France Archives - Page 7 of 20 - FILM FREAK CENTRAL

The Artist (2011)

January 25, 20122011, 2012, Authors: Walter Chaw, Belgium, Best Picture (Academy Awards), Comedy, Drama, France, Romance, Silent, Theatrical

***½/****
starring Jean Dujardin, Berenice Bejo, John Goodman, James Cromwell
written and directed by Michel Hazanavicius

by Walter Chaw It’s tempting to dismiss Michel Hazanavicius’s The Artist as fluff. It’s tempting to take the side of Kim Novak when she complains about this fluff using Bernard Hermann’s Vertigo score in vain, and a few critics and Internet memes have done exactly that. Yet The Artist is more than a passing fancy precisely because it uses the Vertigo theme correctly in a sentence. Indeed, it even has its way with film preservationists and other snobs (the kind who champion Hugo, for instance) by suggesting that obsessive movie love to the exclusion of all else is the same sort of illness, ultimately, as necrophilia. In the fluffy course of its runtime, in fact, The Artist manages to be as subversive and scabrous a Hollywood artifact as Sunset Blvd., finding its monkey funeral towards the end instead of at the beginning but presenting a close-up Mr. DeMille at its conclusion almost as ambiguous and doomed. It’s popular because it keeps its edges carefully sheathed…but they’re there. And I think people are offended once they realize–most of them long, long after the fact, and through other avenues–that Hazanavicius had the temerity to peanut-butter a little obsessive, consumptive, solipsistic love in there to gum up all the crevices. I’ll be honest: I think that if you don’t believe The Artist is correct in its use of Vertigo, you probably also thought that Vertigo was a love story.

A Separation (2011)

January 13, 20122011, 2012, Australia, Authors: Angelo Muredda, Drama, France, Iran, Theatrical

Jodaeiye Nader az Simin
***½/****
starring Peyman Maadi, Leila Hatami, Sareh Bayat, Shahab Hosseini, Sarina Farhadi
written and directed by Asghar Farhadi

by Angelo Muredda In Armond White’s latest “Better-Than” list, the champion of surreal juxtaposition pits Asghar Farhadi’s A Separation against Joe Cornish’s Attack the Block and finds the former wanting. “Action vs. Talk,” he summarizes, in the poetry of tinyurl. Apart from the arbitrary matchup he stages between two very good films about getting to know your neighbours under the harshest of circumstances, White isn’t completely off the mark. I won’t defend his trite claim about A Separation‘s alleged “Iranian didacticism,” but the film certainly is voluble. Farhadi wears his dramaturgy on his sleeve, opening with a carefully trained two-shot of middle-class couple Nader (Peyman Maadi) and Simin (Leila Hatami) at divorce court, parked in adjacent chairs as if settling in for a parent-teacher interview. They face us directly as they make their respective cases to a bored, unseen auditor: Simin wants to emigrate to the West; Nader refuses to leave his dementia-suffering father behind or grant his wife permission to leave with their eleven-year-old daughter Termeh (Sarina Farhadi, the director’s own daughter)–more an effort to stall their separation, it seems, than an arbitrary flexing of his patriarchal muscle. Voluble, as I said, but not verbose. It’s a provocative and deceptively straightforward setup, promising naturalism via Maadi’s and Hatami’s easy rapport while undercutting it with the artifice of their situation. Though the judge is unmoved by either side in this rhetorical showdown–“My finding,” he tells Simin, “is that your problem is a small problem”–the stakes of this “small” quagmire, which is also a national and a gendered one, are made painfully clear to us by the couple’s impassioned performances.

Carnage (2011)

December 23, 20112011, Authors: Angelo Muredda, Comedy, Drama, France, Germany, Poland, Spain, Theatrical

***/****
starring Jodie Foster, Kate Winslet, Christoph Waltz, John C. Reilly
screenplay by Yasmina Reza and Roman Polanski, based on Reza’s play “God of Carnage”
directed by Roman Polanski

by Angelo Muredda It’s tempting to read Roman Polanski’s adaptation of Yasmina Reza’s celebrated play God of Carnage as a doodle, the cinematic equivalent of one character’s pet name for his wife. Unlike, say, Chinatown, nothing much is at stake, and unlike last year’s The Ghost Writer, there are no doe-eyed innocents for us to coddle. (“He can’t drown two ghost writers, for God’s sake; you’re not kittens!” might go down as the sweetest line in Polanski’s tart career.) Yet Carnage, set in an antiseptic Brooklyn residence that’s decked in coffee-table books begging to be sprayed with vomit, is vintage if minor Polanski, from its claustrophobic environment and precise compositions to its droll flirtation with nihilism.

