Teknolust (2003); In July (2000); Taking Sides (2002); Monster (2003)

December 25, 2003Posted in2000s, Adventure, Austria, Authors: Walter Chaw, Biopic, Comedy, Crime, Drama, France, Germany, Music, Romance, Sci-Fi, Theatrical, Thriller, UK, War

TEKNOLUST
**/****
starring Tilda Swinton, Jeremy Davies, James Urbaniak, Karen Black
written and directed by Lynn Hershman-Leeson

Im Juli.
***/****
starring Moritz Bleibtreu, Christiane Paul, Mehmet Kurtulus, Idil Üner
written and directed by Fatih Akin

TAKING SIDES
**/****
starring Harvey Keitel, Stellan Skarsgård, Moritz Bleibtreu, Birgit Minichmayr
screenplay by Ronald Harwood
directed by István Szabó

MONSTER
**½/****
starring Charlize Theron, Christina Ricci, Bruce Dern, Scott Wilson
written and directed by Patty Jenkins

Teknoby Walter Chaw As the year winds down and distributors great and small try to cram their films into rotation for possible awards consideration, the truism that there are just as many mediocre foreign and independent films as mainstream ones proves sage for a quartet of minor releases. Lynn Hershman-Leeson chimes in with Teknolust, another of her riffs on Derek Jarman, this one obsessed with Tilda Swinton and eternity through technology. Fatih Akin’s second film In July (Im Juli.) is essentially a German The Sure Thing with elements of After Hours, obsessed with eternity through an immortal beloved lit by the nimbus of various suns. One-time Oscar-winner István Szabó offers Taking Sides, a morality tale plucked half-formed from the stage, questioning the eternity of art against the requirements of morality. And Patty Jenkins weighs in with Monster, this year’s Boys Don’t Cry; it’s vérité as lower-class urban ugly, with Charlize Theron seeking eternity through a performance that breaks her out of her starlet mold, Halle Berry-style. Only time will tell if any of it keeps.

Jet Lag (2002) – DVD

December 15, 2003Posted in2000s, Authors: Walter Chaw, Comedy, DVD, France, Romance, UK

Décalage horaire
½*/**** Image B Sound A Extras N/A
starring Juliette Binoche, Jean Reno, Sergi López, Scali Delpeyrat
screenplay by Christopher Thompson & Danièle Thompson
directed by Danièle Thompson

by Walter Chaw A beautician (Rose (Juliette Binoche)) fleeing an abusive relationship and a frozen-food magnate (Félix (Jean Reno)) on his way to the funeral for an ex-in-law meet when Charles de Gaulle Airport is shut down during some kind of labour strike. Bonding over a constantly ringing cell phone (ah, what's more romantic than a goddamned cell phone?), the unlikely twosome decides to share a hotel room, where Félix browbeats Rose into taking off some of her makeup, and Rose decides that she's already ready to settle down into another abusive relationship. With the airport forever threatening to open, Binoche and Reno move around various sets in exact two-shot medium compositions that find them spouting their deadening monologues at one another in a failed attempt to convince that they are actually occupying the same space, head or heart or otherwise.

The Last Samurai (2003) + The Girl from Paris (2003)

December 5, 2003Posted in2000s, Action, Adventure, Authors: Walter Chaw, Comedy, Drama, France, Japan, New Zealand, Theatrical, Tom Cruise

THE LAST SAMURAI
**½/****
starring Tom Cruise, Billy Connolly, Tony Goldwyn, Shin Koyamada
screenplay by John Logan and Marshall Herskovitz & Edward Zwick
directed by Edward Zwick

Une hirondelle a fait le printemps
***/****
starring Michel Serrault, Mathilde Seigner, Jean-Paul Roussillon, Frédéric Pierrot
screenplay by Christian Carion and Eric Assous
directed by Christian Carion

Lastsamuraiby Walter Chaw Concerned with the encroachment of technology, spawned by the humanism of the French Revolution, Romanticism as a movement in poetry is involved in nostalgia for an idealized Natural history. On film, it occasionally manifests itself in period pieces that focus on the encroachment and proliferation of the railroad: its engines (as in King Vidor’s Duel in the Sun and Beyond the Forest, or the Hughes Brothers’ From Hell) the manifestation of the industrial revolution in terms of hellmouths and serpents–William Blake’s “Tyger” burning bright in the forests of a primordial night, all-consuming and inexorable. That loss of ritual to the march of time, tradition and heritage falling before the metal chimera of technology finds itself articulated in two very different films: Edward Zwick’s curious, derivative, workmanlike The Last Samurai, and Christian Carion’s bleak and affecting The Girl from Paris (Une hirondelle a fait le printemps).

