Tomboy (2011)

December 7, 2011Posted in2011, Authors: Angelo Muredda, Drama, France, Theatrical

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

Tomboyby 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 who are 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.

The Descendants (2011)

November 30, 2011Posted in2011, Authors: Walter Chaw, Comedy, Drama, Theatrical

**/****
starring George Clooney, Shailene Woodley, Beau Bridges, Judy Greer
screenplay by Alexander Payne and Nat Faxon & Jim Rash, based on the novel by Kaui Hart Hemmings
directed by Alexander Payne

Descendantsby Walter Chaw George Clooney is great, Alexander Payne is great, it’s all very predictably great, and it’s all so very predictable. The Descendants, Payne’s fifth film, is an edgeless and anti-satirical adaptation of Kaui Hart Hemmings’s novel that has its moments, all of them involving Clooney’s Matt King shouting at his vegetable wife (Patricia Hastie, in the most thankless non-Michael Bay role of the year) in articulation of the mid-life emasculation opera in which Payne specializes. Armed with a voiceover to better seduce Oscar voters and awards-season audiences, The Descendants opens with Matt promising his comatose spouse that he’ll be a better man and commit to a normal life with her, and then it proceeds to be nothing much more than a sitcom about what happens when a confirmed bachelor is forced to become the primary caregiver to his two sassy daughters. Eldest is reform-school girl Alexandra (Shailene Woodley), who used to have a drug problem and currently has a stupid boyfriend, Sid (Nick Krause). Her younger sister is little Scottie (Amara Miller), who says things like “motherless whore” because it’s funny when a 10-year-old says things like that–even funnier when the matinee idol playing her bumfuddled dad does the dimwit surprise thing he did in O Brother, Where Art Thou?. That’s the theory, anyway.

Elite Squad – The Enemy Within (2010)

November 25, 2011Posted in2000s, 2010, 2011, Action, Authors: Angelo Muredda, Brazil, Crime, Drama, Theatrical, Thriller

Tropa de Elite 2 – O Inimigo Agora É Outro
***/****
starring Wagner Moura, Irandhir Santos, Andre Ramiro, Milhelm Cortaz
screenplay by Bráulio Mantovani & José Padilha
directed by José Padilha

Elitesquad2by Angelo Muredda Early in Elite Squad – The Enemy Within (hereafter The Enemy Within) José Padilha’s blustery follow-up to his 2007 hit Elite Squad, deluxe cop Lt. Colonel Nascimento (Wagner Moura, Brazil’s answer to Mark Ruffalo) promises to give us a history of Rio that happens to coincide with his life story. It’s a tall order, but Padilha and co-screenwriter Bráulio Mantovani are ambitious and foolish enough to undertake it, returning to the favelas they brought to boot-stomping life in the first Elite Squad while shifting focus this time from drug lords to corrupt cops. No one would call their work subtle, but they strike a surprisingly watchable balance between Goodfellas-type insider confessional and incendiary political exposé, ditching the tight timeframe and local scope of the original and going for a more sprawling survey of Rio as Hell on Earth. Yet as much as The Enemy Within deserves solemn back-pats for its anaesthetized, everybody’s-guilty project, it really takes off in brutally violent set-pieces that forgo neutrality. Cut loose from his earnest ambitions to tell an ambivalent political fable that clucks its tongue equally at anti-poverty activists and conservative law-and-order types, Padilha shows his directorial hand in testosterone-charged gunfights where either all the right people get shot or all the good ones go down as martyrs, and it’s the hand of a vigilante sympathizer drawn to the romance of man-to-man violence. Fascist? No doubt. But as ideologically suspect apologies for rogue justice go, this one’s pretty well-executed, and at times just plain more fun than the hemming and hawing of The Dark Knight.

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

November 21, 2011Posted in2011, 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.