Tomboy (2011)

December 7, 20112011, Authors: Angelo Muredda, Drama, France, Theatrical

***/****
starring Zoé Héran, Jeanne Disson, Malonn Lévana, Sophie Cattani, Mathieu Demy
written and directed by Céline Sciamma

by Angelo Muredda “It suits you.” So Lisa (Jeanne Disson) tells her new crush, Mikael (Zoé Héran), after she’s given him a lipstick-and-rouge makeover. What Lisa doesn’t know is that Mikael is nominally Laure, a 10-year-old girl who’s just moved into the neighbourhood and is more interested in donning baggy pants and stretched shirts to play soccer with the local ruffians than in wearing the feminine outfits her mother (Sophie Cattani) hangs in her closet. Tomboy, director and screenwriter Céline Sciamma’s poignant and sharply observed follow-up to 2007’s more acerbic Water Lilies, smartly downplays the precarious position Laure is in: trying on a new identity in this foreign environment could be disastrous today, it suggests, but there’s always tomorrow. Sciamma mostly steers clear of the prescriptive aphorisms about girlhood that Catherine Breillat’s recent output trades in. Instead, she gravitates towards the more mundane ambiguity of moments when adolescents, already in a highly transitional state, grow wise to the arbitrary way their identity gets decided for them by accidents of birth and other people’s coercive gestures. You get the sense that Laure is all too conscious of how innocent gifts of dresses–or, for that matter, lipstick–might actually be gender-normative roadmaps, but until an unfortunate last-act revelation, the film doesn’t reach for the polemic; any revelations come only through cinematographer Crystel Fournier’s tight hold on our protagonist.

Salò, or the 120 Days of Sodom (1975) [The Criterion Collection] – Blu-ray Disc

November 21, 20111970s, 2011, Authors: Bryant Frazer, Blu-ray Disc, Drama, France, Italy, The Criterion Collection

Salò o le 120 giornate di Sodoma
***½/**** Image A- Sound B+ Extras B+
starring Paolo Bonacelli, Giorgio Cataldi, Umberto P. Quintaville, Aldo Valletti
screenplay by Pupi Avati (uncredited) and Pier Paolo Pasolini
directed by Pier Paolo Pasolini

by Bryant Frazer There’s a tradition among purveyors of BDSM pornography to append a coda to their project in which the participants in various potentially alarming scenarios are finally glimpsed, all smiles, revelling in the afterglow of a clearly consensual exercise. I assume this custom has very practical benefits–for one thing, it might help stave off prosecution for obscenity or sex-trafficking. But it’s also a signal from the community making the videos to the community watching them that the performances are undertaken with high spirits, lest there be any misunderstanding about the actual circumstances of their making. Despite any apparent unpleasantness, dear viewer, all involved (top and bottom, dominant and submissive) are working towards the ultimate goal of pleasure, not pain.

Attack the Block (2011) + Super 8 (2011)|Super 8 – Blu-ray + DVD + Digital Copy

November 21, 20112011, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Coming of Age, DVD, France, Mystery, Sci-Fi, Spielberg, Theatrical, Thriller, UK

ATTACK THE BLOCK
***/****
starring Jodie Whittaker, John Boyega, Alex Esmail, Franz Drameh
written and directed by Joe Cornish

SUPER 8
***/**** Image A+ Sound A+ Extras A-
starring Elle Fanning, Kyle Chandler, Joel Courtney, Gabriel Basso
written and directed by J.J. Abrams

by Walter Chaw Joe Cornish’s low-budget creature-feature Attack the Block is a charmer, a delight, the kind of rare film–like Jack Sholder’s The Hidden, Stuart Gordon’s Re-Animator, or Steve De Jarnatt’s Miracle Mile–that devotees will latch onto, and for good reason, with the fervour afforded genuine cult classics. It has energy to burn, a strange affinity with E.T.: The Extra-Terrestrial, and a super-cool monster that looks like a cross between Ira from the “Moonshadow” comic and a grizzly bear. That most of it was carried off with practical effects is a shot in the arm for practical effects and a bearer of the nostalgia banner that seems to be popular lately, what with our dreams and memories fodder again for the celluloid couch. Better still, it introduces a new star into the future pantheon in John Boyega, who has charisma to burn as gang leader-cum-saviour Moses. The movie’s tale of a group of street toughs has drawn comparisons to The Warriors, but I think the better analogy is Spielberg’s E.T., not just in that alchemy between the fantastic and the absolutely mundane (South England’s Lambeth neighbourhood), but also in the crafting of a living youth subculture alive with its own language, ritual, and custom. It’s not too much to say that, at its best, Attack the Block makes you feel the way you did when the guys took things into their own hands to deliver the flying, omniscient, omnipotent E.T. to his landing site. It taps into the irrational cool. Which doesn’t happen very often.