DIFF ’03: The Flower of Evil

October 19, 2003Posted in2000s, Authors: Walter Chaw, DIFF/SDFF, Drama, Film Festivals, France, Thriller
*½/****screenplay by Caroline Eliacheff and Louise L. Lambrichs, adaptation by Claude Chabroldirected by Claude Chabrol by Walter Chaw Claude Chabrol, the master of the French thriller, is perhaps better described as the master of the French femme-fear film, making an art of women empowering themselves through the destruction of class and gender distinction. With The Flower of Evil (La Fleur du Mal) (no relation to the Baudelaire), Chabrol continues his slide into quaint, comfortable insignificance with his umpteenth treatment of a theme; he's become sort of a French Ozu, if you will, but with murder. This time around, the aging…

L’auberge espagnole (2002)

October 17, 2003Posted in2000s, Authors: Travis Mackenzie Hoover, Comedy, Drama, France, Romance, Spain, Theatrical

***/****
starring Romain Duris, Judith Godrèche, Audrey Tautou, Cécile De France
written and directed by Cédric Klapisch

Laubergeespagnoleby Travis Mackenzie Hoover Cédric Klapisch is the director of a mid-'90s gem called When the Cat's Away; although it wasn't of great shattering importance, it understood that, and turned out to be enjoyably funky nonetheless. Alas, the intervening years have taken their toll on Klapisch's sense of self-importance, because now he's made L'auberge espagnole–a film with the potential to be another enjoyably funky little movie that instead pushes banal life lessons and shallow cultural observations. L'auberge espagnole might have squeaked by had its tale of a French student in a Barcelona rooming house just been a sex farce with low ambitions, but as it stands, it's a sex farce that thinks that it's actual drama, making for some serious head-slapping when it drags out the ersatz "importance."

DIFF ’03: Wilbur Wants to Kill Himself

October 11, 2003Posted in2000s, Authors: Walter Chaw, Comedy, Denmark, DIFF/SDFF, Drama, Film Festivals, France, Sweden, UK
Wilbur Begar Selvmord***½/****written by Lone Scherfig, Anders Thomas Jensendirected by Lone Scherfig by Walter Chaw Uncompromising yet surprisingly gentle for all that, Lone Scherfig's Wilbur Wants to Kill Himself is an unmannered character drama about Wilbur (Jamie Sives), despondent and suicidal after the death of his father; Wilbur's older brother, Harbour (Adrian Rawlins), who's taking the family's loss much better; and Harbour's new wife, Alice (the self-swallowing, eternally imploding Shirley Henderson), who finds love for the first time only to find it again in her husband's mordant brother. A psychiatric support group is funny in predictably quirky ways (though its…

Virginie Speaks (sorta): FFC Interviews Virginie Ledoyen

September 14, 2003Posted in2000s, Authors: Bill Chambers, Film Festivals, France, Interviews, TIFF

VledoyentitleSeptember 15, 2003|Gallic ingenue Virginie Ledoyen strides confidently into the room, and the second she spots me we say a grinny "Hi!" in unison. Alas, the communication breakdown commences shortly thereafter: I was diagnosed with a swollen eardrum a few days before, and I lead our interview with a pre-emptive apology for any struggle I might encounter trying to hear her, which I think–combined with my being her last in a morning brimming over with interviews and the usual language-barrier issues–caused her to be a tad…brusque in her responses.

