Sundance ’06: Awesome; I Fuckin’ Shot That!

Posted in2000s, 2006, Authors: Alex Jackson, Concert Doc, Documentary, Esoterica, Film Festivals, Music, Sundance

Awesome; I Shot That!
½*/****
directed by Nathanial Hörnblowér

by Alex Jackson Given that I was about halfway through a really nasty cold when I saw The Beastie Boys‘ Awesome; I Fuckin’ Shot That!, I probably wasn’t in the right frame of mind to judge its merits. With that disclaimer in place, this has to be the loudest movie I have ever seen. At the end of the ordeal, I felt as though band members Mike D, Adam Horowitz, and Adam Yauch had burrowed inside my brain and gone to work with an iron frying pan. I’ll cop to preferring masochistic cinematic experiences in general and getting angry and frustrated by movies that want little more than to cheer me up–but from now on, I’m going to draw the line at Beastie Boys concert films. At their 2004 Madison Square Garden show, The Beastie Boys handed out cameras to 50 audience members with instructions to shoot anything that interested them; Awesome; I Fuckin’ Shot That! was culled from their footage. It sounds like a pretty daffy idea, but the results are much better than you would expect–or, more accurately, they seem to reflect the vision of director Yauch (credited as Nathanial Hörnblowér). The visuals are every bit as aggressive as the music: they push you down, smash your skull against the pavement, and don’t stop until they see the pink stuff. There are few moments where The Beastie Boys are not performing and there are few shots that don’t underscore the music. It’s cinematic, it’s fast, and it leaves you bruised and wounded.

Sundance ’06: Adam’s Apples

Posted in2000s, 2006, Authors: Alex Jackson, Comedy, Crime, Denmark, Drama, Film Festivals, Germany, Sundance

Adams æbler
*/****
starring Ulrich Thomsen, Mads Mikkelsen, Nikolaj Lie Kaas, Nicolas Bro
written and directed by Anders Thomas Jensen

by Alex Jackson Adam’s Apples begins with a Danish skinhead (Ulrich Thomsen) getting off a bus at a halfway house out in the country and keying the vehicle as it drives away, immediately telling us that this isn’t going to be a movie that seriously considers the economic origins and social ramifications of the Danish white-supremacist movement. The skinhead, whose name is Adam, meets the other inhabitants of the halfway house, which include an Arabic stickup-man (who speaks in adorably broken Danish and only robs stores he has a political beef with) and an obese, bearded, childlike sex offender, just so the film can unfairly invite comparisons to Samuel Fuller’s Shock Corridor. The halfway house is run by Ivan (Mads Mikkelsen), a widowed minister who may very well be crazier than his flock! He’s kind of out of it, refusing to believe that his brain-damaged son isn’t able to walk or talk and always firmly turning the other cheek whenever Adam confronts him with the obvious or beats him up in frustration. Ivan requires Adam to think up a short-term goal and follow through on it. Adam rebelliously wisecracks that he would like to bake an apple pie; Ivan, the good-natured idiot, assigns Adam to take care of the church’s lone apple tree. Adam’s Apples is a combination of the “Loveable Crazies” and “The Reformation of Grumpy Bear” sub-genres of pandering middlebrow pap.

In Her Shoes (2005) [Widescreen] – DVD

In Her Shoes (2005) [Widescreen] – DVD

Posted in2000s, 2006, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, Germany, Romance, UK

**½/**** Image B Sound B+ Extras B-
starring Cameron Diaz, Toni Collette, Shirley MacLaine, Mark Feuerstein
screenplay by Susannah Grant, based on the novel by Jennifer Weiner
directed by Curtis Hanson

by Walter Chaw It looks like exactly the kind of formula chick-lit/chick-flick I detest, and not just because, for the most part, when you call something a “chick-” anything, you’re doing it at the expense of the “Sex and the City” bimbos you imagine flock to this garbage like a swarm of Jimmy Choo shoe-flies. But Curtis Hanson, with In Her Shoes, overcomes (for an hour or so) that pigeonholing the same way he survived working with Eminem and Brittany Murphy–the same way he brought an adaptation of James Ellroy’s un-adaptable L.A. Confidential to the screen and managed to tremor the delicate, carefully-sheathed grace nerve of Michael Chabon in Wonder Boys. His protagonists are worried about their weight, their bank account, and their shoes, of course, but Hanson (whose biggest accomplishment may be in disguising screenwriter Susannah Grant’s propensity to pander to her audience in nasty, hypocritical strokes) makes those worries seem important in dissecting the psychology and interpersonal dynamics of his feuding sisters and wizened grandmamma. He shoots Philadelphia as though it were a blight and Florida like a shimmering summer daydream (or a Coppertone commercial)–and I thought that the moment that I would lose respect for it would come around the corner of every single epiphany, but it didn’t arrive until admirably late in the game. It’s a chick-flick, no question, but it’s one with half a brain. Not much, but half a brain is half more than expected.

