Spain Archives - FILM FREAK CENTRAL

Robot Dreams (2023) + The Wild Robot (2024)

September 30, 2024****/****, 2023, 2024, Adventure, Animation, Authors: Walter Chaw, Drama, Family, France, Music, Sci-Fi, Spain, Theatrical

ROBOT DREAMS
****/****
based on the graphic novel by Sara Varon
written and directed by Pablo Berger

THE WILD ROBOT
**/****
screenplay by Chris Sanders, based on the book by Peter Brown
directed by Chris Sanders

by Walter Chaw Pablo Berger’s Robot Dreams, an adaptation of Sara Varon’s graphic novel, has about it the sadness and loneliness of Harvey Pekar’s work. Set in a zootopia of anthropomorphic animals that’s actually New York City circa 1984, it’s about a woebegone, chonky grey dog named Dog who resorts to buying a robot for companionship in this cold metropolis. They go on walks, horse around; in an affecting moment, Robot sees lovers holding hands and takes Dog’s paw in his. He grips too hard, Dog pulls away in pain, and then, just before the scene cuts away, Dog reaches out and takes Robot’s hand again. It’s perfectly timed, sentimental but subtle, a gag paid off with a lovely grace note that doesn’t draw attention to itself–that, indeed, could be missed if one weren’t paying attention. They go to the beach together, the introverted Dog and the exuberant, animated Robot, where Dog picks out a quiet spot to put down blankets while Robot does a full back-flop into the water between a group of kids. Dog is horrified by Robot’s audacity, but Robot has won fast friends. Robot is Dog’s social confidence, his fresh outlook on the possibilities life has in store for the bright-eyed and courageously optimistic. Robot is the part of us that has died in most of us, the victim of cruel experience, and the wonder of Robot Dreams is how it doesn’t patronize the viewer with a world that conforms to the sunny expectations of a newborn. After their bucolic day at the beach, Robot rusts solid, and Dog is forced to abandon him on the now-shuttered boardwalk for an entire season.

TIFF ’24: The Room Next Door

September 10, 20242024, Authors: Angelo Muredda, Drama, Film Festivals, Spain, TIFF

***/****
starring Julianne Moore, Tilda Swinton, John Turturro, Alessandro Nivola
written by Pedro Almodóvar, based on the novel What Are You Going Through by Sigrid Nunez
directed Pedro Almodóvar

By Angelo Muredda Nobody dresses a set quite like Pedro Almodóvar. The tasteful, colour-coordinated accoutrements of a bourgeois life well-lived–elegant throw pillows and couches, the right Pantone mug and the perfect bookshelf, beautifully draped and brightly saturated garments–have lent his later films an air of aloof, upper-middle-class refinement at odds with the sexual frankness and messy spectrum of human emotions that were once his stock-in-trade. But in his latest, The Room Next Door, the tastefulness that sometimes feels like a late-style diversion from his singular traits as an artist is the point, an expression of his protagonists’ moral imperative to surround themselves with beautiful things to face the end of life with dignity.

The Pope’s Exorcist (2023)

April 13, 20232023, Authors: Walter Chaw, Horror, Spain, Theatrical, Thriller, UK

½*/****
starring Russell Crowe, Daniel Zovatto, Alex Essoe, Franco Nero
screenplay by Michael Petroni and Evan Spiliotopoulos
directed by Julius Avery