TIFF ’03: Vodka Lemon

September 12, 2003Posted in2000s, Armenia, Authors: Bill Chambers, Comedy, Drama, Esoterica, Film Festivals, France, Italy, Switzerland, TIFF
***/****starring Lala Sarkissian, Romen Avinian, Ivan Franek, Armen Marouthianscreenplay by Hiner Saleem, Lei Dinety, Pauline Gouzennedirected by Hiner Saleem by Bill Chambers Discombobulating and deadly dull for its initial half-hour, Hiner Saleem's Vodka Lemon coalesces before it's too late into something by no means ineffectual. The first in an accumulation of vignettes finds an old man being schlepped in his bed through the Armenian tundra to a funeral site, where he promptly removes his dentures to pipe a dirge for the other mourners. The picture continues to lightly tread such surreal ground until the whimsical closing shot, in which music…

TIFF ’03: The Five Obstructions

September 9, 2003Posted in2000s, Authors: Bill Chambers, Belgium, Denmark, Directors: Lars von Trier, Documentary, Esoterica, France, Switzerland, TIFF
De Fem Benspænd***½/****a film by Jørgen Leth & Lars von Trier by Bill Chambers Jørgen Leth struck a self-described "Faustian" deal with half-insane auteur Lars von Trier to remake his own experimental short film The Perfect Human five times according to "ruinous" changes mandated by von Trier. But the mouse repeatedly outwitted the cat with an incapacity for anything but quality product: The first four of the titular "obstructions" are up there with, well, early Leth, and the venture teaches von Trier--who thrives on unforeseen obstacles and how they lead to personal dissatisfaction with his work--that you can't make crap on…

TIFF ’03: Bon Voyage

September 7, 2003Posted in2000s, Authors: Bill Chambers, Comedy, Drama, Film Festivals, France, Mystery, Romance, Thriller, TIFF, War
*½/****starring Isabelle Adjani, Gérard Depardieu, Virginie Ledoyen, Yvan Attalwritten and directed by Jean-Paul Rappeneau by Bill Chambers "And I'll huff, and I'll puff, and I'll boorrre the hell out of you." Jean-Paul Rappeneau's Bon Voyage labours harder than any film in recent memory to entertain, but the result is so draining I don't remember grooving with it once. In the opening scene, the latest vehicle for champagne starlet Viviane Denverts (Isabelle Adjani, who at 48 should be too old to play an ingénue, but looks at least half her age--it's quite miraculous, really) leaves rapt the attendees of a French…

TIFF ’03: Monsieur Ibrahim et les fleurs du Coran

September 6, 2003Posted in2000s, Authors: Bill Chambers, Comedy, Coming of Age, Drama, Film Festivals, France, TIFF
**½/****starring Omar Sharif, Pierre Boulanger, Gilbert Melki, Isabelle Renauldscreenplay by François Dupeyron, based on the novel by Eric-Emmanuel Schmittdirected by François Dupeyron by Bill Chambers Set, for the most part, against the backdrop of a Paris ghetto circa the early 1960s, Monsieur Ibrahim et les fleurs du Coran ("Coran" being the French spelling of the Qur'an) is an agreeable coming-of-age fable in the Tony Gatlif vein. Moses "Momo" Schmitt (Pierre Boulanger), an artless Jewish youth accustomed to holding down the fort while his father sweats away in an office for a piddling wage, regularly purloins items from the grocery run…

TIFF ’03: The Barbarian Invasions

September 4, 2003Posted in2000s, Authors: Bill Chambers, Canada, Comedy, Crime, Drama, Film Festivals, France, Mystery, Romance, TIFF
Les Invasions barbares**½/****starring Rémy Girard, Stéphane Rousseau, Marie-Josée Croze, Marina Handswritten and directed by Denys Arcand by Bill Chambers Denys Arcand's The Decline of the American Empire belongs to the homecoming genre of films like Lawrence Kasdan's The Big Chill and John Sayles's Return of the Secaucus Seven, but its quasi-sequel, twice honoured at this year's Cannes Film Festival (for Marie-Josée Croze's performance and Arcand's screenplay), is a Muppet movie with socialists. When embittered poli-sci professor Rémy (Rémy Girard) is diagnosed with untreatable cancer, his estranged, millionaire son Sébastien (David Duchovny look-alike Stéphane Rousseau) seeks out Rémy's Marxist friends of…

Mondays in the Sun (2002); Freaky Friday (2003); The Eye (2002)

