, Toni Collette, Olivia Williams, Haley Joel Osment
written and directed by M. Night Shyamalan

by Bill Chambers There's a feeling of déjà vu at moviehouses this summer: in two different films, a particularly troubled character senses danger of the paranormal kind as the room plummets to freezing temperatures. The difference is that when it happens to Lili Taylor's Nell in The Haunting, it's schadenfreude. The hero of The Sixth Sense, a young boy named Cole, is a more sympathetic creation in a far less shrill enterprise, and we wish nothing more than for the ghosts that haunt him to take a hike.

Blindness (2008) + Eagle Eye (2008)

October 1, 2008Posted in2000s, Authors: Walter Chaw, Brazil, Canada, Drama, Germany, Japan, Mystery, Sci-Fi, Spielberg, Theatrical, Thriller

BLINDNESS
*/****
starring Julianne Moore, Mark Ruffalo, Alice Braga, Gael García Bernal
screenplay by Don McKellar, based on the novel by José Saramago
directed by Fernando Meirelles

EAGLE EYE
½*/****
starring Shia LaBeouf, Michelle Monaghan, Rosario Dawson, Billy Bob Thornton
screenplay by John Glenn & Travis Adam Wright and Hillary Seitz and Dan McDermott
directed by D.J. Caruso

by Walter Chaw Brazilian wunderkind Fernando Meirelles has the one-trick pony and he's beaten its corpse for all the slickefied, electrified, vaguely exploitive prestige pieces he's made his calling card since City of God exploded into the loving arms of the arthouse. His latest, Blindness, feels like just another stroll down the same moralizing path as the residents of some generic city go blind, with only the bleary, red-rimmed eyes of Julianne Moore left as the moral barometer and literal/spiritual guide. And like his stable of reliable steeds, Blindness reveals itself at the end as having nothing much to say beyond the Lord of the Flies truism that men left to their own devices are no better than animals. Moore's an unnamed dingbat housewife fond of drinking a little too much wine and tittering around the limited orbit of her optometrist husband (Mark Ruffalo). When The Doctor (none of the characters have names, because the movie is profound) encounters a Patient (Yusuke Iseya) who has gone spontaneously blind, it's not long before the typical end-of-times plague starts the high-concept hullabaloo in earnest. Soon, The Doctor and The Wife find themselves in the Spooky Deserted Hospital that The City uses as The Quarantine Ward, though more literary-minded viewers will choose to refer to it as The Microcosm.

Californication: The First Season (2007) – DVD

September 28, 2008Posted in2000s, Authors: Ian Pugh, Comedy, Drama, DVD, Television

Image B+ Sound B+
"Pilot (Californication)," "Hell-A Woman," "The Whore of Babylon," "Fear and Loathing at the Fundraiser," "LOL," "Absinthe Makes the Heart Grow Fonder," "Girls Interrupted," "Filthy Lucre," "The Devil's Threesome," "Turn the Page," "The Last Waltz"

by Ian Pugh "Californication" can only be described as an attempt to replicate Bukowskian swagger: a lot of drinking, fighting, and fucking, with a touch of melancholy as it silently laments that it doesn't know anything else. It's intriguing, but it proves to be a problem because, unlike its alcoholic inspiration, it really doesn't know anything else–especially how to properly express its perspective on all that drinking, fighting, and fucking. Indeed, it's a major problem, considering the show revolves around a novelist, Hank Moody (David Duchovny), who suffered an unwilling relocation from New York to L.A. after his alleged masterpiece of nihilism God Hates Us All was somehow transformed into a romantic comedy entitled A Crazy Little Thing Called Love, starring Tom Cruise and Katie Holmes. Much to the chagrin of his agent (Evan Handler), Hank hasn't written a word in almost five years–and in-between trying to win over his ex-lover Karen (Natascha McElhone) and their distant daughter Becca (Madeleine Martin), he spends his time patrolling the local bars and jumping into bed with every woman who crosses his path.

