Justice League: Doom (2012) – Blu-ray + DVD + Digital Copy

Justice League: Doom (2012) – Blu-ray + DVD + Digital Copy

Posted in2012, Action, Animation, Authors: Jefferson Robbins, Blu-ray Disc, DVD, Sci-Fi, Superhero

***/**** Image A- Sound A- Extras B+
screenplay by Dwayne McDuffie, based on “Justice League: Tower of Babel” by Mark Waid
directed by Lauren Montgomery

by Jefferson Robbins I’ve figured out what Warner Premiere’s DC Universe features need: music-only audio tracks. At least, as long as Christopher Drake stays on as in-house composer. His scores, from All-Star Superman to Batman: Year One to the new Justice League: Doom, are varied, adventurous, and attuned to character in a way that puts, say, Michael Giacchino to shame. His music has the same evocative power as the fables from which it springs, and at times it outclasses the direct-to-video animation it adorns. I’m not sure Drake could do “sprightly and happy,” but as long as he’s scoring the DCU projects, he won’t get the chance. The non-sequential movies, overseen by long-time producer Bruce Timm, take their cues from DC Comics’ big-screen live-action entries like Superman Returns and The Dark Knight. Punch, mope, punch some more, mope, punch really hard… Both the aforementioned theatrical fare and the DCU cartoons are firmly in PG to PG-13 territory, because why would any little kid want to watch a Batman movie, right? Right, guys…?

Casablanca (1943) [Two-Disc Special Edition] DVD|[Ultimate Collector’s Edition] – Blu-ray Disc + [70th Anniversary Edition] – Blu-ray Disc

Posted in1940s, 2012, Authors: Bill Chambers, Authors: Walter Chaw, Best Picture (Academy Awards), Blu-ray Disc, Drama, DVD, Romance, War

Casablanca1

***/****
DVD – Image A+ Sound A Extras A
BD (Ultimate Collector’s Edition) – Image A- Sound B+ Extras A
BD (70th Anniversary Edition) – Image A Sound A Extras A
starring Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains
screenplay by Julius J. Epstein & Philip G. Epstein and Howard Koch, based on a play by Murray Burnett, Joan Alison
directed by Michael Curtiz

by Walter Chaw Whenever I watch Casablanca (and there’s a lot of pressure that comes with watching Casablanca (the chorus from Freaks rings in my head: “One of us, one of us, we accept you, one of us”)), I’m stricken by what the film would have been had Orson Welles or John Huston (or even Billy Wilder–Rick is, of course, the prototypical Wilder outsider) sat at the helm instead of the madly prolific Michael Curtiz. Schooled in German Expressionism, Curtiz, by the time of Casablanca, had lost much of anything like a distinctive visual style, and on this film, a troubled production from the start, there’s a lack of imagination to the direction that contributes, at least in part, to the way that Casablanca just sort of sits there for long stretches. For all of its magnificent performances (Claude Rains, best here or in Alfred Hitchcock’s Notorious; Peter Lorre, a personal favourite; and let’s not forget Sydney Greenstreet), Casablanca is curiously sterile: its politics are topical, but its love story is passionate by dint of history rather than proximate ardour. Ingrid Bergman arguably gave off more heat in Victor Fleming’s Dr. Jekyll and Mr. Hyde and inarguably did so in Gregory Ratoff’s Intermezzo. Casablanca is legendary, and that forgives a lot of its blemishes.

Belle de jour (1967) [The Criterion Collection] – Blu-ray Disc

Posted in****/****, 1960s, 2012, Authors: Jefferson Robbins, Blu-ray Disc, Drama, Esoterica, FFC Must-Own, France, Italy, Romance, The Criterion Collection