August 1, 2003Posted in2000s, Authors: Walter Chaw, Comedy, Drama, France, Hong Kong, Horror, Italy, Singapore, Spain, Theatrical, Thriller

Los Lunes al sol
**/****
starring Javier Bardem, Luis Tosar, José Ángel Egido, Nieve de Medina
screenplay by Fernando León de Aranda, Ignacio del Moral
directed by Fernando León de Aranda

FREAKY FRIDAY
**/****
starring Jamie Lee Curtis, Lindsay Lohan, Harold Gould, Mark Harmon
screenplay by Heather Hach and Leslie Dixon, based on the novel by Mary Rodgers
directed by Mark S. Waters

Jian gui
*½/****
starring Angelica Lee, Lawrence Chou, Chutcha Rujinanon, Yut Lai So
screenplay by Jo Jo Yuet-chun Hui, Oxide Pang & Danny Pang
directed by Oxide Pang & Danny Pang

Mondaysfreakyeyeby Walter Chaw Fernando León de Aranda's Mondays in the Sun is probably best described as a Spanish version of Fred Schepisi's Last Orders: a journal of a depressed nation's aging gentry, ferrying one of their own on to the great symbolic hereafter. It aspires to the sort of myth of Vittorio Di Sica's neo-realism, portraying the plight of the dispossessed working class in its unadorned splendour, succeeding by the end only to be a repetitive tattoo around the threadbare theme of men defined by work and destroyed by obsolescence. A castration melodrama in several anecdotal horizontal movements, Mondays in the Sun loses steam and tests patience by making its one point to exhaustion. A scene where the great Javier Bardem rails at the fable of the grasshopper and the ants ("This is bunk! It has no sympathy for someone who is born a grasshopper instead of an ant!") says almost all there is to say about the film, while a lingering close-up of Bardem's battered mug in all its injured brute eloquence is, by itself again, enough.

The Sea (2002)

July 9, 2003Posted in2000s, Authors: Walter Chaw, Comedy, Drama, France, Iceland, Norway, Theatrical

Hafið
*/****
starring Gunnar Eyjólfsson, Hilmir Snær Guðnason, Hélène de Fougerolles, Kristbjörg Kjeld
screenplay by Baltasar Kormákur, based on the play by Olafur Haukur Símonarson
directed by Baltasar Kormákur

by Walter Chaw A family melodrama that’s a little like Chekhov but a lot more like Telemundo, Baltasar Kormákur’s The Sea (Hafið) takes the bare bones of “King Lear” and fashions from them the sort of bleeding hair-render that runs roughshod through the Altman/Bergman canon without the benefit of genius. Its use of foreground, of mannered close-ups and overlapping dialogue, of old men journaling their lives at the end of their lives, all feel at odds with the film’s weightless, familiar tale of an old man shackled to the ideal of a better era in opposition with subsequent generations of useless, snivelling bastard children trying to feed off the corpse of said better era, the irony of that Icelandic tradition including a sort of culturally institutionalized rape (the contention of which I find to be not merely shockingly reductive, but deeply suspect besides) mentioned but left unexamined for the most part. The problems of The Sea aren’t restricted to this reliance on reckless ascriptions of cultural archetype for irony or poignancy (an Ayn Rand-ian predilection for staging hypothetical, unwinnable arguments in their extreme), extending to issues as problematic as a script (adapted from a Olafur Haukur Símonarson play by Kormákur, a sometime-actor who appeared as the mad scientist in Hal Hartley’s No Such Thing) that is as repetitive in regards to dialogue as to scenario.

Sinbad: Legend of the Seven Seas (2003)

July 1, 2003Posted in2000s, Adventure, Animation, Authors: Walter Chaw, Comedy, Family, Fantasy, France, Theatrical, UK

**/****
screenplay by John Logan
directed by Patrick Gilmore & Tim Johnson

by Walter Chaw Making almost no impression at all, DreamWorks’ latest animated flick is a lot like their last animated flick, Spirit: Stallion of the Cimarron: an endlessly-reproducible light romantic cartoon heavy on the derring-do and gender slapstick, and light on anything that could possibly be construed as memorable. The most noteworthy thing about the picture, in fact, is that it exposes the surprising quickness with which DreamWorks’ has become that which it most disdains: Disney redux–its sixth animated feature satisfying the maxim of joining what can’t be beaten and getting as entrenched and boring as Treasure Planet in the process. As soon as it’s declared that the quest of the film is for the “Book of Peace,” it’s already past time to let the eye-rolling commence.