The Babysitters (2008) – DVD

September 24, 2008Posted in2000s, Authors: Alex Jackson, Drama, DVD

**/**** Image A- Sound A- Extras B+
starring John Leguizamo, Katherine Waterston, Cynthia Nixon, Andy Comeau
written and directed by David Ross

by Alex Jackson Shirley Lyner (Katherine Waterston) is not only anxious about getting into the right college, she's worried about how she's going to pay for it, too. Unlikely inspiration hits after she babysits for Michael and Gail Beltran (John Leguizamo and Cynthia Nixon). While driving her home, Michael takes Shirley to a diner for coffee and they begin to talk. When Michael first met his wife, she was a boldly sexual "party girl," and he misses that spark. He asks if Shirley has a boyfriend and she says "no." An outburst from a nearby group of teenage boys provides a hint as to the reason, likewise an obsessive-compulsive tic whereby Shirley reorganizes the condiments on the counter. She doesn't seem to view herself as very sexy or lovable; since school has always taken precedence over boys for her, she is rather flattered by the attention Michael is showing her. They have sex. Terrified to confront his infidelity and his exploitation of this young girl, Michael generously tips Shirley, shyly reminding her that he has a wife and kids. This gives Shirley a great idea: she'll recruit her friends to prostitute themselves out to middle-aged men from around the neighbourhood.

Daniel (1983) + One Missed Call (2008) – DVDs|One Missed Call (2008) – Blu-ray Disc

September 17, 2008Posted in1980s, 2000s, Authors: Bill Chambers, Authors: Ian Pugh, Blu-ray Disc, Directors: Sidney Lumet, Drama, DVD, Horror, Mystery, UK

DANIEL
**½/**** Image A Sound B
starring Timothy Hutton, Mandy Patinkin, Lindsay Crouse, Edward Asner
screenplay by E. L. Doctorow, based on his novel The Book of Daniel
directed by Sidney Lumet

ONE MISSED CALL
½*/****
DVD – Image B Sound B
BD – Image A- Sound A
starring Shannyn Sossamon, Edward Burns, Ana Claudia Talancón, Ray Wise
screenplay by Andrew Klavan
directed by Eric Vallette

by Ian Pugh There's a great story just screaming to be told in Sidney Lumet's Daniel: In reworking the legacy of Julius and Ethel Rosenberg from the perspective of their fictionalized son, it's poised to deliver a fascinating tale about the tragic, perhaps inevitable consequences that starry-eyed idealism can have on the family dynamic for generations to come. This strange collision of Winter Kills, The Godfather Part II, and Citizen Kane finds sensitive intellectual Daniel Isaacson (Timothy Hutton) deeply opposed to pasting his parents' name on a foundation for "radical studies" in service to the anti-war movement circa 1967, which puts him at odds with his revolution-obsessed sister (Amanda Plummer). Soon, however, Susan attempts suicide, forcing Daniel to hunt down the facts and search his memories for the truth about his parents Paul (a manic Mandy Patinkin) and Rochelle (Lindsay Crouse), who were accused of selling–or conspiring to sell–A-bomb secrets to the Soviets and executed at the height of the Red Scare. Were they really that deeply involved in a conspiracy, or were they just patsies?

The Fall Guy: The Complete First Season (1981-1982) + CHiPs: The Complete First Season (1977-1978) – DVDs

September 17, 2008Posted in1970s, 1980s, Action, Adventure, Authors: Ian Pugh, Crime, Drama, DVD, Mystery, Television

THE FALL GUY: THE COMPLETE FIRST SEASON
Image B Sound B- Extras C-
“The Fall Guy Pilot,” “The Meek Shall Inherit Rhonda,” “The Rich Get Richer,” “That’s Right, We’re Bad,” “Colt’s Angels,” “The Human Torch,” “The Japanese Connection,” “No Way Out,” “License to Kill (Part 1),” “License to Kill (Part 2),” “Goin’ For It!,” “The Adventures of Ozzie and Harold,” “Soldiers of Misfortune,” “Ready, Aim… Die!,” “Ladies on the Ropes,” “The Snow Job,” “Guess Who’s Coming to Town,” “Child’s Play,” “Charlie,” “Three for the Road,” “The Silent Partner,” “Scavenger Hunt”

CHiPs: THE COMPLETE FIRST SEASON
Image C Sound B Extras D
“Pilot,” “Undertow,” “Dog Gone,” “Moving Violation,” “Career Day,” “Baby Food,” “Taking Its Toll,” “Green Thumb Burglar,” “Hustle,” “Highway Robbery,” “Name Your Price,” “Aweigh We Go,” “One Two Many,” “Rustling,” “Surf’s Up,” “Vintage ’54,” “Hitch-Hiking Hitch,” “Cry Wolf,” “Crash Diet,” “Rainy Day,” “Crack-Up,” “Flashback!”