by Walter Chaw Right off the bat, I feel I must warn you that no popes are exorcised in this film. The prospect of Russell Crowe reading the rites over a levitating, pea-soup spewing Franco Nero, shuttled in to play the Pope in Julius Avery’s The Pope’s Exorcist, is incredibly juicy, so I get why they would attempt to mislead audiences in this way, but it’s terribly dishonest. The cruellest blow, however, is that in place of Franco Nero in his dotage doing a spider-walk downstairs and pissing himself in his papal robes before a drunken astronaut (which, let’s face it, once I hit 82, I can’t promise that won’t just be a Tuesday), we get Crowe, as real-life exorcist Father Gabriel Amorth, riding a Vespa through the streets of Rome, no doubt in search of an espresso, a gelato, spaghetti, and his portly, Vespa-riding twin for the Guinness Book photo shoot. It bears mentioning, too, how Crowe straps on the world’s most offensive Mario Bros. accent to free poor little Henry (Peter DeSouza-Feighoney) from demonic possession. Why is Henry in Rome? Because his mom, Julia (Alex Essoe), is renovating a building, which happens to be the primary reason anyone moves to Italy. (See also: Donald Sutherland’s character in Don’t Look Now and Genevieve Bujold’s character in Obsession and Diane Lane’s character in Under the Tuscan Sun.) There’s probably a piece to be written about how our perception of Italy is of a beautiful place the Italians have neglected, but now that P.J. O’Rourke, who once wrote, “Italy is not a third world country but nobody told the Italians,” is dead, I don’t know who’ll write it.

All the Moons (2020) – Shudder

February 10, 2022****/****, 2020, 2022, Authors: Walter Chaw, Drama, Fantasy, France, Spain, Streaming, Vampire

Ilargi Guztiak
****/****
starring Haizea Carneros, Josean Bengoetxea, Itziar Ituño, Zorion Eguileor
written by Igor Legarreta, Jon Sagalá
directed by Igor Legarreta

by Walter Chaw The Catholic Church has an outsized influence in the events of the last couple of centuries. They have increasingly occupied the role of collective boogeyman in the West as we start to reckon with the consequences of Manifest Destiny, the Age of Exploration, and the attempts to eradicate indigenous peoples in the name of a wrathful God too small to allow other faiths. The mission project in the West, the Residential schools designed to separate children from their cultures in the name of a monoculture arrayed around a cannibalistic blood cult steeped in atrocities committed under the banner of their notion of Heaven. The Magdalene laundries in Europe, the sexual abuse scandals so rampant they’re less scandals than functions of a diseased system that shelters monsters, shuffling them around to unsuspecting diocese to avoid coming clean about the extent of their callow predation. The church has aligned itself with the “pro-life” movement in the United States, a fanatical and radicalized cult invested in the oppression of women and sexuality. Heavily politicized, they suckle at the public teat and continue a baked-in tradition of profiting greatly from the fear and loathing of the very poor, the very desperate, the very stupid. Every new revelation is met with obfuscation, denial, and obstruction instead of a willingness to shine light into the corners of their unresolvable, bestial intolerance and sinfulness. Throughout history, the Catholic Church, as an organization, has proved emblematic of absolute power corrupting absolutely. It’s become a synecdoche for abuse. Of course, this makes it a fertile plot where fulsome gardens of horror can grow.

Wonder Woman 1984 (2020) – 4K Ultra HD + Blu-ray + Digital Code

April 9, 20212020, 2021, 4K Ultra HD, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Spain, Streaming, Superhero, UK

Please note that all framegrabs are from the 1080p version

WW84
½*/**** Image A Sound A Extras B
starring Gal Gadot, Chris Pine, Kristen Wiig, Pedro Pascal
screenplay by Patty Jenkins & Geoff Johns & Dave Callaham
directed by Patty Jenkins

by Walter Chaw At some point, someone in some boardroom should have pushed away from the table and asked whether it was a good idea to have a subplot in their new Wonder Woman movie about a person in the Middle East wishing that colonizers would be expelled from occupied territories. (The granting of said wish subsequently leading somehow to nuclear holocaust.) I mean, with or without an Israeli actress in the lead role. Not to say it’s not geometrically worse with an Israeli actress in the lead role, because it is. Look, the real wonder of WW84 is that this maybe isn’t the worst thing about it. Neither is how flat it looks, or how it starts with 45 minutes of poorly-timed slapstick before shifting into absolutely deadening action sequences, a weird body-possession intrigue, and a horrifying message about how you should never wish for things because everything has consequences attached to it. With so much riding on its shoulders, the burden to be all things to all people has resulted in a vivisected monstrosity of plastic inauthenticity. WW84 additionally has one of the most beautiful people in the world–who’s playing an immortal superhero–tearfully proclaim that she wants something to go right for her for once in her life. What I’m saying is, WW84 is a very particular, very limited kind of fantasy gratification that also happens to have fantasy gratification as its needlessly magical plot.

