Theatrical Archives - Page 27 of 65

Madagascar 3: Europe’s Most Wanted (2012)

June 7, 20122012, Adventure, Animation, Authors: Walter Chaw, Comedy, Family, Theatrical

***/****
screenplay by Eric Darnell and Noah Baumbach
directed by Eric Darnell, Conrad Vernon, Tom McGrath

by Walter Chaw Madagascar 3: Europe’s Most Wanted (hereafter Madagascar 3) is easily the best one yet and the product, I’ll bet, of co-directors Eric Darnell and Tom McGrath’s foray into the rigors of gag-writing for an animated TV series (“The Penguins of Madagascar”)–though I wouldn’t discount the influence of credited screenwriter Noah Baumbach, either. Madagascar 3 is deeply involved in surrealism, rivalling Disney’s pink elephants on parade in a circus sequence that, if not as good as Dumbo‘s, is not as good because it’s scored by a genuinely dreadful Katy Perry song. The picture’s so cheerfully, indefatigably strange, in fact, that at times it approaches the Golden Age of Looney Tunes. It’s an effervescent little artifact housing a psychotic, bestial gendarme named Capt. Chantel DuBois (voiced maniacally by Frances McDormand), who, in a moment of extreme cultural insensitivity, rouses her comatose henchmen with a rendition of Edith Piaf’s “Non, He Ne Regrette Rien,” right there in an Italian ICU. The picture is lawless in this way: Chris Rock’s Marty the Zebra has never been blacker (his signature song this time around has something to do with a circus afro), David Schwimmer’s Melman the Giraffe was never more of a kvetch, Bryan Cranston’s Russian tiger Vitaly is depressed and bellicose, and Martin Short’s brilliantly-conceived sea lion Stefano is enthusiastically, effervescently, Roberto Benigni-stupidly Italian.

Snow White and the Huntsman (2012)

May 30, 20122012, Adventure, Authors: Walter Chaw, Fantasy, Theatrical

*/****
starring Kristen Stewart, Charlize Theron, Chris Hemsworth, Sam Claflin
screenplay by Evan Daugherty and John Lee Hancock and Hossein Amini
directed by Rupert Sanders

by Walter Chaw A handful of arresting images aside (and even those owe more than a passing debt to artist Bev Doolittle, or Terry Gilliam minus the tchotchkes–and here’s Lily Cole again, post-Parnassus), Rupert Sanders’s dreary Snow White and the Huntsman plods along without much sense on its way to producing not much with little impact and no purpose. Though beaten to it by Gary Oldman’s legendary turn in the inexplicable Tiptoes, it has a gaggle of hale British actors playing dwarves, including a humiliated Bob Hoskins, tasked with being blind-guy exposition for little miss Joan of Arc. And it has a gorgeous Charlize Theron, demonstrating in full fetish-wear that she has no idea she’s in a Twilight ripper by turning in a pretty good character performance as an evil step-witch who’s spent way too much time reading The Beauty Myth. Indeed, the Big Bad Wolf in this fairytale is Naomi Wolf.

Moonrise Kingdom (2012)

May 29, 20122012, Authors: Angelo Muredda, Comedy, Directors: Wes Anderson, Drama, Romance, Theatrical

***½/****
starring Bruce Willis, Edward Norton, Bill Murray, Frances McDormand
screenplay by Wes Anderson & Roman Coppola
directed by Wes Anderson

by Angelo Muredda In his post-mortem of the 65^th Cannes Film Festival, over which he presided as jury president, Nanni Moretti complained that a number of Competition filmmakers seemed “more in love with their style than with their characters.” Whether Moretti had festival opener and Competition entry Moonrise Kingdom in mind is debatable, but this is the kind of criticism Wes Anderson has faced throughout his career. Moonrise Kingdom won’t win many holdouts over to Anderson’s corner: Those who think he’s spent the last 16 years building dollhouses may snicker from the first sequence, where the camera laterally tracks through an actual dollhouse of a set to find a mid-1960s family sequestered in tiny rooms, parsing their magazines and adventure novels. Those baffled by The Darjeeling Limited‘s juxtaposition of Kinks songs with snippets of Merchant-Ivory and Satyajit Ray scores may also scoff as the camera tracks past a battery-operated record player pushing out Benjamin Britten’s “The Young Person’s Guide to the Orchestra,” an educational piece narrated by a disembodied voice that neatly introduces “all the separate parts of the orchestra.” As if to facilitate a no-hard-feelings exit for the unenthused, Anderson telegraphs his aesthetic from the overture.