Mysteries of Lisbon (2010)

November 11, 2011****/****, 2000s, 2010, 2011, Authors: Angelo Muredda, Drama, France, Mystery, Portugal, Romance, Theatrical

Mistérios de Lisboa
****/****
starring Adriano Luz, Maria João Bastos, Ricardo Pereira
screenplay by Carlos Saboga, based on the novel by Camilo Castelo Branco
directed by Raúl Ruiz

by Angelo Muredda “It would be long and tedious to explain,” Adriano Luz’s mysterious man of the cloth Father Dinis offers shortly before the intermission point of prolific Chilean director Raúl Ruiz’s staggering Mysteries of Lisbon, the fleetest four-hour-plus spectacle you’ll see this year. It’s not the first time characters promise to explain things later (nor is it the last), their second favourite activity after explaining things now. As promised in an unattributed statement in the title credits, what follows is an amiably digressive “diary of suffering” stuffed with such deferrals and explanations. And a beautiful diary it is. Ruiz, who passed away earlier this year, is perhaps best-known stateside for his lyrical Proust adaptation Time Regained–a nice warm-up, in retrospect, for this even more sprawling and melancholy saga of childhood and loss, an adaptation of Portuguese author Camilo Castelo Branco’s 1854 novel of the same name. The fruit of his labours this time is astonishing: an adaptation that’s at once deeply reverent towards conventions of nineteenth-century fiction and attuned to their radical possibilities. Ruiz, in other words, finds nothing tedious about these stories, and sees in their mysterious doublings, crude disguises, generational secrets, and grand unmaskings an opportunity to dwell on the nature of storytelling, both its revelatory potential and its artifice.

The Future is Now: FFC Interviews Miranda July|The Future (2011)

August 7, 20112011, Authors: Ian Pugh, Drama, Esoterica, France, Germany, Interviews, Romance, Theatrical, UK

Miranda July reflects on The Future

THE FUTURE
***/****

starring Hamish Linklater, Miranda July, David Warshofsky, Isabella Acres
written and directed by Miranda July

In The Future, writer/director/star Miranda July indulges in the same wayward malaise of her previous film, Me and You and Everyone We Know, but, somewhat ironically, the focus on the uncertainty of “what comes next” makes this one seem a lot less scattershot. Dance teacher Sophie (July) and tech-support guy Jason (Hamish Linklater) have rescued a sickly cat from the wild and sent him to an animal shelter, and they’ve got a month until they can reclaim him. However, the cat will require ’round-the-clock care from them to stay alive, so they conclude that this is their last “free” month before years-long responsibilities squander their potential, and they quit their jobs in a bid to become more “spontaneous.” Jason goes door-to-door selling trees for an environmental program and Sophie decides to film “thirty dances over thirty days” for a short-track to YouTube stardom. But neither one is prepared for the apathy and self-loathing that greets their cutesy little endeavours, and as they spin their wheels, they gravitate towards people who appear to “really have their shit together”: Sophie becomes attracted to a single father with a small business (David Warshofsky), while Jason regularly visits an old man (Joe Putterlik) who once sold him a used hairdryer. What’s important is that July quickly establishes that these behaviours are not a matter of self-improvement or jealousy–it’s just a hell of a lot easier to stare at the lives of others and marvel at how organized they look from the outside. In other words, Sophie and Jason take no real “action” of their own accord; everything they do is just another bit of slacktivism to avoid the responsibilities for which they’re supposedly preparing. Her self-esteem takes a hit as she views other women’s “dancing” videos, so she cancels her Internet and calls it a great opportunity to focus. July makes this sheltered worldview all the more fascinating by introducing an element of surrealism–soon, her characters’ paradoxical desires to move forward and stand still give them to power to bend the universe to their will, as an imminent break-up is stalled by the literal stoppage of time. (And yet, time still manages to march on.) The self-conscious obviousness of its metaphors gives The Future a strong grounding in reality, rendering even July’s silliest notions–such as a series of helium-inflected monologues from the cat himself (the only neglected “victim” in this scenario), waiting for his loving masters to return–deeply affecting.–IP