Wonder Woman 1984 (2020)

December 23, 20202020, Action, Adventure, Authors: Walter Chaw, Spain, Streaming, Superhero, Theatrical, UK

WW84
½*/****
starring Gal Gadot, Chris Pine, Kristen Wiig, Pedro Pascal
screenplay by Patty Jenkins & Geoff Johns & Dave Callaham
directed by Patty Jenkins

Sundance ’20: Leap of Faith: William Friedkin on ‘The Exorcist’

January 30, 20202020, Authors: Walter Chaw, Directors: William Friedkin, Documentary, Film Festivals, Spain, Sundance

**/****
directed by Alexandre O. Philippe

by Walter Chaw There’s a moment in Leap of Faith: William Friedkin on ‘The Exorcist’ (hereafter Leap of Faith), the latest feature from cinephile documentarian Alexandre O. Philippe (78/52), where Friedkin talks about a shot he framed so that Max Von Sydow is in the foreground of the Tomb of Nebuchadnezzar. It’s followed fast by Friedkin talking about how he didn’t intend anything in The Exorcist. In other words, he says he didn’t impose meaning and then immediately offers exceptions. He brings up instinctual filmmaking after speaking to how carefully he developed the script to be a series of slow revelations and portents. Friedkin is, in short, a mass of contradictions. But rather than look on it as disingenuousness or confusion, I sense that he doesn’t really know why The Exorcist works the way it does, but it got under his skin and into his bed in the same way it has for audiences these past 47 years. We do our best to dance about architecture, but in the end, architecture can only be enhanced by the dance, not defined by it.

Terminator: Dark Fate (2019) – 4K Ultra HD + Blu-ray + Digital

January 27, 20202019, 2020, 4K Ultra HD, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Hungary, Schwarzenegger, Sci-Fi, Spain

Please note that all framegrabs are from the 1080p version

***/**** Image A- Sound A Extras B-
starring Linda Hamilton, Arnold Schwarzenegger, Mackenzie Davis, Natalia Reyes
screenplay by David Goyer & Justin Rhodes and Billy Ray
directed by Tim Miller

by Walter Chaw There’s a moment in Terminator: Dark Fate–the sixth entry in the long-running franchise but a do-over in terms of narrative continuity–where a woman, mortally wounded, gives consent for things to be done with her body after she’s gone. It’s a small moment, and one that works to move the film’s exposition, but it speaks volumes to how carefully the script, by David S. Goyer, Justin Rhodes, and Billy Ray, has endeavoured to be at least partly a conversation about how women are reduced to their physical function and appearance. “He’s not here for you, he’s here for your womb,” says a grizzled Sarah Connor (Linda Hamilton) to frightened, on-the-run Dani (Natalia Reyes)–but “he,” a killer robot from the future called a “Rev-9” (Gabriel Luna), isn’t. He’s there for something else. The picture opens with Sarah’s videotaped therapy session from Terminator 2, in which she recounts her dream of nuclear Armageddon–a reminder of how her carefree party-girl character from the original had transformed through the trauma of losing a lover and escaping a monster from the future, only to be branded crazy by an unctuous male therapist and imprisoned in a facility where we witness her further humiliation and assault. Dark Fate shows what happens to Sarah and her son, the saviour of the future and a target of two assassination attempts, while in hiding in Guatemala, then hops forward into our present to the arrival in a ball of blue lightning of Grace (Mackenzie Davis), who, upon proving her battle-worthiness (and artificial augmentation) against a trio of adversaries, clothes herself in a man’s attire even though a woman’s is available. Function, the decision suggests, over appearance.