Last Call at the Oasis (2012)

May 24, 20122012, Authors: Angelo Muredda, Documentary, Theatrical

**/****
screenplay by Jesica Yu, based on the book The Ripple Effect: The Fate of Fresh Water in the Twenty-First Century by Alex Prud’homme
directed by Jessica Yu

by Angelo Muredda Last Call at the Oasis is the latest casualty of Michael Moore’s success. Like virtually every other North American informational doc with an activist slant since Moore’s Bowling for Columbine, Jessica Yu’s film tackles a serious issue–unequal access to the world’s dangerously finite freshwater supply–with a barrage of animated charts, righteous talking-head interviews, ironically spliced music cues (Johnny Cash’s cover of Bob Nolan’s “Cool Water,” Pink’s “Raise Your Glass”), and archival footage from less enlightened educational fare, in this case 1948’s “The Adventures of Junior Raindrop.” Besides having an obvious facility with these tropes, Yu has her heart in the right place; as with Participant Media’s other non-fiction efforts (among them, An Inconvenient Truth and Waiting for “Superman”), with which this film shares its DNA, the politics are sound, landing firmly on the side of the disenfranchised and the weak, in hopes of bringing attention to what might otherwise be a lost cause. But there comes a point where the deluge of aesthetic shortcuts overwhelms the message, and makes the good work these movies are striving to do seem hopelessly routine.

Men in Black 3 (2012)

May 23, 20122012, Action, Adventure, Authors: Angelo Muredda, Comedy, Sci-Fi, Spielberg, Theatrical, United Arab Emirates, Will Smith

**/****
starring Will Smith, Tommy Lee Jones, Josh Brolin, Emma Thompson
screenplay by Etan Cohen, based on the Malibu comic by Lowell Cunningham
directed by Barry Sonnenfeld

by Angelo Muredda That Barry Sonnenfeld’s Men in Black 3 isn’t garbage comes as a surprise ten years after the first terrible sequel, and amidst reports of a troubled shoot that got underway before there was even a screenplay. As detailed in a NEWSWEEK piece on the production, Will Smith’s enormous trailer guzzled fuel and idled for months while the script was hashed out on dirty napkins, looking like a readymade symbol for a lead balloon in the making. Still, that it isn’t the bust it could have been shouldn’t make us too generous towards what’s essentially a bloated and very expensive nostalgia trip not to its setting of 1969 but to the first film’s release year of 1997, a time that’s probably too near to really miss.

The Woman in Black (2012) + The Innkeepers (2011)|The Innkeepers – Blu-ray Disc

April 23, 20122011, 2012, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Drama, Horror, Sweden, Theatrical, Thriller, UK

THE WOMAN IN BLACK
*/****
starring Daniel Radcliffe, Ciarán Hinds, Janet McTeer, Liz White
screenplay by Jane Goldman
directed by James Watkins

THE INNKEEPERS
***½/**** | Image A- Sound A Extras B
starring Sara Paxton, Pat Healy, Kelly McGillis, George Riddle
written and directed by Ti West

by Walter Chaw A beautifully outfitted, brilliantly designed Victorian jack-in-the-box, James Watkins’s The Woman in Black will likely be remembered, if it’s remembered at all, as Daniel Radcliffe’s Harry Potter commencement (given that no one saw December Boys). Alas, it squanders a pretty nice, ‘Tim Burton Sleepy Hollow‘ set-up in bumfuck England for a solid hour of crap jumping out of shadows. Popping up from behind bushes is startling, but it isn’t art (it’s not even clever), and at the end of the day, it’s only really entertaining if you or your date is a sixteen-year-old girl. Carrying the Hammer imprint and boasting production design so good that long stretches of the film are devoted to looking at it, the piece only ever honours its legacy and appearance with the brutality with which it handles its dead children and a delirious dinner scene in which a grief-besotted lady (Janet McTeer) treats her little dogs like babies and carves something on her dinner table whilst possessed of a hilarious fit. The rest of it is garbage.