August 7, 2011|Miranda July is very much like the characters she plays, and they are very much like her: she stares at you with wide, intense eyes, and her responses trail off once she realizes that she’s revealed all she wants to about a given subject. She’s in town to promote her second feature film, The Future, for the Boston Independent Film Festival, and we both seem a little eager to discover if, indeed, this sophomore effort can be discussed at length. Over the course of our conversation, we shared a couple of awkward laughs–in mutual recognition, I think, of the inherent absurdity of this meeting; we had been tasked to interpret and explain an intentionally abstract piece dealing with moving on and growing older, about which the creator must refuse a “full” explanation. Still, though July insists on keeping some things secret, she comes across as utterly sincere–so much so that I felt a pang of remorse when I realized that I had unintentionally lied to her by not attending the festival’s screening of The Future like I said I would. Several days later, given another interview opportunity for a different film, I made it a point to ask her husband Mike Mills to apologize on my behalf.

Unknown (2011) – Blu-ray + DVD + Digital Copy

June 26, 20112011, Action, Authors: Bill Chambers, Authors: Ian Pugh, Blu-ray Disc, DVD, France, Germany, Mystery, Thriller, UK

***/**** Image A+ Sound A Extras D
starring Liam Neeson, Diane Kruger, January Jones, Frank Langella
screenplay by Oliver Butcher & Stephen Cornwell, based on the novel Out of My Head by Didier van Cauwelaert
directed by Jaume Collet-Serra

by Ian Pugh Knight and Day, Salt, and The Tourist failed as ’60s spy throwbacks because they constantly reassured you that everything would be all right; if there was something about their various intrigues we didn’t quite understand (or weren’t supposed to know before some big third-act twist), we could rest assured that someone was pulling the strings to keep the world from falling apart. Unknown finally removes that safety net, and from there it approaches the fear and uncertainty that so fascinated Alfred Hitchcock and Terence Young about the Cold War–this sinking feeling that whatever conspiracies may be driving the plot, there will never be a way to extricate yourself from their tangled webs. True, Unknown‘s primary attraction is the dissection of identity, and it’s simply incapable of stunning you in the same way that the Bourne trilogy stunned you with its own methodical examinations of the self. (If the picture feels derivative of that series, that’s because it is.) But at the end, you’re left feeling uncomfortable, because you just know you haven’t uncovered all its secrets yet.

The Mission (1986) – Blu-ray Disc

June 13, 20111980s, 2011, Adventure, Authors: Jefferson Robbins, Blu-ray Disc, Drama, France, Palme d'Or Winner, UK

***½/**** Image A- Sound A- Extras B
starring Robert De Niro, Jeremy Irons, Ray McAnally, Aidan Quinn
screenplay by Robert Bolt
directed by Roland Joffé

by Jefferson Robbins Career arcs fascinate and depress me. The Mission finds Roland Joffé at his early peak on just his second movie, making what amounts to a $25 million art film starring one of America’s best-known actors. Did Joffé change beyond this point, or did he refuse to change while the ecosystem altered around him? A bit of both, I suspect, after Fat Man and Little Boy and The Scarlet Letter. These epics went unembraced, and Oscars or no, the financiers weren’t always going to settle for contemplative examinations of people caught in the turning of historical tides. Yet that’s where Joffé was at his best–and maybe he couldn’t get beyond it. Spalding Gray had him pegged early on: “Leave it to a Brit to tell you your own history,” he advised in Swimming to Cambodia. Sure enough, as in The Killing Fields, Joffé’s The Mission examines pangs of conscience at a critical moment of political, religious, and cultural upheaval.

The Cat o’ Nine Tails (1971) – DVD|Blu-ray Disc

June 7, 20111970s, 2011, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Blue Underground, Directors: Dario Argento, DVD, France, Horror, Mystery, Thriller, West Germany

Il gatto a nove code
**½/****
DVD – Image B+ Sound B+ Extras A
BD – Image A+ Sound A Extras A-
starring James Franciscus, Karl Malden, Catherine Spaak, Pier Paolo Capponi
written and directed by Dario Argento

by Walter Chaw Nicknamed “The Italian Hitchcock,” Dario Argento is more aptly classified “The Italian DePalma”: a director with his own set of stylistic excesses who, especially early in his career, borrowed many tropes from the Master of Suspense en route to crafting his own distinctive thrillers. Again like DePalma, Argento of late has fallen on hard times, creating a series of clunkers that have blundered from the brilliant homage of his nascence to the tired and derivative garbage of his twilight. Indicated by somewhat straightforward mystery plots that elaborate death scenes and gory climaxes serve to punctuate, the giallo (so named for the colour of the covers–yellow–that enshrouded Italian penny dreadfuls) genre of thriller reached its stylistic apex with Argento’s 1975 Deep Red, just prior to the director experimenting in the “supernatural” sub-genre of Italian horror with his masterpiece, Suspiria. Argento’s first three films, the so-called “animal trilogy” (The Bird with the Crystal Plumage, The Cat o’ Nine Tails, Four Flies on Grey Velvet) deepened the giallo as introduced to cinema by the late, great Mario Bava.