The Mill and the Cross (2011)

November 18, 2011Posted in2011, Authors: Angelo Muredda, Esoterica, Poland, Sweden, Theatrical

Mlyn i krzyz
***/****
starring Rutger Hauer, Charlotte Rampling, Michael York, Oskar Huliczka
screenplay by Michael Francis Gibson & Lech Majewski
directed by Lech Majewski

by Angelo Muredda The opening voiceover in Polish-American filmmaker and painter Lech Majewsi’s dry but compelling The Mill and the Cross nicely prepares us for both the fastidiousness and the playfulness that follows. “I want to do something about their clothing,” Flemish painter Pieter Bruegel, a droll Rutger Hauer, says as he surveys a handful of the 500-odd subjects that populate his bustling 1564 painting “The Way to Calvary.” At this point it’s still a work-in-progress, a living tableau of Christ’s crucifixion filtered through the artist’s critique of the Spanish occupation of the Netherlands. Depriving us of the panorama that comprises the finished artwork, Majewski offers only a limited frontal view of the wailing women in the foreground, embodied by actresses who stand in stark relief against the computer-generated backdrop of the painting. As the camera tracks alongside them, it gets snagged, in a manner of speaking, on their dresses: it halts its procession so that Bruegel himself can enter the painting as a makeshift costume designer, fussing over their fabrics and setting the gravity of the scene through his sartorial choices. It’s a smart statement of purpose, announcing Bruegel’s and Majewski’s simultaneous interest in the particular and the allegorical, and placing the film at various crossroads–between, for instance, art history lesson and dramatic recreation, and, more interestingly, between artifice and accident.

Mysteries of Lisbon (2010)

November 11, 2011Posted in****/****, 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

Mysteriesoflisbonby 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 Rum Diary (2011)

October 28, 2011Posted in2011, Authors: Walter Chaw, Comedy, Drama, Theatrical, UK, ZERO STARS

ZERO STARS/****
starring Johnny Depp, Aaron Eckhart, Michael Rispoli, Giovanni Ribisi
screenplay by Bruce Robinson, based on the novel by Hunter S. Thompson
directed by Bruce Robinson

Rumdiaryby Walter Chaw Sad, solipsistic hagiography of a hero painted by a child, Johnny Depp's passion project The Rum Diary reveals the actor to be not only dedicated now to delivering selfish shtick in place of interesting characters, but also apparently completely in the dark as to what it is that was dangerous about his idol. This adaptation of Hunter S. Thompson's long-shelved first novel–written in 1960 during a quintessential fit of hubris in which Thompson jetted to Puerto Rico to become Ernest Hemingway and published in 1998 after being discovered as paper booty in a trunk by Jack Sparrow–has at its misbegotten helm Withnail & I auteur Bruce Robinson, jerked out of retirement to reimagine a piece-of-shit novel as a piece-of-shit movie. So, mission accomplished.

Anonymous (2011)

October 28, 2011Posted in2011, Authors: Angelo Muredda, Drama, Germany, Shakespeare, Theatrical, Thriller, UK

*/****
starring Rhys Ifans, Vanessa Redgrave, Joely Richardson, Derek Jacobi
screenplay by John Orloff
directed by Roland Emmerich

Anonymousby Angelo Muredda Anonymous comes out swinging against the Shakespeare industry with all the force of a midsummer night’s fart in the wind. If director Roland Emmerich and screenwriter John Orloff–a match forged in Mordor–had their way, the film would upend university curriculums, supplementing every Shakespeare syllabus with an elliptical “…but what if…” written in invisible ink on the last page. To that end, they’ve taken their baby on a tour of college campuses, and scheduled Facebook-webcast debates in which they’ve stunned Shakespeareans like James Shapiro with wise nuggets comparable to Adam Sandler’s astonishingly incoherent address at the end of Billy Madison. It hasn’t been clear sailing all the way, mind: popular historian Stephen Marche recently took to the NEW YORK TIMES to debunk such “prophets of truthiness”–Emmerich and Orloff are but a new, high-profile strain of Oxfordians, a group who name nobleman Edward de Vere as the true author of Shakespeare’s texts, even the ones dated after his death–for advancing a lunatic conspiracy theory based on little more than class snobbery. Shakespeare scholar Holger Syme was even less charitable, proposing in a blog entry that has since become an Oxfordian recruitment camp fronted by Orloff himself that the film’s chief sin is not historical inaccuracy but its filmmakers’ posture as courageous iconoclasts, railing against established wisdom. Anonymous, then, has had a fairly storied pre-release career.