****/**** Image A Sound A+ Extras A
starring Catherine Deneuve, Jean Sorel, Michel Piccoli, Geneviève Page
screenplay by Luis Buñuel and Jean-Claude Carrière, based on the novel by Joseph Kessel
directed by Luis Buñuel

by Jefferson Robbins It’s fitting that a film about a woman agonizingly balanced between sexual repression and sexual freedom depicts an inner life balanced between two different periods in history. The opening moments of Luis Buñuel’s Belle de jour lead us to believe it will be a period piece. In a static wide shot, a black horse-drawn coach on a country lane leisurely approaches. Two bystanders appear to root in the hedges along the path, too distant to be clearly made out: Are they peasants? Estate groundskeepers? Our eyes are programmed now to expect something Edwardian, or, more applicable to the subject matter, Victorian. Only when an automobile makes a turn in the distance do we realize the setting is contemporary. The modernity comes as a jolt, but from this sequence we will return to some kind of imagined past again and again as the heroine–a very modern woman, one whose frightened explorations map the sexual realms of our own later decades–slips between the cracks in her own mind.

Tinker Tailor Soldier Spy (2011) – Blu-ray + DVD + Digital Copy

Posted in****/****, 2011, 2012, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Drama, DVD, Espionage, FFC Must-Own, France, Germany, Mystery, Thriller, UK

****/**** Image A Sound A Extras B
starring Gary Oldman, Colin Firth, Tom Hardy, John Hurt
screenplay by Bridget O’Connor & Peter Straughan, based on the novel by John le Carré
directed by Tomas Alfredson

by Walter Chaw The easy thing is to say that Tomas Alfredson has followed up his tremendous vampire flick Let the Right One In with another vampire flick, a story of Cold War British Intelligence as men in shadows, exhausted, living off the vibrancy of others. Yet Tinker Tailor Soldier Spy, the Swedish director’s adaptation of John le Carré’s seminal spy novel, is something a good deal more than a clever segue from one genre film to another. Less a companion piece to the latest Mission: Impossible than a bookend to Lars von Trier’s end-of-the-world Melancholia, it’s a character study, sure, but more accurately it’s an examination of a culture of gestures and intimations, where a flutter of an eyelid causes a hurricane in another part of a corrupt, insular world. Naturally, its timeliness has nothing to do with its literal milieu (all Russian bogeys and ’70s stylings)–nothing to do with recent world events that have an entire CIA cell blown up in Iran and Lebanon–and everything to do with its overpowering atmosphere of feckless power and utter resignation. It’s a spy thriller that Alfred Lord Tennyson would’ve written–the very filmic representation of acedia.

Conquest (1983); Contraband (1980); Zombie (1979) – DVDs + Zombie (1979) [2-Disc Ultimate Edition] – Blu-ray Disc

Posted in1970s, 1980s, 2012, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Blue Underground, Crime, Drama, Fantasy, Horror, Italy, Mexico, Morocco, Spain, Zombie

CONQUEST
½*/**** Image D+ Sound C
starring Fabio Testi, Marcel Bozzuffi, Ivana Monti, Guido Alberti
screenplay by Ettore Sanzo and Gianni de Chiara
directed by Lucio Fulci

Luca il contrabbandiere
**/**** Image B Sound B
starring Fabio Testi, Marcel Bozzuffi, Ivana Monti, Guido Alberti
screenplay by Ettore Sanzo and Gianni de Chiara
directed by Lucio Fulci

by Walter Chaw There’s something decidedly uncinematic about the films of Lucio Fulci (excepting Don’t Torture a Duckling and Four of the Apocalypse, which actually sort of rock). If not for his fascination with gore effects and his propensity for casting irritating children in irritating children parts, it’d be hard to find anything to separate his work from the grindhouse ghetto of, say, Jess Franco. As it is, the stilted claims at auteurism (he’s known as the master of eye violence, mainly for a few juicy bits from The Beyond and Zombie) do more, perhaps, to relegate his work to a sort of camp gulag: the Siberia of legitimate cinema, where adolescent tools congregate for midnight showings armed with irony and a crippling baggage of disdain and contempt. I liked “Mystery Science Theater 3000” and believed that I liked it because I was sophisticated; in time, you realize that you like it because you’re an officious prick who sort of gets off on mocking movies. I think a lot of people would argue that this is the role of the film critic, but I’d offer that a critic–a good one–loves film so much that he or she is offended when a movie is terrible. There’s no real joy in defiling altars, particularly when they’re your own.