The Cabin in the Woods (2012) + Lockout (2012)

April 20, 20122012, Action, Authors: Walter Chaw, Horror, Sci-Fi, Theatrical

THE CABIN IN THE WOODS
*/****
starring Kristen Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz
screenplay by Joss Whedon & Drew Goddard
directed by Drew Goddard

LOCKOUT
**/****
starring Guy Pearce, Maggie Grace, Vincent Regan, Peter Stormare
screenplay by Stephen Saint Leger, James Mather & Luc Besson
directed by Saint & Mather

by Walter Chaw SPOILER WARNING IN EFFECT. Drew Goddard’s (and Joss Whedon’s, you won’t be able to forget) unfortunate giant middle finger The Cabin in the Woods takes a shit-eating high-concept only to do nothing interesting with it for about 80 of its 100 minutes. Because the high concept is the crux of the film and the elbow of the argument, as they say, stop right here if you want to stay a spoiler virgin. For me, I went in not knowing anything about the movie–didn’t even see the trailer–on the back of assurances from many respected friends and colleagues that this was, in fact, a must-see for the genre fan. What I should have asked was, “What genre?” The Cabin in the Woods is Scream for what Joe Bob Briggs used to call “Spam in a cabin” flicks, in which a group of nubile youngsters piles into an unreliable junker to spend a fateful weekend in some backwoods hick oasis where they’re picked off, one by one, by some combination of demons and Ted Nugent. The difference being that Scream was cold, nihilistic, scary as hell, and a lovely example of the thing it was simultaneously deconstructing. The reason The Cabin in the Woods is neither revolutionary nor “ground-breaking” is that everything it does has already been done, repeatedly and better, and that rather than serving as a sterling example of that which it is trying to pinion (thus establishing its credibility as satire, see?), it’s really just another instalment in the live-action Scooby-Doo franchise.

Damsels in Distress (2012)

April 19, 20122012, Authors: Angelo Muredda, Comedy, Theatrical

**½/****
starring Greta Gerwig, Adam Brody, Analeigh Tipton, Megan Echikunwoke
written and directed by Whit Stillman

by Angelo Muredda Damsels in Distress is a hard movie to sink your teeth into–a stick of gum soaked in brine. Whit Stillman’s first effort since 1998’s The Last Days of Disco, it’s a light-headed fantasia that’s committed to its gonzo vision, best expressed by a character who calls her favourite soap scent “very precise.” Very precise, indeed: Less wealthy than Metropolitan‘s socialites, Damsels‘ cadre of female sophomores breathe even more rarefied air. Though each actress works her peculiar cadence into these pronouncements to uncanny effect, they seem possessed by their creator even more than is typical for Stillman’s characters, genteelly handling accusations of hypocrisy with defenses like, “We are all flawed. Must that render us mute to the flaws of others?” Stillman’s rigorously formal dialogue is always a trial-by-fire for actors–easily passed in Last Days by Kate Beckinsale, for example, but stumbled over by Matt Keesler, who looks embarrassed to identify as a “loyal adherent to the disco movement”–but something’s different this time. Always accused of being hermetic but usually too enamoured with other people’s ephemera (e.g., collections of Scrooge McDuck memorabilia) for that to be true, this time he’s properly set up shop in the projection booth at the back of his mind.