Pickpocket (1959) [The Criterion Collection] – DVD

Pickpocket (1959) [The Criterion Collection] – DVD

Posted in****/****, 1950s, 2006, Authors: Walter Chaw, Drama, DVD, Esoterica, FFC Must-Own, France, The Criterion Collection

****/**** Image A Sound A Extras A+
starring Martin La Salle, Marika Green, Jean Pelegri, Dolly Scal
written and directed by Robert Bresson

by Walter Chaw Manny Farber described the films of Robert Bresson as “crystalline,” and it’s hard to argue with the singular idea of purity represented by that word: they’re all of gesture and implication, reduced down to the purest grist so that the powder of dramatic movements, rubbed together, might hum in miniature perfection. Diderot, Tolstoy, and especially Dostoevsky are sent to the kiln in Bresson, emerging at the end as a distillation thick with the observation that human behaviour, winnowed down, is only as mysterious as the mechanical motions of insects. When you use a term like “crystalline,” you evoke clockwork–the inner workings of music boxes, say. It’s wilfully, damnably, emotionally inscrutable, of course, and if it also calls to mind a watchmaker and his intricate art, then find another explanation for Bresson’s fascination with, and eroticizing of, the secret life of hands.

Sundance ’06: Thin

Posted in2000s, 2006, Authors: Alex Jackson, Documentary, Film Festivals, Sundance
**½/**** directed by Lauren Greenfield by Alex Jackson Everybody hates the anorexic/bulimics. It's a disease exclusive to spoiled white girls with "negative body image"--a pseudoscientific catchphrase of the pseudoscientific psychiatric community that dominated in the diagnosis-happy 1970s. While people in the rest of the world--the rest of the country, even--starve from hunger, these rich brats "restrict" themselves or "purge." Not helping matters any re: Thin, the rare documentary to revolve around something other than Iraq or exotic animals, is that it's a film about an upper-middle-class disease targeted at an upper-middle-class audience. This is an easier subject for them to…

Sundance ’06: Cinnamon

Posted in2000s, 2006, Authors: Alex Jackson, Documentary, Drama, Film Festivals, Sundance
*½/**** starring John Bowles, Erin Stewart, Ashley Bowles, Larry Bowles written and directed by Kevin Jerome Everson by Alex Jackson Taking my cue from the official description in the Sundance Film Festival Film Guide, I've been referring to Cinnamon as "the black race-car driver movie." Depiction of race in the movies is a real dilemma: Being black is either meaningful or meaningless. If it's meaningful, that means the black identity is distinguished from non-blacks and is more or less alien and incomprehensible to non-blacks. If being black is meaningless, well, then why make a racing movie with an all-black cast?…

Mr. Frears Presents: FFC Interviews Stephen Frears

Posted in2000s, 2006, Authors: Walter Chaw, Interviews, UK

January 29, 2006|My first glimpse of lanky British director Stephen Frears was in passing as he took shelter from a frigid early-December wind in a doorway in front of Denver’s historic Brown Palace Hotel. Iconoclastic at the least, Frears turned his back on a career in law and began his tutelage in the arts at the Royal Court Theatre under Karel Reisz and, eventually, Lindsay Anderson, on whose fantastic If… he worked before making his feature debut with Gumshoe in 1971. A two-film partnership with playwright Hanif Kureishi later yielded My Beautiful Laundrette and Sammy and Rosie Get Laid, and they, along with the magnificent Joe Orton biopic Prick Up Your Ears, brought Frears to the attention of Hollywood, where he’s since had his share of ups (Dangerous Liaisons, The Grifters, and High Fidelity) and downs (Hero and Mary Reilly, high-profile flops made back-to-back for the same studio).

Sundance ’06: The Ground Truth

Posted in2000s, 2006, Authors: Alex Jackson, Documentary, Film Festivals, Sundance, War
The Ground Truth: After the Killing Ends **/**** directed by Patricia Foulkrod by Alex Jackson Too often, I feel that critics and audiences place documentaries at the kids' table, refusing to critique them on the same level they do fiction films. Narration from the director, sit-down interviews with the subjects--in terms of filmmaking, we let documentaries get away with a lot of really primitive shit we probably wouldn't otherwise. Patricia Foulkrod's The Ground Truth is a pretty good rant, but not much of a movie; Foulkrod made it because she had a burning desire to say something, not because she…