The Skin I Live In (2011)

October 21, 2011Posted in2011, Authors: Angelo Muredda, Drama, Horror, Spain, Theatrical, Thriller

La piel que habito
**½/****
starring Antonio Banderas, Elena Anaya, Marisa Paredes, Jan Cornet
screenplay by Pedro Almodóvar, based on the novel Tarantula by Thierry Jonquet
directed by Pedro Almodóvar

by Angelo Muredda “Don’t pay attention to the surfaces,” Antonio Banderas’s mad scientist cautions maid and unofficial secret-keeper Marisa Paredes as she approaches a cluttered countertop late–or is it early?–in Pedro Almodóvar’s latest genre- and gender-hopping melodrama, The Skin I Live In (La piel que habito). It’s a joke, of course: the film, whose literalized English title mangles the Spanish pun on habito as both living and occupying, say, an outfit, is obsessed with surfaces and the ambiguous plumbing that supposedly runs deep below the tissue. Trouble is, The Skin I Live In is almost all surface–a beautifully carved wooden doll without any innards. That the doll should proudly display its hollow centre, which the movie does in numerous winks at its own clever vapidity, is admirable enough. But Almodóvar, never one to shy away from an operatic climax or three, overdoes it even by his standards, turning the last act into a morality play about protecting your integrity–your true, unseen self–against the skin-deep scars inflicted by other people. It’s a nice conceit that might have rung true, or at least wrung tears, if the true self in question wasn’t a total blank.

The Thing (2011)

October 13, 2011Posted in2011, Action, Authors: Walter Chaw, Canada, Horror, Mystery, Sci-Fi, Theatrical

*½/****
starring Mary Elizabeth Winstead, Joel Edgerton, Adewale Akinnuoye-Agbaje, Ulrich Thomsen
screenplay by Eric Heisserer
directed by Matthijs van Heijningen Jr.

Thingquelby Walter Chaw Just talking time, I've been waiting for this prequel to John Carpenter's The Thing almost twice as long as I waited for Episode I, and if the disappointment seems inversely proportional to the duration of the anticipation, chalk it up to me probably being too old to be duped like that again. (There's also the thought that Episode I killed anticipation for my entire generation.) To be fair, this Thing prequel (hereafter The Thing-quel), which imagines the happenings at the Norwegian camp prior to the titular alien finding Wilford Brimley and Kurt Russell's beard, isn't nearly as boring and/or offensive as a senate debate, a naval blockade enacted by space-Japs, and a hike in the desert surrounded by evil Jews and Arabs in the company of a Jamaican Stepin Fetchit. No, the only thing Matthijs van Heijningen Jr.'s (son of Matthijs van Heijningen, the IMDb helpfully informs) The Thing-quel does is mill around tepidly while demonstrating that Rob Bottin's seriously fucked-up creature effects from the original lose their soul when squeezed through the mainframe of a giant computer. What truly depressed me, though, were the sheer number of people at the public screening I attended with no awareness of the 1982 film, who were thus breathless with anticipation that the closing credits–which set up the opening of the Carpenter flick–were setting up some kind of remake-cum-sequel. As experiences go, it's somewhere south of getting kicked square in the sack.