Ten (2002) + Lilya 4-Ever (2002)

June 27, 2003Posted in2000s, Authors: Walter Chaw, Coming of Age, Crime, Denmark, Drama, Esoterica, France, Iran, Sweden

Dah
**½/****
starring Mania Akbari, Amin Maher, Kamran Adl, Roya Arabashi
written and directed by Abbas Kiarostami

Lilja 4-Ever
***/****
starring Oksana Akinshina, Artyom Bogucharsky, Lyubov Agapova, Liliya Shinkaryova
written and directed by Lukas Moodysson

by Walter Chaw The plight of women in oppressive and/or emerging cultures, on film, is a slipstream metaphor for the travails of all the citizenry of that place and, from there, the existential struggle of modern man–a heavy burden, to be sure, and one that forever teeters on the precipice of trite to the one side, affected to the other. (With “condescending” the great beast, crouched and ready to pounce.) Women are too often grail repositories of fear and loathing–indicator species, much like children in film, to be examined for hints of what’s toxic in the spirit of the time. That two foreign films by male directors find their way to the United States in fast company of one another, dealing with the plight of women (all women, all society, all the world) in ways frank and raw, is arguably not so much coincidence, then, as a synchronicity that, no matter their relative success, represents a sharp spur and a whip to the collective flank.

Tycoon (2002); Under the Skin of the City (2001); Stone Reader (2003)

June 19, 2003Posted in2000s, Authors: Walter Chaw, Crime, Documentary, Drama, France, Germany, Iran, Russia, Theatrical

Oligarkh
Tycoon: A New Russian
*½/****
starring Vladimir Mashkov, Mariya Mironova, Levani Outchaneichvili, Aleksandr Baluyev
screenplay by Aleksandr Borodyansky, Pavel Lungin, Yuli Dubov, based on Dubov’s novel Bolshaya pajka
directed by Pavel Lungin

Zir-e poost-e shahr
Under the City’s Skin
***/****
starring Golab Adineh, Mohammad Reza Forutan, Baran Kosari, Ebrahin Sheibani
screenplay by Rakhshan Bani Etemad, Farid Mostafavi
directed by Rakhshan Bani Etemad

STONE READER
*/****
directed by Mark Moskowitz

by Walter Chaw The collapse of oppressive regimes is a double-edged sword for a country’s film industry. Official censors are out of work, but they take their government’s sponsorship of the film industry with them. Entertaining a stream of strange bedfellows from the United States and France, the Russian cinema in the age of Perestroika struggled to find a balance between artistry and commerce–the same instinct that promoted the creation of underground trades in fake Levi’s spawned, too, a steadily gathering horde of cheap knock-off films designed, like their Yankee brothers, for minimal but satisfactory fiscal return. Departing quickly from the early optimism of pictures like Alexander Sokurov’s Days of Eclipse and Pavel Lungin’s Taxi Blues, the “Russian New Wave” (led like the French nouvelle vague by a cadre of critics) has expressed itself lately through cultural remakes of classics of world (including early Russian) cinema. The S. Dobrotvorsky-scripted Nicotine, an interesting take on Godard’s Breathless, is the best of the cultural doppelgängers; Lungin’s Tycoon is among the worst.

Man on the Train (2002); Chaos (2001); And Now… Ladies and Gentlemen… (2002); The Son (2002)

June 5, 2003Posted in****/****, 2000s, Authors: Walter Chaw, Belgium, Comedy, Crime, Directors: Jean-Pierre and Luc Dardenne, Drama, France, Germany, Japan, Mystery, Romance, Theatrical, Thriller, UK

L’Homme du train
***/****
starring Jean Rochefort, Johnny Hallyday, Jean-François Stévenin, Charlie Nelson
screenplay by Claude Klotz
directed by Patrice Leconte

CHAOS
*/****
starring Catherine Frot, Vincent Lindon, Rachida Brakni, Line Renaud
written and directed by Coline Serreau