The Silent House (2011) + Rubber (2010)

May 24, 20112010, 2011, Adventure, Authors: Walter Chaw, Comedy, Drama, Esoterica, France, Horror, Mystery, Theatrical, Thriller, Uruguay

La casa muda
***½/****
starring Florencia Colucci, Abel Tripaldi, Gustavo Alonso, María Salazar
screenplay by Oscar Estévez
directed by Gustavo Hernández

RUBBER
½*/****
starring Stephen Spinella, Roxanne Mesquida, Jack Plotnick, Wings Hauser
written and directed by Quentin Dupieux

by Walter Chaw Billed as being filmed in a single shot (though the skeptical–and those taken in by the “unedited” long takes of Alfonso Cuarón’s Children of Men–should wonder why an editor is credited), Gustavo Hernández’s zero-budget conceptual experiment The Silent House (La casa mudi) has found a way not only to suggest a gimmick successfully carried through, but also to weave that gimmick into a richer thematic tapestry. Here, the digital camera isn’t carried by a protagonist, Blair Witch-like, but instead floats around the victim of the movie’s horrors, one Laura (Florencia Colucci), who’s endeavouring with father Wilson (Gustavo Alonso) to clean up an old abandoned house in preparation for its sale. The camera does take on the point-of-view of someone at some point, then jumps back to an objective place, then plays that trick Evil Dead II plays with perspective in the scene where Ash wakes up in a clearing and looks around in a panning 360-degree take, only for the audience to discover that the camera eye is both character and commentator, more physical in its way than a first-person point-of-view could ever be. In a genre dependent on cutting for its scares, in fact, The Silent House‘s accomplishments are all the more impressive. It’s suffocating (I’d never considered how liberating edits were from a complete immersion into a film) and at times unbearably tense–and though some will point to the airlessness of Hitch’s Rope or the fluid choreography of Alexander Sokurov’s Russian Ark, The Silent House is a different beast altogether.

Midnight in Paris (2011)

May 20, 2011****/****, 2011, Authors: Ian Pugh, Comedy, Fantasy, France, Romance, Spain, Theatrical

****/****
starring Kathy Bates, Adrien Brody, Carla Bruni, Marion Cotillard
written and directed by Woody Allen

by Ian Pugh Midnight in Paris begins with a Manhattan-esque montage of the titular city, and after so many consecutive duds, Woody Allen has finally rediscovered (and relocated) the vital essence that traces back to his very best films. Don’t mistake his latest for a nostalgic throwback, though–in fact, it’s something of an essay on the dangerous intoxication of nostalgic throwbacks. Take it, too, as a fair indication that Allen has shared our frustrations with his recent output and knew the only way to get out of his rut was to confront the spectre of his earlier work. While he probably hates himself for it, it was bound to happen sooner or later: The pull of the past is simply too great to resist. Here, Manhattan becomes Paris, Paris becomes Manhattan, and we’re left to wonder what, exactly, that’s supposed to mean in the long run. Allen projects himself onto a younger avatar, who in turn projects himself onto the artists who came before him, who in turn have their own projections to deal with. As usual, Allen stops the action cold to explain his theses in a brief monologue, but for the first time in a long time, it feels necessary. It feels like legitimate self-criticism.

The John Frankenheimer Collection – DVD|French Connection II (1975) + The Manchurian Candidate (1962) – Blu-ray Discs

May 17, 2011****/****, 1960s, 1970s, 1990s, 2011, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Crime, Directors: John Frankenheimer, Drama, DVD, France, Italy, Thriller, UK, War

THE YOUNG SAVAGES (1961)
**/**** Image B Sound C
starring Burt Lancaster, Dina Merrill, Edward Andrews, Vivian Nathan
screenplay by Edward Anhalt and J.P. Miller, based on the novel A Matter of Conviction by Evan Hunter
directed by John Frankenheimer