Real Steel (2011)

October 7, 2011Posted in2011, Action, Authors: Walter Chaw, Drama, India, Sci-Fi, Spielberg, Sports, Theatrical

½*/****
starring Hugh Jackman, Dakota Goyo, Evangeline Lilly, Anthony Mackie
screenplay by John Gatins
directed by Shawn Levy

Realsteelby Walter Chaw There’s really no excuse for Real Steel, a Frankenstein contraption made up of spare parts from middle-American fairytales like Field of Dreams and underdog sports intrigues starting with Rocky, I guess, and building all the way through to junk like The Rookie and any number of films just like it that appear with what seems like annual reliability. Set a few years from now, in a world where for some reason people have decided they love to watch giant robots fight each other in place of good ol’ primate bloodsport, it has going for it the most bucolic vision of the future since “The Jetsons”. Indeed, there are so many gorgeous shots of waving wheat and bilious white clouds that it’s fair to wonder if Ridley Scott directed it. Alas, Shawn Levy, the genius behind Night at the Museum, The Pink Panther, and Cheaper by the Dozen directed this cynical piece of bathetic crap and his sticky, syrup-coated paws are all over it, from the movie’s flat, unimaginative staging to its absolute inability to be non-didactic in its presentation. (The biggest surprise? That there isn’t a flatulent dog around for cheap reaction shots.) Already legendary for how quickly its trailers revealed it to be possibly the worst idea since Buck Henry pitched “The Graduate, Part 2” at the beginning of The Player, Real Steel–the condescension starts with the quasi-inspirational dual-meaning of its title–swiftly becomes legendary in its own right for somehow being exactly as bad as you thought it was going to be.

The Interrupters (2011)

October 7, 2011Posted in2011, Authors: Angelo Muredda, Crime, Documentary, Theatrical

***/****
directed by Steve James

by Angelo Muredda There’s a bracing moment late in Steve James’s new documentary The Interrupters when a host of Chicago neighbourhood teens pay their respects to Derrion Albert, a 16-year-old beaten to death in a gang skirmish outside his school. Fidgeting in their pews and adjusting their hats (for the camera?) at his memorial service, they take in their surroundings as if, as one commentator opines, they’re at a dress rehearsal for their own funerals. The Interrupters is full of such alarming insights. A fly-on-the-wall chronicle of a year in the life of three so-called violence interrupters, it puts us on the frontlines of a number of intense encounters on Chicago streets without losing sight of the generational crisis that undergirds each of these potentially shattering exchanges between kids who don’t expect to live past 30. Both James and producer Alex Kotlowitz, whose NEW YORK TIMES MAGAZINE article on the violence-prevention efforts of an organization called CeaseFire inspired the film, ensure that the stakes are high; the camera frequently catches ephemeral stuffed-animal memorials, charting a haunted path through marked playgrounds and bus stops. If the filmmakers’ subdued reverence for their protagonists sometimes keeps them from fully exploring their complex subject, the result is nevertheless a devastating polemic about retraining fatalistic teens to think of themselves as having a future.

Moneyball (2011)

September 23, 2011Posted in2011, Authors: Angelo Muredda, Biopic, Drama, Sports, Theatrical

***½/****
starring Brad Pitt, Jonah Hill, Philip Seymour Hoffman, Robin Wright
screenplay by Steven Zaillian and Aaron Sorkin, based on the book by Michael Lewis
directed by Bennett Miller

Moneyballby Angelo Muredda Moneyball arrives after years in development hell with nearly as much baggage as the Oakland A's. A Steven Soderbergh project scrapped at the eleventh hour of pre-production and inherited by a high-pedigree team composed of Capote director Bennett Miller and scribes Steven Zaillian (the lone holdover) and Aaron Sorkin, it's as much a reinvention of the discarded film–apparently pitched as a data-saturated docudrama–as it is an adaptation of Michael Lewis's best-selling non-fiction book of the same name. No matter: Soderbergh successfully redirected his energy into Contagion, a snappy procedural lobbed to the same stats fetishists who might've warmed to his Moneyball, while Miller has delivered an affecting and deceptively conventional baseball movie that works on its own terms. Oscar-bait it might be, but Moneyball is surprisingly fresh, especially in how it shifts focus from the unexpected winners that most sports stories fawn over to a few perpetual losers who live off the wistful fumes of second-place finishes.