Terminator: Dark Fate (2019)

November 3, 20192019, Action, Adventure, Authors: Walter Chaw, Hungary, Schwarzenegger, Sci-Fi, Spain, Theatrical

***/****
starring Linda Hamilton, Arnold Schwarzenegger, Mackenzie Davis, Natalia Reyes
screenplay by David Goyer & Justin Rhodes and Billy Ray
directed by Tim Miller

by Walter Chaw There's a moment in Terminator: Dark Fate–the sixth entry in the long-running franchise but a do-over in terms of narrative continuity–where a woman, mortally wounded, gives consent for things to be done with her body after she's gone. It's a small moment, and one that works to move the film's exposition, but it speaks volumes to how carefully the script, by David S. Goyer, Justin Rhodes, and Billy Ray, has endeavoured to be at least partly a conversation about how women are reduced to their physical function and appearance. "He's not here for you, he's here for your womb," says a grizzled Sarah Connor (Linda Hamilton) to frightened, on-the-run Dani (Natalia Reyes)–but "he," a killer robot from the future called a "Rev-9" (Gabriel Luna), isn't. He's there for something else. The picture opens with Sarah's videotaped therapy session from Terminator 2, in which she recounts her dream of nuclear Armageddon–a reminder of how her carefree party-girl character from the original had transformed through the trauma of losing a lover and escaping a monster from the future, only to be branded crazy by an unctuous male therapist and imprisoned in a facility where we witness her further humiliation and assault. Dark Fate shows what happens to Sarah and her son, the saviour of the future and a target of two assassination attempts, while in hiding in Guatemala, then hops forward into our present to the arrival in a ball of blue lightning of Grace (Mackenzie Davis), who, upon proving her battle-worthiness (and artificial augmentation) against a trio of adversaries, clothes herself in a man's attire even though a woman's is available. Function, the decision suggests, over appearance.

TIFF 2019: Pain and Glory + Varda by Agnès

September 8, 2019****/****, 2019, Authors: Bill Chambers, Disability, Documentary, Drama, Film Festivals, France, Spain, TIFF

Dolor y gloria
***½/****
starring Antonio Banderas, Asier Exteandia, Leonardo Sbaraglia, Penélope Cruz
written and directed by Pedro Almodóvar

Varda par Agnès
****/****
directed by Agnès Varda

by Bill Chambers Salvador Mallo is first seen in hydrotherapy for his scarred back, lost in an underwater reverie. The lapping waves trigger a memory of his mother (Penélope Cruz, who must have a painting of herself rotting away in the attic) washing clothes in the river when he was just a boy. Played by Pedro Almodóvar discovery and muse Antonio Banderas, Salvador is an informally retired film director who dresses like Almodóvar, resides in Almodóvar’s real-life apartment, and suffers a litany of ailments–spinal problems, tinnitus–much like Almodóvar’s own. The kinkiness of Almodóvar’s work has always made it seem personal and confessional, but with Pain and Glory he moves into the roman à clef territory of Bob Fosse’s All That Jazz–although Pain and Glory is considerably more chill, treating even picking up a heroin habit in middle age as less self-destructive than incorrigible. Salvador is introduced to the drug while making amends with Alberto Crespo (Asier Etxeandia), star of his acclaimed Sabor (“Flavour”). Alberto is a long-time junkie; Salvador once held this against his performance in Sabor but no longer does, because time has altered his perception of it. The two agree to do a Q&A at a screening of the film’s restoration, which, uh, doesn’t quite go as planned but does lead to Alberto putting on an unpublished play that Salvador wrote, which leads to Salvador briefly reconnecting with Federico (Leonardo Sbaraglia), the old lover the play is about. This spurs him to be proactive about his health: Salvador realizes that he needs to get back to making art, because sharing this one story with others has turned out to be so much more rewarding than wallowing in nostalgia.