THE MANCHURIAN CANDIDATE (1962)
****/****
DVD – Image A Sound A Extras B+
BD – Image A Sound C+ Extras B+
starring Frank Sinatra, Laurence Harvey, Janet Leigh, Angela Lansbury
screenplay by George Axelrod, based on the novel by Richard Condon
directed by John Frankenheimer

THE TRAIN (1964)
****/**** Image C- Sound C
starring Burt Lancaster, Paul Scofield, Michel Simon, Jeanne Moreau
screenplay by Franklin Coen and Frank Davis, based on the novel Le front de l’art by Rose Valland
directed by John Frankenheimer

FRENCH CONNECTION II (1975)
**½/**** Image A- Sound B Extras B+
starring Gene Hackman, Fernando Rey, Bernard Fresson, Philippe Léotard
screenplay by Alexander Jacobs and Robert Dillon & Laurie Dillon
directed by John Frankenheimer

RONIN (1998)
**½/**** Image B Sound B Extras B
starring Robert De Niro, Jean Reno, Natascha McElhone, Stellan Skarsgård
screenplay by J.D. Zeik and Richard Weisz
directed by John Frankenheimer

by Walter Chaw There weren’t many American directors who enjoyed a hotter streak in the Medium Cool ’60s than John Frankenheimer. He had the pulse of the mid-decade sea change from the relative conservatism of the ’50s, having clearly been cognizant of the long burn of the Civil Rights conversation and the constant, fraying wear-and-tear of HUAC and the Cold War. He rubbed elbows with the Kennedys, hosting Bobby at his house in Malibu the day before/of Bobby’s assassination at the Ambassador, whereupon it’s fairly inarguable that Frankenheimer began to lose his way. He’d continue to helm interesting films and damned impressive ones, too, like The Iceman Cometh and 52 Pick-Up, but none would have the urgent subtlety of his mid-’60s output. Instead, they’d become increasingly…remote? Detached, at least, if not occasionally outright embarrassing for everyone involved. (Prophecy, for instance–a film that tries to ride the contemporary-issue train but shows its fatigue and desperation in every ridiculous, strained minute.) In a way, Frankenheimer’s Seconds, with its alienation and bodily remove, presages his own artistic transformation. I wonder whether he lost the nerve to surf the edge of the zeitgeist, leaving the low arc of our collective tendency towards self-destruction to its own shrinking concentric hells. It’s possible that after The Manchurian Candidate‘s dead-eyed paranoia and Seconds‘ alarming prescience about the impotence of the American icon-as-hero, Frankenheimer was tired of being right. If it sounds like I’m ascribing something supernatural to his artistic acuity, maybe I am. Frankenheimer in this period is that rare filmmaker who works half in technical perfection and half in the unconscious, in the thrall of what Coleridge used to refer to as The Artist as Aeolian Harp. He was an instrument at the caprice of the winds of the age. He was, that is, until about 1968, when being the vessel of portent became, should we conjecture, painful enough that he tried drowning himself in booze and regret.

Cave of Forgotten Dreams (2011) + I Am (2011)

April 29, 2011****/****, 2011, Authors: Ian Pugh, Canada, Directors: Werner Herzog, Documentary, France, Germany, Theatrical, UK

CAVE OF FORGOTTEN DREAMS
****/****
directed by Werner Herzog

I AM
**/****
directed by Tom Shadyac

by Ian Pugh The introduction to Werner Herzog’s Cave of Forgotten Dreams is unforgettably right. Ever the inquisitive narrator, Herzog tells us that, upon its rediscovery in the mid-’90s, France’s Chauvet Cave did not appear to be of unique significance, “other than being particularly beautiful.” But, say they hadn’t found the prehistoric cave paintings within (the oldest on record, with some dating back 32,000 years)–would that ‘particular beauty’ have been enough to inspire Herzog? What is it about this specific cave that made it, and makes it, such a hotbed for creativity? So begins anew our search for mankind’s place in the universe and, moreover, a human imprint on nature, even where one isn’t readily apparent. The skeletons contained in the cave (all animal bones, none human) beg further questions to that end. Was this an altar, perhaps? A refuge for ritual sacrifices?