Tom & Jerry: Golden Collection – Volume One (1940-1948) – Blu-ray Disc

Posted in1940s, 2012, Animation, Authors: Jefferson Robbins, Blu-ray Disc, Comedy, Short Films

***½/**** Image A Sound A Extras B-
“Puss Gets the Boot,” “The Midnight Snack,” “The Night Before Christmas,” “Fraidy Cat,” “Dog Trouble,” “Puss N’ Toots,” “The Bowling Alley-Cat,” Fine Feathered Friend,” “Sufferin’ Cats,” “The Lonesome Mouse,” “The Yankee Doodle Mouse,” “Baby Puss,” “The Zoot Cat,” “The Million Dollar Cat,” “The Bodyguard,” “Puttin’ On The Dog,” “Mouse Trouble,” “The Mouse Comes To Dinner,” “Flirty Birdy,” “Quiet Please!,” “Springtime For Thomas,” “The Milky Waif,” “Trap Happy,” “Solid Serenade,” “Cat Fishin’,” “Part Time Pal,” “The Cat Concerto,” “Dr. Jekyll and Mr. Mouse,” “Salt Water Tabby,” “A Mouse in the House,” “The Invisible Mouse,” “Kitty Foiled,” “The Truce Hurts,” “Old Rockin’ Chair Tom,” “Professor Tom”

by Jefferson Robbins They’re phenomenally enjoyable, but the conflict in Warner’s Roadrunner cartoons comes down to a lively protagonist pitting himself against something that’s not a character, nor even a “force of nature.” Nature, in fact, is suspended; Wile E. Coyote is struggling with a quantum impossibility. When he sets out after his prey, he finds laws of matter, energy, and motion suspended and reversed. (At times, the Roadrunner appears to move at lightspeed or beyond.) The Coyote applies Acme™ science to the chase, but discovers science doesn’t apply. The Roadrunner has no obvious inner life or larger goals, and seems to exist just to frustrate his pursuer. The Universe simply does not want the Coyote to catch this blankly-smiling creature with a void howling behind its eyes, and so he never will.

Strip Nude for Your Killer (1975) – DVD|Blu-ray Disc

Posted in1970s, 2012, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Blue Underground, Horror, Italy, Mystery, Thriller

Nude per l’assassino
***/****
DVD – Image A Sound C+ Extras C-
BD – Image C+ Sound B Extras C
starring Edwige Fenech, Nino Castlenuovo, Femi Benussi, Solvi Stubing
screenplay by Massimo Felisatti
directed by Andrea Bianchi

by Walter Chaw It’s easy to tag the prurient appeal of Andrea Bianchi’s Strip Nude for your Killer (if I’d discovered this film in my early teens, I never would’ve left the house), but without a lot of effort, its usefulness as a tool for dissecting its audience of voyeurs becomes clear as well. Indeed, it’s possible to see the picture as a hybrid of Michael Powell’s Peeping Tom (in the equation of scopophilia with rape and murder) and Michelangelo Antonioni’s Blow-Up (in its protagonist’s profession (fashion photographer), its boundaries-testing raciness, and a central mystery that hinges on a photograph), with every scene of obvious leering exploitation balanced by a long look in a mirror, a humiliating photo shoot (something we see in both Peeping Tom and Blow-Up) reflected upside-down in a metal surface, and what seems like knowing interpositions of an idea of retributive guilt at the film’s bloodiest moments. Before every giallo set-piece murder, in fact, Bianchi inserts a flash of the woman killed during a pre-credit sequence back-alley abortion. It might not be simple morality, but it does speak to a variety of morality: a championing of demi-innocents undertaken by a heavy-breathing avatar in a motorcycle helmet and leather. Could there be a whiff of the pro-woman picture in the unlikeliest of places?