FrightFest ’18: Short Film Showcases 1-3 + Miscellany|7 Questions with Filmmaker Chris McInroy

November 7, 2018****/****, 2018, Animation, Authors: Walter Chaw, Canada, Comedy, Drama, Esoterica, Film Festivals, FrightFest, Horror, Interviews, Lebanon, New Zealand, Revenge, Short Films, South Korea, Spain, Thriller, UK, Vampire

This is a nearly complete overview of FrightFest '18's short-films lineup, though technical issues unfortunately prevented us from screening Catcalls, Puppet Master, and Right Place Wrong Tim.-Ed.

by Walter Chaw

SHORT FILM SHOWCASE 1

We Summoned a Demon ***/**** (d. Chris McInroy)
Funny how the coolest '80s throwback film that isn't It happens to be this short by Chris McInroy, which channels the light ethos of that era, with VHS nasties shock-effects scattered across its brisk, five-minute runtime. Idiots Kirk (Kirk Johnson) and Carlos (Carlos Larotta) attempt a little witchcraft by sacrificing a rooster and playing a record backwards on a plastic portable turntable. They're trying to make Kirk cool so he can ask out "Brenda" for tacos, but it doesn't work. Instead, they summon a demon (John Orr) from a neon-smoked Hell portal they can't control. Or can they? With its crackerjack timing, its tight script, and the effortless control and camaraderie of its leads, We Summoned a Demon works wonders in a short span. DP E.J. Enriquez's lighting schemes make the whole thing look like Michael Mann's The Keep, and, sometimes rare for shorts, the movie knows its length and absolutely murders its landing. Listen for composer Bird Peterson's smooth sax riff when Kirk finds his inner cool. Comedy is hard, guys; We Summoned A Demon is butter. (Scroll down to the end of these capsule reviews for an interview with Chris McInroy.)

Slugs (1988) – Blu-ray Disc

December 27, 20162016, Arrow Video, Authors: Bryant Frazer, Blu-ray Disc, Horror, Spain

**/**** Image A- Sound B Extras B+
starring Michael Garfield, Kim Terry, Philip MacHale, Concha Cuetos
screenplay by Ron Gantman, based on the novel by Shaun Hutson
directed by J.P. Simon

by Bryant Frazer “I recognize terror as the finest emotion,” Stephen King wrote in Danse Macabre, his 1981 book-length rumination on horror and storytelling, “and so I will try to terrorize the reader. But if I find I cannot terrify him/her, I will try to horrify; and if I find I cannot horrify, I’ll go for the gross-out. I’m not proud.” That’s where the late Juan Piquer Simón (or J.P. Simon, as it became anglicized) must have found himself on the set of Slugs. The native Spaniard was only so-so as a director: He was technically competent, with a decent eye for composition, but he wasn’t so adept with English-speaking actors and had no real knack for generating suspense or escalating tension. Fortunately, Simón is pretty good with the gory stuff. And that’s why, decades later, his Slugs still crawls tall as a minor classic for creature-feature completists.

A Monster Calls (2016)

December 25, 20162016, Animation, Authors: Walter Chaw, Canada, Drama, Family, Fantasy, Spain, Theatrical, UK

**½/****
starring Sigourney Weaver, Felicity Jones, Lewis MacDougall, Liam Neeson
screenplay by Patrick Ness, based on his novel
directed by J.A. Bayona