Source Code (2011) + Certified Copy (2010)

April 1, 2011****/****, 2000s, 2010, 2011, Action, Authors: Walter Chaw, Belgium, Canada, Drama, Esoterica, France, Germany, Iran, Italy, Mystery, Romance, Sci-Fi, Theatrical, Thriller

SOURCE CODE
****/****
starring Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffrey Wright
screenplay by Ben Ripley
directed by Duncan Jones

Copie conforme
****/****
starring Juliette Binoche, William Shimell
written and directed by Abbas Kiarostami

by Walter Chaw The one part of Source Code that isn’t duck-ass tight poses so many questions about the nature of our hero’s heroism and the aftermath of the film that it opens up what initially seems a hermetically-sealed conceit into something of real depth and fascination. Far from the solipsism of failures interesting (Timecrimes) and not (Primer), different from marginal successes like 12 Monkeys and Déjà Vu, Duncan Jones’s sophomore feature (after the similarly thorny Moon) plays most like a child of Last Year at Marienbad and a companion piece to Abbas Kiarostami’s contemporaneous Certified Copy. It speaks in terms of quantum physics and string theory, but without pretension, achieving the almost impossible by introducing difficult concepts at the same pace with which its characters–not a dummy among them–are able to understand them without gassing (or worse, falling well behind) the audience. That it presents itself as a mainstream, popular entertainment is more to its credit, giving lie to the notion that Hollywood is bankrupt of ideas. Rather, it’s the destination for gifted filmmakers–some of them smart enough, and resourceful enough, to hold fast to their idealism and intelligence for, if not an entire career, then at least long enough to set a bar.

One Swayze Summer: A DVD Tribute to Patrick Swayze

February 24, 2011****/****, 1980s, 1990s, 2000s, 2011, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Crime, Drama, DVD, FFC Must-Own, France, Japan, Romance, Sports, Thriller, Tom Cruise, UK

RED DAWN (1984) [COLLECTOR’S EDITION] – DVD
**½/**** Image B Sound C+ Extras N/A
starring Patrick Swayze, C. Thomas Howell, Lea Thompson, Powers Boothe
screenplay by Kevin Reynolds and John Milius
directed by John Milius

THE OUTSIDERS (THE COMPLETE NOVEL) (1983) [TWO-DISC SPECIAL EDITION] – DVD
****/**** Image A+ Sound A Extras A+
starring C. Thomas Howell, Matt Dillon, Diane Lane, Leif Garrett
screenplay by Kathleen Knutsen Rowell, based on the novel by S.E. Hinton
directed by Francis Ford Coppola

YOUNGBLOOD (1986) [TOTALLY AWESOME 80s DOUBLE FEATURE] – DVD
ZERO STARS/**** Image D+ Sound C-
starring Rob Lowe, Cynthia Gibb, Ed Lauter, Patrick Swayze, Jim Youngs
written and directed by Peter Markle

POINT BREAK (1991) [PURE ADRENALINE EDITION] – DVD + [WARNER REISSUE] – BLU-RAY DISC
***/****
DVD – Image B- Sound A Extras C
BD – Image B- Sound B+ Extras C
starring Patrick Swayze, Keanu Reeves, Gary Busey, Lori Petty
screenplay by W. Peter Iliff, based on the novel by Rick King
directed by Kathryn Bigelow

DIRTY DANCING (1987) [TWENTIETH ANNIVERSARY] – DVD
½*/**** Image B Sound A Extras B
starring Patrick Swayze, Jennifer Grey, Jerry Orbach, Steven Reuther
screenplay by Eleanor Bergstein
directed by Emile Ardolino

GHOST (1990) [SPECIAL COLLECTOR’S EDITION] – DVD + BLU-RAY DISC
*/****
DVD – Image A- Sound B Extras B
BD – Image A Sound B+ Extras B
starring Patrick Swayze, Demi Moore, Whoopi Goldberg, Tony Goldwyn
screenplay by Bruce Joel Rubin
directed by Jerry Zucker

KEEPING MUM (2006) – DVD
½*/**** Image A Sound B+ Extras B
starring Rowan Atkinson, Kristin Scott Thomas, Maggie Smith, Patrick Swayze
screenplay by Richard Russo and Niall Johnson
directed by Niall Johnson

by Walter Chaw Early on in the stupidest/smartest movie of 1984, a band of high-schoolers, having just witnessed a few planeloads of Cuban paratroopers land in their football field and machine gun their history teacher (“Education this!”), stock up for a stay in forest exile by cleaning out a gas-n-sip. Sleeping bags, canned goods, and the last thing off the shelf? That’s right: a football. I spent the rest of Red Dawn trying to figure out if the football played some role in the eventual fighting prowess of our carbuncular guerrillas or if it was merely a big “fuck you” to the rest of the world that thinks “football” is soccer. The jury’s still out, because while there’s an awful lot of grenade-chucking in the last hour of the picture, none of it looks particularly football-like (or athletic come to think of it) despite the deadly accuracy of each toss aimed at the hapless commie combatants. (So clueless are they about modern-day conventional warfare that they’re repeatedly ambushed by this untrained makeshift militia; they’re the Washington Generals to our Harlem Globetrotters.) It’s just one puzzle in an altogether puzzling film–one that has Patrick Swayze playing Charlie Sheen’s older brother (and Jennifer Grey the sister of Lea Thompson in an even greater genetic stretch) and C. Thomas Howell as a remorseless, psychopathic nihilist who takes his dose of glory by Rambo’ing up against a Russian attack helicopter. Maybe his transformation from ’80s-wallpaper milquetoast to tough-guy killing machine had something to do with being forced by the brothers Swayze-Sheen to drink fresh deer blood from a tin cup.