The Deep Blue Sea (2011)

April 17, 20122011, 2012, Authors: Angelo Muredda, Drama, Theatrical, UK

***½/****
starring Rachel Weisz, Tom Hiddleston, Simon Russell Beale
screenplay by Terence Davies, based on the play by Terence Rattigan
directed by Terence Davies

by Angelo Muredda In Of Time and the City, Terence Davies’s self-described love song and eulogy for his native Liverpool, the director halts his psycho-geographic walking tour of old haunts at one point to pay backhanded tribute to the Merseybeat movement. With the meteoric rise of The Beatles, he pronounces in sulky baritone, the well-crafted love songs on which he was weaned became, overnight, as antiquated as curling tongs. Yet just as abruptly as pop turned beat, the young Davies went another way: “I discovered Mahler,” he drawls, “and responded completely to his every overwrought note.” Davies’s studiously unfashionable gravitation to the Romantic, largely for its affinities with the torch songs he so recently mourned, finds apt expression in his sixth feature, a beautifully overripe adaptation of Terence Rattigan’s 1952 play The Deep Blue Sea. Like its source, the film chronicles the misfortunes of Hester (Rachel Weisz), a judge’s wife in postwar London who leaves her cerebral older spouse, William (Simon Russell Beale), for sexual fulfilment with wastrel Royal Air Force pilot Freddie (Tom Hiddleston), and subsequently finds herself unloved and in limbo. Only a recent convert to such reckless emotional indulgence, Hester, when we meet her, is very much the Mahler sort. Despite its apparent distance from more clearly autobiographical films like Distant Voices, Still Lives and The Long Day Closes, then, Davies is an ideal steward for this material–every bit as attentive to matters of exquisite sadness as his protagonist.

Goon (2012)

April 17, 20122012, Authors: Walter Chaw, Canada, Comedy, Sports, Theatrical

***/****
starring Seann William Scott, Jay Baruchel, Alison Pill, Liev Schreiber
screenplay by Jay Baruchel & Evan Goldberg
directed by Michael Dowse

by Walter Chaw The best hockey movie since Slap Shot and the most pleasant and well-meaning Canuck-sploitation flick since Strange Brew, Michael Dowse’s Goon is a prime example of how to make an insightful guy-movie without indulging in the cheap scatology of American Pie and its offspring. Not that there’s anything wrong with cheap scatology, mind, only that it seems played-out, and so it’s something of a revelation to find that franchise’s own secret weapon, Seann William “Stifler” Scott (who, let’s face it, is impossible not to like ever since he was brought to orgasm through manual stimulation of his prostate in that franchise), so quiet and unassuming in the title role as dim, sweet Doug Glatt. Doug’s a natural-born bouncer in an armpit dive, see, who, after laying out a local bruiser taking his beef into the stands, is offered a shot at becoming a full-time enforcer for a bus-and-motel league. He shows up at his first practice wobbly in figure skates, proceeds to give his teammates a sound beating for their hooted derision, and is promptly called up to the bigger minor-league team the Halifax Highlanders.

High Chicago (2012)

April 17, 20122012, Authors: Angelo Muredda, Canada, Drama, Theatrical

**/****
starring Colin Salmon, Karen LeBlanc, Fulvio Cecere, Michael Xavier
screenplay by Robert Adetuyi
directed by Alfons Adetuyi

by Angelo Muredda There’s a nice bit in Alfons Adetuyi’s debut feature High Chicago where gambler and aspiring cinema proprietor Sam (Colin Salmon) screens Ralph Nelson’s Lilies of the Field for his wife (Karen LeBlanc) at a deserted drive-in theatre. The Sidney Poitier star vehicle, about a roving handyman who stops at an Arizona farm and meets a group of nuns who are convinced he’s been divinely commissioned to build them a chapel, is a smart intertext for a movie about a man on his own quixotic journey to build a drive-in theatre in Africa, not least because Poitier’s performance earned him the first competitive Oscar for an African-American man. This isn’t the only time the film, set in 1975, recalls important milestones in black popular culture: Sam’s slow-motion, funk-inflected entrance to the poker table in the opening scene sets him up as a contemporary of figures like Richard Roundtree and Ken Norton, while his high-stakes gambling spree is scored to Fela Kuti’s “Let’s Start.” It’s the most compelling example, though, because it rises above blank name-checking and provides sorely needed context to a narrative that too often trades on clichés about gamblers going for one last game. There’s probably a good movie to be made from the outline of brother Robert Adetuyi’s screenplay, and surely something interesting about this yearning to trace a lineage of black entrepreneurial spirit starting from Poitier–an obvious target, but why not?–yet High Chicago settles short of the goal.