by Walter Chaw Tears are easy when the subject is the loss of a loved one. They come even when you don’t particularly like the vehicle that inspires them. In the case of J.A. Bayona’s A Monster Calls, the tears are, for the most part, earned by its generally uncompromising nature and the elegance of its animated interludes. They’re so good, in fact, that I spent much of the movie’s remainder wishing it were all animated in the same style, which is cribbed from artist Jim Kay’s watercolour illustrations for the Patrick Ness novel upon which the film is based. The animated sequences are representations of the titular monster’s stories. Voiced by Liam Neeson, he has three of them to tell little Conor (though only two are animated), with the expectation that when he’s through, the boy will tell one back to him. Conor (Lewis MacDougall) has summoned the monster (a cross between Groot and an Ent), he thinks, so that the monster can heal Conor’s ailing mother (Felicity Jones). Alas, the monster serves a different purpose. The animated portions remind in feeling and abstraction of Brad Bird’s incomparable The Iron Giant–a film that is itself based around the death of a loved one and the need for the survivors to recover. The live-action portions, the best of them, remind of Bernard Rose’s melancholic Paperhouse, but the sum is a bit less than its parts.

TIFF ’16: The Bad Batch; Colossal; Jackie

October 13, 20162016, Authors: Bill Chambers, Biopic, Canada, Chile, Comedy, Disability, Drama, Esoterica, Film Festivals, France, Romance, Sci-Fi, Spain, Thriller, TIFF

THE BAD BATCH
**½/****
starring Suki Waterhouse, Jason Momoa, Giovanni Ribisi, Keanu Reeves
written and directed by Ana Lily Amirpour

COLOSSAL
**/****
starring Anne Hathaway, Jason Sudeikis, Dan Stevens, Tim Blake Nelson
written and directed by Nacho Vigalondo

JACKIE
***½/****
starring Natalie Portman, Peter Sarsgaard, Greta Gerwig, John Hurt
screenplay by Noah Oppenheim
directed by Pablo Larrain

by Bill Chambers Three very different #TIFF16 films–a postapocalyptic cannibal western (The Bad Batch), a modestly-scaled kaiju eiga (Colossal), and a period docudrama (Jackie)–form a trilogy in my mind thematically linked by crestfallen female protagonists who discover reserves of strength in dire situations. The Bad Batch is the only one of these movies directed by a woman, though, and dare I say you can tell, not only in how the camera softly caresses Jason Momoa’s Olympian contours, but also in the way the framing and blocking of the heroine imply the constant peril of being a woman. Working through the neophyte filmmaker’s genre playbook, director Ana Lily Amirpour follows up her vampire movie A Girl Walks Home Alone at Night with this dystopian flick most reminiscent of the Australian strain in terms of vibe/aesthetics, what with its shantytown sets, symbolic names, and obligatory feral child. (The only thing missing is a car fetish.) Winsome Arlen (Suki Waterhouse) is exiled to the other side of some Trumpian fence in Texas with only the clothes on her back and a tattoo that identifies her as an undesirable (or bad batch). Almost immediately she’s dragged away to a cannibal camp, where they chop off her right arm. Missing a leg, too, by the time she escapes, she finds refuge–and prosthetic limbs–in the village of Comfort, whose denizens mostly give her space. Time and body-image issues stoke her desire for revenge, however, putting her on a collision course with Momoa’s Miami Man, a brilliant sketch artist who’s also a fearsome, unsympathetic consumer of human flesh.

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

July 7, 20152015, Action, Authors: Bill Chambers, Blu-ray Disc, Crime, Drama, DVD, France, Mystery, Spain, Thriller, UK

*½/**** Image A Sound A
starring Sean Penn, Idris Elba, Ray Winstone, Javier Bardem
screenplay by Don McPherson, Pete Travis, Sean Penn, based on the novel The Prone Gunman by Jean-Patrick Manchette
directed by Pierre Morel