Sundance ’11: Incendies

January 30, 2011****/****, 2011, Authors: Alex Jackson, Canada, Directors: Denis Villeneuve, Drama, Film Festivals, France, Mystery, Sundance

****/****starring Lubna Azabal, Mélissa Désormeaux-Poulin, Maxim Gaudette, Rémy Girardscreenplay by Denis Villeneuve, in collaboration with Valérie Beaugrand-Champagnedirected by Denis Villeneuve by Alex Jackson There are two incredible images in Denis Villeneuve's Incendies. The first of these is during a preamble to the main story. A small Arabic boy is having his head shaved. We push in on his face as he stares contemptuously at us. Everything childlike has been gutted out of him and he's been filled back up with rage. I can't recall the last time I saw the aftermath of child abuse concentrated so concisely and with so…

The Tourist (2010)

December 10, 20102000s, 2010, Action, Authors: Ian Pugh, France, Italy, Mystery, Romance, Theatrical, Thriller, UK

**/****
starring Johnny Depp, Angelina Jolie, Paul Bettany, Timothy Dalton
screenplay by Florian Henckel von Donnersmarck and Christopher McQuarrie and Julian Fellowes
directed by Florian Henckel von Donnersmarck

by Ian Pugh The loss of Bond 23 to MGM's umpteenth bankruptcy drama was just one of the many disappointments in the cinematic year that was–but an even bitterer pill arrived in the films that took 007's place. With neither Daniel Craig nor Matt Damon to keep a perpetually-ailing genre on its feet, 2010's triumvirate of identical spy thrillers (Knight and Day, Salt, now The Tourist) represents a return to the cozy arms of irrelevance. Sexpot secret agent Elise Ward ("Salt" herself, Angelina Jolie) leads her superiors on a wild goose chase through Venice in search of American math teacher Frank Tupelo (Johnny Depp), whom they believe to be her mysterious fugitive beau, Alexander Pearce. Unfortunately, this little game also garners the attention of a gangster (Steven Berkoff) to whom Pearce is rather severely indebted. The Tourist is not a daring picture by any means. The most unconventional thing about it, other than the casting of Depp, is the oddity of hiring Timothy Dalton to play a version of "M" when this is so clearly a Roger Moore movie: a romantic trip across Italy in a white tuxedo, peppered with stunts that border on slapstick.

Lost in Translation (2003) – Blu-ray Disc + Anything Else (2003) – DVD

December 6, 20102000s, 2010, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Directors: Sofia Coppola, Drama, DVD, France, Japan, Romance, Scarlett Johansson, UK, ZERO STARS

LOST IN TRANSLATION
***½/**** Image B- Sound A- Extras B
starring Bill Murray, Scarlett Johansson, Giovanni Ribisi, Anna Faris
written and directed by Sofia Coppola

ANYTHING ELSE
ZERO STARS/**** Image A- Sound B+
starring Woody Allen, Jason Biggs, Christina Ricci, Danny DeVito
written and directed by Woody Allen

by Walter Chaw It feels a lot like life is an endless succession of heartsickness and anticipation of heartsickness. After a while, taking a line from Tender Mercies, it's hard to trust happiness anymore when happiness feels so ephemeral compared to the weight of grief. Sofia Coppola's Lost in Translation is about the wear of time and the unbearable burden of experience–it's about how even what's new and fresh is darkened by the ghosts of regret and time. When Bill Murray's fading star Bob Harris arrives in Tokyo to lend his image to a top-shelf whiskey, he is suffused with so much of the sadness of living that the surprise of life has become something to be viewed with suspicion. Newness fades and that familiar malaise, weary and grey, inevitably takes its place, sometimes even before the exhilaration of newness can reinvigorate. Bob meets Charlotte (Scarlett Johansson) in the hotel bar; she's in town with her photographer husband (Giovanni Ribisi), and together Bob and Charlotte paint the town blue.