AND NOW… LADIES AND GENTLEMEN…
***½/****
starring Jeremy Irons, Patricia Kaas, Thierry Lhermitte, Alessandra Martines
screenplay by Claude Lelouch, Pierre Leroux & Pierre Uytterhoeven
directed by Claude Lelouch

Le fils
****/****
starring Olivier Gourmet, Morgan Marinne, Isabella Soupart, Nassim Hassaïni
written and directed by Jean-Pierre Dardenne & Luc Dardenne

by Walter Chaw After a brief period where French cinema seemed exclusively interested in the ugliness and violence festering in its anti-Semitic margins, what with pictures as variegated as Baise-moi, Trouble Every Day, My Wife is an Actress, and indeed, Gasper Noé’s sensationalistic Irréversible (which demonstrates a continuing fascination with a tumultuous French cinema in extremis), the old guard begins to reassert itself with its own tales of the underbelly of life displacing the façade of the comfortable upper class. Patrice Leconte’s new film Man on the Train (L’Homme du train) is reserved and slight while Chaos by Coline Serreau (who was born the same year as Leconte, as it happens) tries to soften the cruelty of much of modern French cinema by overlaying it with a patina of feminist uplift and misplaced social satire. Films like Rohmer’s The Lady and the Duke and Godard’s In Praise of Love attempt to draw a line between the nouvelle and the digital age (and Chaos is shot in ugly DV), and pictures like Rivette’s wonderful Va Savoir and now Claude Lelouch’s And Now... Ladies and Gentlemen… act as surveys and auto-critique of the medium itself. With these three pictures, the meta-critical instinct–something of a hallmark of French culture in general and cinema in particular–finds a new voice in, ironically, its older generation of directors. Somewhat apart from all of that is the Dardenne Brothers’ The Son (Le Fils), which is on its own stylistically but looks thematically for common ground in its own tale of obsession and reconciliation.

Winged Migration (2001)

May 30, 2003Posted in2000s, Authors: Travis Mackenzie Hoover, Documentary, France, Germany, Italy, Spain, Switzerland, Theatrical

**/****
directed by Jacques Perrin

by Travis Mackenzie Hoover The birds are coming, my friends, and you best take shelter before they bore you into a stupor. Not even Hitchcock himself made avian life seem as pervasive a threat as Jacques Perrin does in Winged Migration–though instead of being an active physical menace, it simply has the power to take your money and drive you to sleep or insanity. Alas, despite some super cinematography and generally good intentions, this record of birds sitting around and taking off gets very old very fast, for want of anything beyond an exclamation of, “Look at the pretty birdie!” There is, of course, an audience (nature enthusiasts without an intellectual bent, for starters, as well as those who would mistake impersonal, “professional” photography for art) that will not only gobble every shallow morsel of this film, but also think it a cultural advance.

The Italian Job (2003)

May 29, 2003Posted in2000s, Action, Authors: Walter Chaw, Crime, France, Germany, Italy, Theatrical, Thriller, UK

**½/****
starring Mark Wahlberg, Charlize Theron, Edward Norton, Seth Green
screenplay by Donna Powers & Wayne Powers, based on the screenplay by Troy Kennedy Martin
directed by F. Gary Gray

by Walter Chaw The Italian Job may be the very definition of a perfunctory remake. There’s no arguing with its professionalism and, at times, it threatens to hear the music, but when its best moments are those in which Donald Sutherland–in Venice again after 1973’s Don’t Look Now–summons up the horrific ghosts of Nicolas Roeg films past, the picture reveals itself to be inspired only by movies that were first, and better. In that spirit, among the recent crop of heist films, The Italian Job is better than Frank Oz’s The Score and David Mamet’s Heist, but not nearly so good as James Foley’s Confidence. It finds itself at the mercy of the rhythms and images of pictures it seeks to ape, drumming out in the end an often flat, frequently limp product that seems to know, to its credit, the difference between “style” and “seizure.” But with a cast that is either predictably flat (Mark Wahlberg, Charlize Theron, Jason Statham) or convinced they’re too good for the movie (Ed Norton; only Seth Green seems like he’s having genuine fun), The Italian Job is just a prettified reflection glancing off the surface of a deep well.