by Bill Chambers Sean Penn seems like the last guy who would walk into his agent’s office and say, “Give me the Liam Neeson™,” because his work doesn’t operate on that kind of cynicism. Even I Am Sam, in which he courts an Oscar by playing mentally-challenged, fits neatly into a career whose primary auteurist concern has been the sanctity and fragility of daughters’ lives (see also: The Crossing Guard, The Pledge, 21 Grams, and Mystic River). So it’s reassuring, sort of, to see him use The Gunman as a pulpit for his humanitarian concerns (presuming I’ve correctly extrapolated the political firebrand’s credited contribution to the screenplay), but there is a disappointing transparency to the character, as if he’s afraid that reinventing himself too much in the Neeson mold will reveal, God forbid, a desire to stay popular in a profession he has threatened to quit numerous times. In The Gunman, one of our most transformative actors–a guy who as recently as 2011 turned himself into the spitting image of The Cure‘s Robert Smith and affected a childlike drawl for the length of a feature–comports himself with a tedious self-seriousness, makes time to surf, and smokes way too much to be a credible action hero. He’s Sean Penn in all but name, and he’s kind of a drag.

Hell of the Living Dead (1980)|Rats: Night of Terror (1984) [Blood-Soaked Double Feature] – Blu-ray Disc

October 28, 20141980s, 2014, Authors: Bryant Frazer, Blu-ray Disc, Blue Underground, France, Horror, Italy, Sci-Fi, Spain, Zombie

Virus
*/**** Image C+ Sound B Extras B
starring Margit Evelyn Newton, Franco Garofalo, Selan Karay, Robert O’Neil
screenplay by Claudio Fragasso, J.M. Cunilles
directed by Bruno Mattei

Rats – Notte di terrore
*½ Image C- Sound B Extras B
starring Richard Raymond, Janna Ryann, Alex McBride, Richard Cross
screenplay by Claudio Fragasso, Hervé Piccini
directed by Bruno Mattei

by Bryant Frazer It’s quite possible there is no better-known director of truly terrible genre movies than the late Italian filmmaker Bruno Mattei. Though I’ve not seen any other Mattei films, I feel comfortable making that assessment based solely on the “blood-soaked double feature” assembled here by the B-movie mavens at Blue Underground. By any rational measure, Hell of the Living Dead and Rats: Night of Terror are cheesy barrel-scrapings, budget-starved and blandly offensive horror counterfeits. But by the standards of Mattei’s oeuvre–which also includes nunsploitation, Nazisploitation, women-in-prison flicks, and mondo-style “documentaries”–they are the cream that rises to the top of the milk. Unless you’re willing to make a case for his nunsploitation flick The Other Hell, or maybe one of the early Nazi sexploitation pictures, these two films seem to form the cornerstone of Mattei’s reputation, such as it is, among genre buffs.

Fantastic Fest ’14: Automata

October 12, 20142014, Authors: Walter Chaw, Fantastic Fest, Film Festivals, Sci-Fi, Spain, Thriller

Autómata
*/****
starring Antonio Banderas, Dylan McDermott, Melanie Griffith, Birgitte Sorensen
screenplay by Gabe Ibáñez, Igora, Javier Sánchez Donate
directed by Gabe Ibáñez

by Walter Chaw Though I've seen worse movies than Gabe Ibáñez's Automata, I've also seen Automata what feels like a few dozen times. Rather than turn this into an exercise in listing source materials, however attractive shooting fish in barrels might be, best to focus on how the picture makes Isaac Asimov's three rules of robotics into two (making it different!), and how its closest film analogue is probably somewhere in the junction between Kurt Wimmer's Equilibrium and Richard Stanley's Hardware. That'll have some of you feeling pretty excited and most of you either puzzled or properly dissuaded. Yes, Automata is a muddy piece of pseudo-profundity showcasing its creators' lack of vision, discretion, and judgment. It needed at least a few more passes through the typewriter, frankly, and a mid-film appearance by a distractingly-altered Melanie Griffith–altered by real-life plastic surgery, not in-film techno-debauchery–highlights exactly how brutal the Hollywood machinery is in destroying people like her and Kim Novak and Lara Flynn Boyle and on and on. Griffith's kind of like the girl-version of Mickey Rourke at this point. There's more sadness and auto-reflection embedded in how she looks now than in anything in the film.