Fightville (2012)

April 17, 20122012, Authors: Angelo Muredda, Documentary, Theatrical

***/****
directed by Michael Tucker and Petra Epperlein

by Angelo Muredda A few minutes into Michael Tucker and Petra Epperlein’s Fightville, we see a couple of young MMA (Mixed Martial Arts) trainees wrestling in the stark confines of a shithole tucked away in a Louisiana strip-mall. The gym’s popping red-on-white colour scheme resembles nothing so much as the Space Station V lounge, but the weirdest thing might be the (unseen) stereo blasting Falco‘s “Rock Me Amadeus” to set the mood. Tucker and Epperlein have a good eye and ear for this strange minutiae, and it’s this low-key humanity that makes their follow-up to more sombre, Iraq-centered docs like How to Fold a Flag and Gunner Palace as compelling as it is. While an early backstage glimpse of bandaged wrists and wastebaskets overflowing with bloodied paper towels suggests a high-minded melodrama about the corporeal cost of fighting for a living (think The Wrestler), the filmmakers thankfully turn out to be much more interested in the daily grind that a commitment to the sport entails.

Footnote (2011)

April 17, 20122011, 2012, Authors: Angelo Muredda, Comedy, Drama, Israel, Theatrical

Hearat Shulayim
***/****
starring Shlomo Bar-Aba, Lior Ashkenazi
written and directed by Joseph Cedar

by Angelo Muredda Joseph Cedar’s Footnote (Hearat Shulayim) begins with what looks like a son’s loving tribute to his intellectual origins. Rising to accept his invitation to the Israeli Academy of Sciences and Humanities, slick Talmud scholar Uriel Scholnik (Lior Ashkenazi) waxes reverent about the professional example set by his uncompromising father, Eliezer (Shlomo Bar-Aba), himself a Talmud scholar who spent the better part of his adult years toiling away on textual variants observed in microfiche while his son cut his teeth on high theory. We stay tight on Eliezer, his head bowed and his mouth locked in a grimace, as his son tells an anecdote about a survey he had to fill out as a primary student, identifying his father’s profession. “Say that I’m a teacher,” the younger Scholnik recalls Eliezer saying, portraying a man at once too modest to own up to his repute as a philologist and fixated on the pedagogical value of his work–an obsession Uriel claims to have happily inherited.

The Hunger Games (2012)

April 17, 20122012, Action, Adventure, Authors: Walter Chaw, Sci-Fi, Teen, Theatrical, Thriller

**/****
starring Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Donald Sutherland
screenplay by Gary Ross and Suzanne Collins and Billy Ray, based on the novel by Collins
directed by Gary Ross

by Walter Chaw Now that the United States has remade Kinji Fukasaku’s Battle Royale, it’s fair to wonder when it’ll tackle Ichi the Killer or Tetsuo, the Iron Man. It’s all part of a greater conversation around what it is that made the U.S. more sympathetic to Japan after 9/11, whereas before, films like Fukasaku’s grim little sociological masterpiece were seen as contraband in America. Marinating in social superiority only gets you so far, I guess, until the detonation of a WMD over a civilian population suddenly redraws the lines and changes your worldview. It’s no accident that Suzanne Collins’s series of tween dystopia books is wildly popular in this post-millennial zeitgeist–no accident, either, come to think of it, that the “Girl with the Dragon Tattoo” books, featuring brutal rape and unforgivable fantasy vigilantism (and a fetching girl-hero, it bears mentioning), were the rage of blueblood, blue-haired reading circles: grandma in the Times Square grindhouse circa 1974. What’s genuinely frightening about the wide, middlebrow acceptance of such traditionally deviant fare is that it’s a glimpse into what happens when a country founded by Puritans suddenly has its apocalyptic paranoia and hardwired xenophobia briefly confirmed. If you’re a Republican with a moral barometer in these, our United States of America in 2012, take a good, hard look at what’s happened to your party and tell me that I’m wrong. It takes a hell of a lot of crazy to make Margaret Atwood seem prophetic–to make Mel Gibson trend towards the middle.