Lady and the Tramp (1955) – Diamond Edition Blu-ray + DVD

Lady and the Tramp (1955) – Diamond Edition Blu-ray + DVD

Posted in1950s, 2012, Adventure, Animation, Authors: Bill Chambers, Blu-ray Disc, Christmas, Comedy, Disney, DVD, Family, Musical, Romance

**½/**** Image A Sound A- Extras A
animated; screenplay by Erdman Penner, Joe Rinaldi, Ralph Wright, Don Dagradi
directed by Hamilton Luske, Clyde Geronomi, Wilfred Jackson

by Bill Chambers Given that it may have the most famous scene in the Disney oeuvre, it’s odd that Lady and the Tramp doesn’t enjoy a better, or at least bigger, reputation. The first animated feature in CinemaScope, as well as the studio’s first original story1 and its first dog movie (various Pluto-starring shorts notwithstanding), the film, despite earning the highest grosses of any Disney production since Snow White and the Seven Dwarfs, seems to have been eclipsed in the public consciousness from a genre standpoint by 101 Dalmatians and from a cinematographic standpoint by Sleeping Beauty, each of which followed so closely on Lady and the Tramp‘s heels as to reduce history’s perception of it to a dry run. It’s a bit better than that, but, coveted “Diamond” status to the contrary, frankly not one of the greats.

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

Posted in2011, 2012, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Directors: Martin Scorsese, Drama, Family, Fantasy, France, Mystery, UK

Hugocapcap

*/**** Image A Sound A Extras B
starring Ben Kingsley, Sacha Baron Cohen, Asa Butterfield, Chloë Grace Moretz
screenplay by John Logan, based on the book The Invention of Hugo Cabret by Brian Selznick
directed by Martin Scorsese

by Walter Chaw Channelling Jean-Pierre Jeunet and Robert Zemeckis to numbing effect, the once-vital Martin Scorsese follows his elderly Shutter Island with the honest-to-God borderline-demented Hugo, in which the titular French urchin helps Georges Méliès reclaim his cinematic legacy. It’s a shrine to the birth of cinema, blah blah blah, the kind of thing someone as involved as Scorsese has been in film preservation was destined to make, I guess, at least at the exact moment that the ratio of working brain cells gave over the majority. It’s heartbreaking to see someone as vital as Scorsese used to be end up in a place as sentimental and treacly as this, resorting to retelling the Pinocchio story with little Hugo (Asa Butterfield) as a clock-fixer (really) whose life’s mission is to repair an automaton his dead dad (Jude Law) found in a museum attic–and who dreams one night that…wait for it…he himself is the hollow, broken automaton. I wish I didn’t have to go on. Did I mention that it’s in 3D? And that it’s two-and-a-half hours long but feels like a slow seven or eight? Seriously, Shoah is a breezier watch.

It Happened at the World’s Fair (1961) – DVD

Posted in1960s, 2012, Authors: Bill Chambers, Comedy, DVD, Musical, Romance

Ithappenedworldscap

*½/**** Image B+ Sound A
starring Elvis Presley, Joan O’Brien, Gary Lockwood, Vicky Tiu
screenplay by Si Rose and Seaman Jacobs
directed by Norman Taurog

by Bill Chambers Over the main titles, Elvis sings the jaunty “Beyond the Bend” (“Breeze sing a happy song/This heart of mine is singing right along”) from the cockpit of a cropduster. He playfully re-enacts North by Northwest by swooping down to ogle a couple of cuties in a convertible, telling his co-pilot, Danny (Gary Lockwood), that he can have the one in the red dress, ’cause “her ankles are a little thick.” It’s around this point that Elvis vehicles started to develop a sociopathic streak; Viva Las Vegas‘s crass reduction of anyone Elvis doesn’t need to literal cannon fodder is perhaps in the embryonic stage in these opening moments of It Happened at the World’s Fair, or when Mike ducks out on his quasi-daughter and his best friend without saying goodbye, effectively cutting them from the show-stopping, Music Man-ish final number.