Drive (2011)

September 16, 2011Posted in****/****, 2011, Action, Authors: Walter Chaw, Crime, Revenge, Theatrical, Thriller

****/****
starring Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks
screenplay by Hossein Amini, based on the novel by James Sallis
directed by Nicolas Winding Refn 

Driveby Walter Chaw The pink, cursive font of the opening credits immediately calls to mind '80s classics like Smooth Talk while the obsessive interest in functionality and work (and Cliff Martinez's awesome Tangerine Dream soundtrack) recalls Michael Mann's Thief, but it's that certain quality of masculine stillness that marks Drive as another Nicolas Winding Refn masterpiece. Its story is boilerplate noir: loner (Ryan Gosling) falls for young mother (Carey Mulligan) and is forced by circumstance to protect her and her son (Kaden Leos) against all the bad men. Drive is, in other words, Taxi Driver if Mann had made it in the eighties, a meticulous character study done in long, drawn-out takes and extended silences punctuated now and again by extreme violence. It's a smart movie–a quintessentially L.A. one, too, in its self-awareness (the nameless hero is a stuntman, Richard Rush fans take note), and it has an extraordinary quality of stillness that paints in confident strokes what it feels like to be completely alone by luck you call choice. A late scene with "Driver" holding himself around the middle, then getting in his car as Refn splashes neon on him and The Chromatics play on the soundtrack is something like a perfect moment in a film indicated by them.

We Need to Talk About Kevin (d. Lynne Ramsay)

September 8, 2011Posted in2011, Authors: Bill Chambers, Drama, Film Festivals, Theatrical, TIFF, TIFF 11
Elliptical, sprawling, transfixed by the natural or at least the pseudonatural (chiefly, food), We Need to Talk About Kevin confirms that Lynne Ramsay is the heir apparent to Terrence Malick in more ways than just her lack of prolificacy. But she shows that his method can be used to more sobering, less transcendental effect. Where billowing curtains are a hopeful, ethereal symbol in The Tree of Life, here they signify death; where Malick has locusts wreak biblical havoc on the farm in Days of Heaven, Ramsay has ants devour a peanut-butter-and-jelly sandwich left angrily smeared on a glass coffee table.…

Seven Days in Utopia (2011)

September 7, 2011Posted in2011, Drama, Family, Sports, Theatrical, ZERO STARS

ZERO STARS/****
starring Robert Duvall, Lucas Black, Melissa Leo, Kathy Baker
screenplay by David L. Cook & Rob Levine & Matthew Dean Russell & Sandra Thrift, based on Cook's novel Golf's Sacred Journey: Seven Days at the Links of Utopia
directed by Matthew Dean Russell

Sevendaysinutopiaby Ian Pugh SPOILER WARNING IN EFFECT. Bursting at the seams with God/daddy issues but evincing no desire to confront (or even acknowledge) them, Matthew Dean Russell's Seven Days in Utopia is something like a hyper-wholesome, hyper-mainstream response to The Tree of Life. And what do you know? It's awful. After suffering a major breakdown during an important game, disgraced young golfer Luke Chisholm (Lucas Black) retreats to the small town of Utopia, Texas, where he meets an old landowner named Johnnie (Robert Duvall), who just happens to be a former golf champion. Johnnie is willing to teach Luke the ropes and maybe remind him of what's important, i.e., living for yourself and all of that good sports-movie stuff. Putting your faith in the Almighty figures in there somewhere, too, but while the film was made with an unavoidable Christian slant, the problem with Seven Days in Utopia is hardly a matter of ideology. Look past the squeaky-clean landscape promised by its G rating and you'll find it has no ideology at all.