Mama (2013) – Blu-ray + DVD + Digital Copy + Ultraviolet

May 13, 20132013, Authors: Bill Chambers, Blu-ray Disc, Canada, DVD, Horror, Spain

Mama1

**/**** Image A Sound A Extras B-
starring Jessica Chastain, Nikolaj Coster-Waldau, Megan Charpentier, Isabelle Nélisse
screenplay by Neil Cross and Andy Muschietti & Barbara Muschietti
directed by Andy Muschietti

by Bill Chambers Mama is about a woman who doesn’t want kids being forced into motherhood by her pigheaded boyfriend. Yes, it’s a horror movie, but that’s ostensibly not the scary part–that would be the titular ghost who challenges our heroine to a mom-off for the souls of two little girls. Mama has watched over them since their crazed father Jeffrey (the suddenly omnipresent Nikolaj Coster-Waldau), still smarting from a bad day on Wall Street that saw him going postal, tried to execute them in a remote cabin in the woods. Five years later, Jeffrey’s brother Lucas (Coster-Waldau again) finally hits pay dirt in his obsessive search for his nieces when a routine check turns up the cabin with the girls inside, now feral and living on cherries.¹ Not that I’m asking for a prequel, but I’d love to–and would perhaps rather–see those lost years, the gradual breakdown of these kids’ language, hygiene, decorum. Alas, the Western cinema is preoccupied with domestication, which is where this sincerely well-made movie gets into trouble.

Tristana (1970) – Blu-ray Disc

April 24, 20131970s, 2013, Authors: Angelo Muredda, Blu-ray Disc, Disability, Drama, Esoterica, France, Spain

***/****
Image A- Sound B+ Extras B+
starring Catherine
Deneuve, Fernando Rey, Franco Nero, Lola Gaos
screenplay
by Luis Buñuel in collaboration with Julio Alejandro, based on the novel
by Benito Pérez Galdós
directed
by Luis Buñuel

by
Angelo Muredda You might not think it from overdetermined
schlock like Simon
Birch, but disability is a tough trope to wrangle, an
errant bodily signifier that doesn't always play nice. Just think of
Million Dollar Baby,
which tries and fails to use Hilary Swank's
impairment as a
narrative shortcut for Clint Eastwood's transformation into a tender
father,
troubled Catholic, and euthanizer-turned-agent of transcendence all at
once.
Eastwood the director has to stumble over the mechanics of his scene
partner's
newly-maimed body and horizontal status, fudging the timeline so that
her
bedsores appear to sprout within minutes of her injury and puzzling over
how to
frame her, whether as a head poking out of a hospital bed in the
background or
a wheelchair-sporting cyborg parked in dead centre, staring out her
hospital
window like a forlorn puppy. That representational awkwardness is so
common that
in disability studies, it even has a name: Ato Quayson calls it
"aesthetic
nervousness," meaning a text's tendency to collapse in a fit of nerves
before the matter of how to represent a disabled body.

To Rome with Love (2012)

July 5, 20122012, Authors: Angelo Muredda, Comedy, Drama, Italy, Music, Romance, Spain, Theatrical

**/****
starring Woody Allen, Alec Baldwin, Roberto Benigni, Penélope Cruz
written and directed by Woody Allen

by Angelo Muredda There's an odd moment early in To Rome with Love that makes you sit up and wonder if Woody Allen has made good on the promise shown by his surprisingly warm Midnight in Paris. Stumbling out of a movie theatre with his wife and another couple, regular schmo Leopoldo (Roberto Benigni) mounts a rousing defense of Saverio Costanzo's The Solitude of Prime Numbers, offering that its openness to human mystery makes it far superior to The King's Speech. I can't say I agree with him, but how nice to see such an idiosyncratic opinion voiced in earnest. That's a good sign, coming from a director whose characters often sound like variations on one another in his lesser works–but it's also a false one, when much of what follows plays out like a flat homage to omnibus city movies.