Night Train Murders (1975) – Blu-ray Disc

Posted in1970s, 2012, Authors: Bryant Frazer, Blu-ray Disc, Blue Underground, Horror, Italy, Revenge

Nighttrainmurderscap

L’ultimo treno della notte
*½/**** Image B+ Sound B+ Extras C+
starring Flavio Bucci, Macha Méril, Gianfranco De Grassi, Enrico Maria Salerno
screenplay by Renato Izzo, Ettore Sanzò and Aldo Lado
directed by Aldo Lado

by Bryant Frazer It’s feeding time for the monsters again in director Aldo Lado’s 1974 quasi-giallo1 Night Train Murders, which sees the young and lovely Margaret and Lisa (Irene Miracle and Laura D’Angelo, respectively, making their film debuts) cross paths with violent criminals while travelling overnight by rail from Germany through Austria to Italy. The stage is set as Pacino-esque stickup man Blackie and his harmonica-blowing sidekick Curly (Flavio Bucci and Gianfranco De Grassi) mug an alcoholic sidewalk Santa Claus in Munich’s Marienplatz. Menace! With that kind of element loose in the cities, why would two girls choose to ride some skeevy midnight train into Italy instead of opting for a sensible air flight? From one mother to another, via telephone: “Planes are never on time these days.”

Annie Hall (1977) + Manhattan (1979) – Blu-ray Discs

Annie Hall (1977) + Manhattan (1979) – Blu-ray Discs

Posted in****/****, 1970s, 2012, Authors: Bryant Frazer, Best Picture (Academy Awards), Blu-ray Disc, Comedy, Romance

ANNIE HALL
****/**** Image A- Sound B+
starring Woody Allen, Diane Keaton, Tony Roberts, Carol Kane
screenplay by Woody Allen and Marshall Brickman
directed by Woody Allen

MANHATTAN
****/**** Image A- Sound B+
starring Woody Allen, Diane Keaton, Michael Murphy, Mariel Hemingway
screenplay by Woody Allen and Marshall Brickman
directed by Woody Allen

by Bryant Frazer I’ve fantasized for a good twenty years now about Anhedonia, the 140-minute workprint of what eventually became Annie Hall. The original title of the project–which seems in its reflexive analysis of Allen’s public persona to have been intended as something akin to an essay film–referred to an inability to experience pleasure. As unseen movies go, it has a lower pedigree than Tod Browning’s London After Midnight, Hitchcock’s The Mountain Eagle, or Orson Welles’s cut of The Magnificent Ambersons; the few who have seen it would agree that the released version was infinitely superior. But it’s tantalizing, because Woody Allen in 1976 and 1977 was such a formidable comic.

A Very Harold & Kumar 3D Christmas (2011) – Blu-ray + DVD + Digital Copy

Posted in2011, 2012, Authors: Angelo Muredda, Authors: Bill Chambers, Blu-ray Disc, Christmas, Comedy, DVD

Haroldandkumar3dxmascap1

**/**** Image B Sound B Extras D
starring John Cho, Kal Penn, Danny Trejo, Neil Patrick Harris
screenplay by Jon Hurwitz & Hayden Schlossberg
directed by Todd Strauss-Schulson

by Angelo Muredda The funniest moment in A Very Harold & Kumar 3D Christmas lasts about three seconds and comes at the end of a barrage of trite digs at the Occupy Wall Street movement that could have been written by Herman Cain at the height of his powers of lucidity. Harold (John Cho), who over the course of these movies has graduated from restless investment banker to high-rolling trader, has just been given a 3D TV that’s promised to “make Avatar look Avatarded,” and he’s about to leave the office through a mass of protestors when Princeton pal-turned-assistant Ken (Bobby Lee) begs to take the bullet for him. The bullet turns out to be a bunch of eggs, launched at the screen at various speeds and from various angles in the first of at least a dozen meta-3D gags that are supposed to be hilarious because having things thrown at you in 3D sucks.  It’s a shock when the shot of the aftermath is actually pretty good: poor Ken lies traumatized (or dead?) in a pool of yolk as a Lisa Gerrard knockoff wails incomprehensibly on the soundtrack, à la Black Hawk Down.