Payback (2012)

April 17, 20122012, Authors: Angelo Muredda, Canada, Documentary, Theatrical

***½/****
written and directed by Jennifer Baichwal, based on Payback: Debt and the Shadow Side of Wealth by Margaret Atwood

by Angelo Muredda Midway through Payback, Jennifer Baichwal’s fifth feature documentary, we’re given an alarming overhead view of the Gulf of Mexico after the BP oil spill. At first, all we see is a dark pool of water, but before long a sickly orange substance starts tracking left through it, nearly filling the frame. The orange stuff, we’re told, is chemical dispersant, and its job is to both break up the oil slick and push it below the surface, whatever the cost to the animal and plant life that happens to already be there. Not least for the way it suggests a scale that’s been thrown out of balance, it’s a striking visual metaphor for Baichwal’s subject, which is the impossible work of translation we undertake whenever we try to square intangible debts with material payouts–in this case, dispersing oil with toxic chemicals. As one commentator points out, it’ll be decades before we know just how large the ecological debt we’ve amassed as a result of the Gulf spill is–and even then, to think of it in terms of dues paid is to forget that dead fish can’t cash cheques.

Being Elmo (2012)

April 17, 20122012, Authors: Angelo Muredda, Documentary, Theatrical

**½/****
directed by Constance Marks

My 2-year-old nephew’s favourite YouTube video is a “Sesame Street” clip where Elmo’s birthday card to fellow monster Rosita is swept away by the wind. It’s a bizarre little skit, devoid of anything like closure or uplift, but the nephew gets caught up in it every time. He narrates, tearing up and saying, “Oh no!” as Elmo does, and asking where the card went, though he already knows. Then it ends, and he promptly demands, “Again.” I didn’t know what to make of this at first, but my sense, watching Constance Marks’s Being Elmo: A Puppeteer’s Journey, is that the titular red guy is a sort of Everykid for preschoolers, feeling what they feel. The film charts Kevin Clash’s impressive rise from inner-city Baltimore puppeteer to one of Jim Henson’s trusted collaborators. It’s a straightforward and strictly chronological account, beginning with his preteen years of making puppets out of his dad’s trench coats and following him through to his work on “Captain Kangaroo,” Labyrinth, and most importantly “Sesame Street.” Long-time Muppet ally Whoopi Goldberg is our throughline, narrating in her sweetest story time voice and telling us things like, “One of Kevin’s first characters was Hoots the Owl!” as we see, well, Hoots the Owl.

Project X (2012)

April 17, 20122012, Authors: Angelo Muredda, Comedy, Teen, Theatrical, ZERO STARS

ZERO STARS/****
starring Thomas Mann, Oliver Cooper, Jonathan Daniel Brown, Dax Flame
screenplay by Matt Drake and Michael Bacall
directed by Nima Nourizadeh

by Angelo Muredda With Bridesmaids, Judd Apatow made the case for the producer as auteur–a spiritual godparent to screenwriters’ Kristen Wiig and Annie Mumulo’s every deferred comedic beat. It’s only taken one try–the perfunctorily- titled, written, and staged Project X–but Todd Philips can now claim the same, to everyone’s great detriment. Late in the game, protagonist Thomas’s dad surveys the wreckage of his vanilla son’s soiree and says, with something like pride, “I didn’t think you had it in you.” It’s a callback to the strained thematic machinations of The Hangover Part II, where straight-laced Stu (Ed Helms) recognizes he has a “demon” in him, and if that makes him a horrible spouse, then so be it. While Project X is suffused with the same deep misogyny and awe before Dionysian dickishness as its producer’s directorial work, it’s also a testament to Helms’s grounded performance as those films’ mild-mannered demon-in-wait–and proof of how unsustainable Philips’s poisonous alchemy is in the hands of the truly useless. That would be first-time director Nima Nourizadeh, who has no instinct for narrative, characterization, or composition and whose licentious camera unfailingly roves up the skirt of every 18-year-old extra lassoed in what the press notes eerily call a “nationwide talent search.” Woe and hilarious Taser gags to anyone who searches for talent here.