Don’t Be Afraid of the Dark (2011)

August 26, 2011Posted in2011, Australia, Authors: Walter Chaw, Horror, Mexico, Theatrical, Thriller

**½/****
starring Katie Holmes, Guy Pearce, Bailee Madison, Jack Thompson
screenplay by Guillermo Del Toro & Matthew Robbins, based on the teleplay by Nigel McKeand
directed by Troy Nixey

Dontbeafraidofdarkby Walter Chaw There are so many opportunities squandered, so many set-ups dishonoured, so many promising moments clearly assembled into incoherence in the editing bay, that it's kind of amazing how Troy Nixey's Don't Be Afraid of the Dark still manages to coast along on its monsters and its lovely, gothic atmosphere. It's not a good movie, but it's a good time, for the most part–the part where you're not thinking about how irritating it is that in movies like this parents are constantly leaving their children in peril. Produced by Guillermo Del Toro, the picture feels an awful lot like another Del Toro production, 2008's The Orphanage, which also provides solid atmosphere, a couple of gross-outs, and an overall feeling of pleasant well-being. The major difference is that Don't Be Afraid of the Dark is so disjointed and spotty that the predominant aftertaste is frustration. What a shame.

Conan the Barbarian (2011)

August 19, 2011Posted in2011, Action, Adventure, Authors: Walter Chaw, Bulgaria, Fantasy, Germany, India, Theatrical

*/****
starring Jason Momoa, Stephen Lang, Rachel Nichols, Ron Perlman
screenplay by Thomas Dean Donnelly & Joshua Oppenheimer and Sean Hood
directed by Marcus Nispel

Conan2011by Walter Chaw It's hard for me to hate on Marcus Nispel's unwell Conan the Barbarian too much, mainly because its failings are more a matter of incompetence than of real malice. There are few pleasures as gratifying as Robert E. Howard's testosterone-rich raving, and for a while there, the movie looks to have found the mad amplification that typified the Texan author's best work. But when the wheels come off–and they come off right around the time that Conan's dad, played by Ron Perlman (naturally), checks out–the whole mess goes careening off the proverbial cliff. If only the rest of the film were as mad as its opening, with a young Conan (Leo Howard) demonstrating his innate birthright to slay every single thing within arm's reach by presenting two handfuls of severed-head to his thunderstruck village after a brutal scuffle in the forest. The level of lawlessness in its first half-hour is as legendary as the brilliant prologue to John Milius's original, from Conan's birth-by-unplanned-Caesarean on a raging battlefield to the presence of none other than Morgan Freeman, lured into a payday to provide solemn narration.

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

August 7, 2011Posted in2011, Authors: Ian Pugh, Drama, Esoterica, France, Germany, Interviews, Romance, Theatrical, UK

MjulyinterviewtitleMiranda 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 give 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.

Rise of the Planet of the Apes (2011)

August 5, 2011Posted in2011, Action, Authors: Walter Chaw, Canada, Drama, Sci-Fi, Theatrical, Thriller, UK

***½/****
starring James Franco, Freida Pinto, John Lithgow, Andy Serkis
screenplay by Rick Jaffa & Amanda Silver
directed by Rupert Wyatt

Riseoftheapesby Walter Chaw Perverse, terrifying, hilarious in exactly the right way; smart enough, emotional enough, and at the end uniquely satisfying in any number of hard-to-quantify ways, Rupert Wyatt's Rise of the Planet of the Apes (hereafter Rise) overcomes even James Franco–here miscast as a human–to produce something of a minor masterpiece. A prequel to the classic series' prequels-as-sequels, it follows the ascendancy of chimp Caesar (Andy Serkis, typecast in motion capture) as he's genetically engineered to be intelligent through an accident of birth, only to grow progressively more so in time with the devolution of adoptive human grandfather Charles (John Lithgow), who's ravaged by the Alzheimer's disease that the drug that makes Caesar smart was meant to cure. So while there's a decided "Flowers for Algernon" effect of the stuff on humans, in ape-kind it just sort of escalates geometrically, thus presenting Rise as kindred in spirit to J.J. Abrams's Star Trek reboot: problem-solving at the same pace it's delivering exceptional character moments and well-timed action sequences. Like Star Trek, too, incidentally, it's a wonderful surprise.