J. Edgar (2011) – Blu-ray + DVD + Digital Copy

Posted in2011, 2012, Authors: Angelo Muredda, Authors: Bill Chambers, Biopic, Blu-ray Disc, Clint Eastwood, Drama, DVD, Romance

**½/**** Image A- Sound A Extras C-
starring Leonardo DiCaprio, Naomi Watts, Armie Hammer, Judi Dench
screenplay by Dustin Lance Black
directed by Clint Eastwood

by Angelo Muredda To say that latter-day Clint Eastwood is an acquired taste seems slightly inaccurate, in that it implies a certain consistency on both the filmmaker’s and the viewer’s part: while even Invictus and the “Touched by an Angel” outtake Hereafter have their fans, you don’t find many of them championing, say, the delirious Europop ballads that punctuate the former. (“And it’s not just a game/They can’t throw me away/I put all I had on the line,” sings a mysterious crooner whose song is played in toto as Mandela descends his helicopter and paces the rugby field.) So let’s propose instead that the master of sepia’s recent output has been rather like a series of inkblots, in which perfectly smart people have seen completely different things. Some, for instance, find much to admire in the simultaneously milquetoast and monstrous Million Dollar Baby, which I’ve always read as Eastwood’s last laugh at disability-rights activists for a failed lawsuit involving an inaccessible inn he ran years prior; others dismiss Gran Torino, his most watchable film since Unforgiven, as a rare spot of trash. All of this is to say, rather sheepishly, that I kind of liked fusty old J. Edgar, even as I recognized it as a train-wreck throughout. People have been very kind to Eastwood in this restless period, calling his choice of projects as disparate as Changeling and Letters from Iwo Jima “varied,” but it’s only with J. Edgar that I’ve understood their spirit of generosity: It’s such a chameleonic grab-bag of ideas, good and bad, that some of it can’t help but appeal, regardless of whether the entire thing works. (It doesn’t.)

The Rules of the Game (1939) [The Criterion Collection] – Blu-ray Disc

Posted in****/****, 1930s, 2012, Authors: Jefferson Robbins, Blu-ray Disc, Comedy, Directors: Jean Renoir, Drama, FFC Must-Own, France, Satire, The Criterion Collection

Rulesofthegame

La règle du jeu
****/**** Image A Sound A Extras A+
starring Nora Grégor, Marcel Dalio, Mila Parély, Roland Toutain
screenplay by Jean Renoir and Carl Koch
directed by Jean Renoir

by Jefferson Robbins One political cue most firmly plants Jean Renoir’s masterwork in pre-World War II France, and it doesn’t come amidst the posturing of the elegant rich at La Colinière country manor. Rather, it’s in the kitchen, where the domestic staff breaks bread and gossips about the master of the house, the Marquis Robert De La Chesnaye (Marcel Dalio), outed by the help as a “yid” whose family made good with money and a title. The gossipers turn for confirmation to the huntsman who’s just materialized on the stairs, and the combination of words is chilling: “Isn’t that right, Schumacher?” The italics are mine, and despite the fierce Teutonic consonants of his name, the Marquis’s game warden (Gaston Modot) is Alsatian. He remains metaphorically sticky, though, since his home state was variously French or German for 200 years, and his dress and cap bespeak armed authority. He’s rough and field-hardened, arguably ignorant, and looked down upon by his fellow servants, who see him as a thing apart from their world. Cuckolded and exiled from his wife, the housemaid Lisette (Paulette Dubost), he’s also the most prone to physical violence as he seeks to control her and eliminate all rivalry. On the matter of La Chesnaye’s Jewishness, Schumacher demurs: “I don’t know what you’re talking about.” But the point is made, the knife already twisted.

Tyrannosaur (2011)