by Ian Pugh In giving a modern-day look-see to a television series that stars a late-’70s/early-’80s icon as a Hollywood stuntman who improbably moonlights as a charming, violent bounty hunter, it seems only natural to start the discussion by lobbing a few Death Proof jokes in its general direction. Take the time to really sit down and watch “The Fall Guy”, however, and you’ll find that the complete honesty of its quest to grab the viewer’s attention just melts away your desire to be snarky. Lee Majors is the show’s anchor as Colton Seavers, the eponymous stuntman who spends his free time on assignment for a bail bondsman (Jo Ann Pflug) searching for folks who’ve skipped town before their court date, bringing his overeducated cousin (Douglas Barr, dead weight) and a stuntwoman-in-training (Heather Thomas, attractive dead weight) along for the ride. Although that premise gets bogged down in guns, fistfights, and doing crazy shit with whatever vehicles are available, Majors’s earnest performance offers a sense of levity to the proceedings, particularly once the character finally overcomes the traits ascribed to him by “The Fall Guy”‘s whiny country+western theme song, which complains about the stuntman’s inability to hold onto fame, money, or women. Indeed, as the series progresses, it becomes more interested in presenting Seavers as a conceptual mirror for the man who plays him, making Colt more of an aggressive ladies’ man (Majors was, after all, married to the era’s goddess-avatar of teenage onanism) and perhaps even turning his tides of bad luck into a tidy metaphor for Majors’s unsuccessful foray into features on the heels of “The Six Million Dollar Man”.

Mute Witness: On “Synecdoche, New York”

September 14, 2008Posted inAuthors: Bill Chambers, Blog, Canada, Charlie Kaufman, Comedy, Documentary, Drama, Esoterica, Film Festivals, TIFF

As threatened, a few stream-of-consciousness thoughts on Charlie Kaufman’s latest…

When Synecdoche, New York premiered at Cannes, I remember being annoyed by how feeble the critical coverage on it was. But I get it now. This is a film I’m hard-pressed to describe, let alone review in depth, after just a single viewing. I can say that I see why Kaufman kept this one for himself rather than entrusting it to Spike Jonze or Michel Gondry—it’s so dense and cryptic that it would be nigh uninterpretable by anyone but the source. Kaufman is a pretty meat-and-potatoes director, all things considered, but there are so many idiosyncrasies built into the material that it’s stylish by default.

TIFF ’08: Gigantic

September 13, 2008Posted in2000s, Authors: Bill Chambers, Comedy, Drama, Film Festivals, Romance, TIFF
**/****starring Paul Dano, Zooey Deschanel, Ed Asner, Jane Alexanderscreenplay by Adam Nagata & Matt Aseltondirected by Matt Aselton by Bill Chambers Gigantic is littered with dead and loose ends, which wouldn't be a big deal if this were the quasi-freeform jazz of a Cassavetes or even an Apatow wannabe, but is a considerable problem when taking into account the crispness of the film's aesthetics. The clean 'scope compositions and fat-free performances become increasingly incongruous; by the time the movie stops short with everything and nothing resolved, you're convinced the filmmakers snatched a script out of the oven half-cooked after a window…

TIFF ’08: The Wrestler

September 9, 2008Posted in2000s, Authors: Bill Chambers, Directors: Darren Aronofsky, Drama, Film Festivals, France, Sports, TIFF

***½/****
starring Mickey Rourke, Marisa Tomei, Evan Rachel Wood, Todd Barry
screenplay by Robert Siegel
directed by Darren Aronofsky

by Bill Chambers Mickey Rourke has spent the Aughties staging a series of mini-comebacks, but they’ve mostly sidestepped his iconography in favour of transforming him into a character actor. Not so Darren Aronofsky’s The Wrestler, which is poignant largely for how it reflects and refracts the Mickey Rourke mystique. Quite aware of his film’s ghoulish appeal, Aronofsky, after spotlighting the visage of young, beautiful Mickey Rourke under the main titles, shields Rourke’s face from view long enough that even though we know what he looks like now (that detour into prizefighting and God knows how many botched surgeries really took their toll), his first close-up still causes momentary grief. But the film is not just about lost youth, Rourke’s or otherwise (44-year-old Marisa Tomei, reacquainting Before the Devil Knows You’re Dead viewers with her breasts, God bless her, plays the kind of stripper pitied by her clientele): it’s about how the culture of ’80s nostalgia–arguably the dominant culture–is like Lenny from Of Mice and Men, arrested in a childlike state and unable to resist squeezing the life out of Reagan-era totems. Wrestling, meanwhile, proves to be the perfect analogue for acting in that its Golden Age, like Rourke’s, was somewhere around 1987, the year of Angel Heart and the seminal WrestleMania III; when Rourke’s washed-up Randy “The Ram” Robinson, permanently cast out of the ring by a heart attack, challenges a neighbourhood kid to a game of Nintendo wrestling, suffice it to say the conflation of relics is nothing less than poetic.