The Snows of Kilimanjaro (2011)

April 17, 20122011, 2012, Authors: Angelo Muredda, Drama, France, Theatrical

Les neiges du Kilimandjaro
**½/****
starring Ariane Ascaride, Jean-Pierre Darroussin, Gérard Meylan, Grégoire Leprince-Ringuet
screenplay by Jean-Louis Milesi and Robert Guédiguian
directed by Robert Guédiguian

by Angelo Muredda Committed leftist Robert Guédiguian’s newest film The Snows of Kilimanjaro opens with a lottery. The local Marseilles shipyard is set to lay off twenty workers, and faithful union leader Michel (Jean-Pierre Darroussin) has been entrusted with carrying out the draw, eventually calling out even his own name–entered voluntarily despite his privileged position. The titular snows refer not to the Hemingway short story of the same name but to a popular song recited at Michel’s premature retirement party, a paean to the middle-class luxuries of touring the world in one’s golden years and a good fit for the African vacation his friends have ordered for him and his wife, Marie-Claire (Ariana Ascaride, excellent). Alas, before the couple gets its due, Michel’s unionist chickens come home to roost in the form of a humiliating robbery of the travel fund later that evening, which could only have been committed by one of the party’s guests–likely one of the unfortunate nineteen other names he called out earlier that week.

A Man Escaped (1956)

April 17, 2012****/****, 1950s, 2012, Authors: Angelo Muredda, France, Theatrical

Un condamné à mort s’est échappé ou Le vent souffle où il veut
****/****
starring François Leterrier, Charles Le Clainche, Maurice Beerblock, Roland Monod
written and directed by Robert Bresson

by Angelo Muredda “This is a true story. I’ve told it as it happened, unadorned. –Robert Bresson.” So begins A Man Escaped, with a handwritten statement of purpose that throws down a gauntlet to itself. Based on the memoirs of French Resistance member André Devigny (here rechristened Fontaine (François Letterier)), who escaped from Lyon’s Fort Montluc prison just hours prior to his execution, the film delivers on its ambitious promise. It stays faithful to this claim to tell the story unadorned except with the light garnish of Fontaine’s cool descriptions of the task before him–really an ever-unfolding expanse of smaller tasks like chipping away at a doorframe with a spoon over a month’s time. Its focus is almost strictly on matters technical, to the point where even its spiritual ruminations spring organically out of moments of real labour. When a fellow prisoner’s escape attempt is undone by his overeager hope for his next life to begin, he passes his knowledge of the precise spot he went wrong onto Fontaine with the solemnity of a wizened gamer delivering an annotated walkthrough to a novice. If these men are going to be reborn, we’re assured, it’ll only be by their own hands.

Chronicle (2012)

April 17, 20122012, Authors: Walter Chaw, Sci-Fi, Superhero, Teen, Theatrical

***/****
starring Dane DeHaan, Alex Russell, Michael B. Jordan, Michael Kelly
screenplay by Max Landis
directed by Josh Trank

by Walter Chaw Josh Trank and Max Landis’s Chronicle is so good for so many extended stretches that its flaws are all the more frustrating. It’s too smart for its own good, presenting a superhero origin story without allowing any of its characters to ever once even whisper the word (a lot like “The Walking Dead” making everyone look like assholes by avoiding the term “zombie”) and spending too much time letting its teen titans drop names like Schopenhauer before making it clear that the character who most embraces the philosopher’s theories of aesthetics and self-abnegation ultimately takes up the mantle of one of Schopenhauer’s offshoots, Nietzsche. Boring, I know. And not smart enough, as meta-introspection goes, to bridge the gaps in Chronicle, like a badly under-developed “hero” and an equally under-developed “villain,” their relationship to each other, and, at the end, an emotional coda that feels unearned and tacked-on. Compare Chronicle to what history is vetting out as the only good M. Night Shyamalan flick, Unbreakable: it’s missing that film’s sense of awe, sense of (what has come clear as exceedingly rare in Shyamalan’s pursuits) respect for what the hero mythology of comics means, and has always meant, to 98lb. weaklings indulging a fantasy of largesse and empowerment and thus primed to order the Charles Atlas Workout off the ads on the back page.