Posted in2011, 2012, Authors: Angelo Muredda, Drama, Theatrical, UK

**/****
starring Peter Mullan, Olivia Colman, Eddie Marsan
written and directed by Paddy Considine

by Angelo Muredda Spielberg defenders who insist their master hasn’t lost his grisly touch post-E.T. often point to the dead dog in The Lost World: Jurassic Park as proof of life. If dispatching a pooch is still the fastest way to collect a certificate of edginess, props to Paddy Considine, who’s surely earned a gilded plaque for getting the unseemly job done before the opening credits of his first feature. (Not that animal lovers should take the title card as a cue to uncover their eyes.) Actor-turned-director Considine immediately stakes his claim to Ken Loach’s British underclass miserablism, casting My Name Is Joe star Peter Mullan as the dog-stomper in question. But there’s miserable…and then there’s Tyrannosaur. Loach’s best films have an incendiary quality, a direct line to the political, that Considine buries under a fast-mounting heap of dead dogs. Certainly, there’s no requirement that directors who train their eyes on such bleak social milieus mitigate the darkness and usher us out the door with sunshine: comparable films like Lynne Ramsay’s Ratcatcher stay successfully mired in the mud without collapsing into nihilism. That said, what we might expect of a project so invested in the stultifying effects of poverty is a better sense of what’s eating its characters, rather than platitudes arguing that to be poor and male in Northern England is to be a bat-wielding tyrant whose empty rage extends even to canines.

The Artist (2011)

Posted in2011, 2012, Authors: Walter Chaw, Belgium, Best Picture (Academy Awards), Comedy, Drama, France, Romance, Silent, Theatrical

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

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

Coriolanus (2011)

Posted in2011, 2012, Authors: Angelo Muredda, Drama, Shakespeare, Theatrical, Thriller, UK, War

***/****
starring Ralph Fiennes, Gerard Butler, Vanessa Redgrave, Brian Cox
screenplay by John Logan, based on the play by Edward de Vere
directed by Ralph Fiennes

by Angelo Muredda Ralph Fiennes has been building up to Coriolanus for some time. Whether as a scarred or just nervous exile in The English Patient and The Constant Gardener, respectively, or as the noseless ghoul of the Harry Potter movies, he’s served as the embodiment of human refuse for a long stretch of his career–the English go-to for wanderers, burn victims, and miscellaneous banished men. It’s a treat, then, to watch him take relish in the part of the ultimate cast-off, a Roman general chewed up and spit out by the city for which he earned his war wounds. The actor’s hyphenate debut, Fiennes’s adaptation of Shakespeare’s Coriolanus is a curio, to be sure: It isn’t so much directed as cobbled together from the source and fed through CNN-style reportage of armed fighting in the Balkans. But as a star vehicle, for both himself and the incomparable Vanessa Redgrave, it’s a powerful match between actor and character. While the general-turned-politician’s fine suit hangs awkwardly on the brute it houses, for Fiennes, Coriolanus is a good fit.

Batman: Year One (2011) – Blu-ray + DVD + Digital Copy

Posted in2011, 2012, Action, Animation, Authors: Jefferson Robbins, Blu-ray Disc, Crime, DVD, Superhero

***/**** Image A- Sound A Extras B
screenplay by Tab Murphy, from the comics story by Frank Miller
directed by Sam Liu and Lauren Montgomery

by Jefferson Robbins Before he was a grouchy and politically nearsighted old man with enough clout to cast Scarlett Johansson in a $60M fetish video, Frank Miller truly did change the face of mainstream superhero comics. Doing so brought him fame as a visionary, a label that implies prophetic or pioneering concepts but–at least in comics art–is most commonly applied to artists fusing pre-existing styles into a successful hybrid, or distilling an old story to its barest elements. Miller did both. In fact, between 1986’s “The Dark Knight Returns” and the 1987 “Batman: Year One” arc, his reengineering of the Batman mythos wasn’t so much a thrusting of the character forward into the 1980s as a slingshotting back to the 1970s. The core fact of Batman, viewed in the light of Taxi Driver, is that he’s Travis Bickle with a cape and lots of money. What is Travis’s mohawk if not a costume to strike fear into the hearts of criminals? What is his trick pistol sling, fashioned from a typewriter carriage, but a blue-collar utility belt? And what is the hardboiled dialogue Miller puts in Bruce Wayne’s mouth–better read than spoken–but Bicklean self-justification? No coincidence that Batman’s first, badly-botched outing as a crimefighter in “Year One” involves the violent rescue of an underaged prostitute.

A Separation (2011)

Posted in2011, 2012, Australia, Authors: Angelo Muredda, Drama, France, Iran, Theatrical

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

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