TIFF ’08: Rachel Getting Married

September 6, 2008Posted in2000s, Authors: Bill Chambers, Comedy, Directors: Jonathan Demme, Drama, TIFF
**/****starring Anne Hathaway, Rosemarie DeWitt, Mather Zickel, Bill Irwinscreenplay by Jenny Lumetdirected by Jonathan Demme by Bill Chambers Jonathan Demme's Rachel Getting Married has the cultural disadvantage of arriving soon after Margot at the Wedding and the personal one of following Claire Denis's 35 Shots in my screening log. Denis does so much more with so much less; perhaps sight-unseen, people have been calling this a return to form for Demme (as in, the form before The Silence of the Lambs created certain commercial expectations of/obligations in his work), but I don't remember him ever being this histrionic. And my…

The Counterfeiters (2007) – Blu-ray Disc

September 5, 2008Posted in2000s, Authors: Bryant Frazer, Blu-ray Disc, Drama, Germany, Thriller

Die Fälscher
***/**** Image A Sound A- Extras B
starring Karl Markovics, August Diehl, Devid Striesow, Dolores Chaplin
 screenplay by Stefan Ruzowitzky, based on the book by Adolf Burger
directed by Stefan Ruzowitzky

by Bryant Frazer This year's winner of the Best Foreign Language Film Oscar, The Counterfeiters (Die Fälscher) is defined in equal terms by what it is and what it isn't. It is a Holocaust survivor's yarn told with a certain playfulness and no lack of moral consideration, but it is not really a concentration-camp movie; mostly, it feels like a prison caper yarn that happens to take place in Sachsenhausen. The film's weight comes from the things we know about but cannot see within the frame: those haunting images of emaciated Jews, the walking-dead stares of the prisoners consigned to the gas chambers and crematoria, the tragedy of systematic genocide.

TIFF ’08: Lorna’s Silence

September 3, 2008Posted in2000s, Authors: Bill Chambers, Belgium, Directors: Jean-Pierre and Luc Dardenne, Drama, Film Festivals, France, Germany, Italy, TIFF
Le silence de Lorna***½/****starring Arta Dobroshi, Jérémie Renier, Fabrizio Rongione, Alban Ukajwritten and directed by Jean-Pierre Dardenne & Luc Dardenne by Bill Chambers That figures: I'm finally ready to get on board the Dardenne Brothers bandwagon and everyone's bailing. What I like--maybe love--about their latest, Lorna's Silence (Le Silence de Lorna), is that it zigs when you expect it to zag, which may peg me as superficial (some reviews of the film have admonished it for having a plot) but which nevertheless strikes me as a refreshing change of pace from the neorealist wallowing of their earlier work. (To my…

Shotgun Stories (2008) – DVD

September 3, 2008Posted in2000s, Authors: Walter Chaw, Drama, DVD, Thriller

**½/**** Image B- Sound B Extras B
starring Michael Shannon, Douglas Ligon, Barlow Jacobs, Natalie Canerday
written and directed by Jeff Nichols

by Walter Chaw I’m sick of the kind of exceptional that Shotgun Stories represents–sick enough that I wonder if it doesn’t actually reflect a certain faddism attending the creation of the picture. How many times is it seemly to invoke Faulkner before the prestige of it sours into eye-rolling familiarity? To call Shotgun Stories an American classic ignores that it’s a tonal clone of David Gordon Green’s idylls, which themselves owe their cadences to Terrence Malick’s true American classics (which themselves owe a tremendous debt to Charles Laughton’s singular Night of the Hunter). That’s just the cinematic legacy. At the end of all that impeccable menace, that twisted Grant Wood Americana and surreal, gravid Norman Rockwellian perversity, is this post-millennial, post-9/11 moral that revenge is strange and bitter fruit. As it goes, it’s not much; and as the novelty of it’s faded like the cheap denim spent in the telling of it, the only thing left is this faint after-image of better, more pioneering films in the genre. Like so much that begins as alternative fare, Shotgun Stories ends up the normative mean to which prestige indies inevitably tend. There’s a lot to admire about this film, I just feel like I’ve seen it about a dozen times by now.