Sundance ’06: Jewboy

Posted in2000s, 2006, Australia, Authors: Alex Jackson, Drama, Film Festivals, Sundance
***½/**** starring Ewen Leslie, Naomi Wilson, Saskia Burmeister, Leah Vandenburg written and directed by Tony Krawitz by Alex Jackson Following his father's death, Orthodox Jew Yuri quits his rabbinical training and applies for a job as a taxi driver. He's mad at God, mad at his Jewish faith, and eager to experience a world that has been denied him all his life. Jewboy is perhaps the best Martin Scorsese film Martin Scorsese never made--and by that I mean, of course, the Scorsese of Mean Streets, Taxi Driver, and The Last Temptation of Christ rather than the more imitated (and imitable)…

Sundance ’06: The Proposition

Posted in2000s, 2006, Australia, Authors: Alex Jackson, Crime, Drama, Film Festivals, Sundance, UK, Western

*/****
starring Guy Pearce, Ray Winstone, Danny Huston, John Hurt
screenplay by Nick Cave
directed by John Hillcoat

by Alex Jackson In his review of Rene Cardona’s exploitation quickie about the Jonestown Massacre Guyana: Cult of the Damned, Roger Ebert describes how Cardona ends the film with photos of the real-life victims while the audience is solemnly reminded that “those who forget the past are doomed to repeat it,” prompting Ebert to crack, “So remember, don’t drink cyanide.” I only wish that John Hillcoat’s The Proposition were that lucid in delivering its Important Lesson. This is a movie at least as gory and brutal as Eli Roth’s Hostel, the highlights being an exploding head and an extended, Gibson-esque flogging of a prisoner. And Hillcoat loves flies: they’re always buzzing over the carrion, the human corpses, the gourmet meals, and the sweat of the film’s grotesquely hairy Australian men. I don’t have a problem with gore per se, but I do have a problem with the self-important joylessness with which it’s depicted here–and frankly, The Proposition hasn’t any justification for its austere tone.

Jerry Lewis: The “Legendary Jerry” Collection – DVD

Posted in1950s, 1960s, 2006, Authors: Travis Mackenzie Hoover, Comedy, Drama, DVD, Family, Music, Romance, Sci-Fi

by Travis Mackenzie Hoover If you’re savvy enough to read film criticism, you probably know it’s supposed to be funny that the French love Jerry Lewis. We all have a big, self-satisfied laugh when we first hear that, as if anyone could take Jerry Lewis seriously. (We certainly didn’t.) But the thing is, there aren’t a lot of people who will admit to actually seeing one of his movies–the Lewis hate-on has become so intense that the only thing remaining of him is the joke; he’s the scapegoat of anti-French resentment and anti-intellectual hostility, as if only frogs and eggheads could possibly find anything redemptive in his work. Thus, a generation has shunned his films, never to know if there really is a centre to the onion, something more than mugging to the Lewis mystique.

Thumbsucker (2005) + The Chumscrubber (2005) – DVDs

Thumbsucker (2005) + The Chumscrubber (2005) – DVDs

Posted in2000s, 2006, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, Satire, Teen

THUMBSUCKER
**/**** DVD – Image A- Sound B+ Extras B
starring Lou Pucci, Tilda Swinton, Vincent D’Onofrio, Keanu Reeves
screenplay by Mike Mills, based on the novel by Walter Kirn
directed by Mike Mills

by Walter Chaw With the brief reprieve offered the Sundance imprint by Junebug now smelling a lot more like “fluke” than “trend,” find Mike Mills’s underwhelming Thumbsucker, another Sundance sensation so familiar in its affected suburban quirk that its peculiarities seem like formula and its attacks on middle-class perversity and malaise seem all too comfortable. There simply isn’t much heart left in this pursuit, this punching of holes into the façade of planned communities and their plastic citizenry–this central conceit of broken people leaning on psychic crutches as the apocalypse of the day-to-day cascades in on them in blue, stylized waves.

The Three Burials of Melquiades Estrada (2005)

Posted in2000s, 2006, Adventure, Authors: Walter Chaw, Crime, Drama, France, Mexico, Mystery, Theatrical, Western

*½/****
starring Tommy Lee Jones, Barry Pepper, Julio Cesar Cedillo, Dwight Yoakam
screenplay by Guillermo Arriaga
directed by Tommy Lee Jones

by Walter Chaw Crash by way of Cormac McCarthy, Tommy Lee Jones’s “fuck you” of a mouthful The Three Burials of Melquiades Estrada is another fairytale salvo from the race divide, fired from that good place that results in cultural artifacts so unbearably cheesy and proselytizing that any potential heat is lost long before the second reel has finished unspooling. It’s about serendipity, this elegy for the American West, hence no transgression is left unredeemed in its long, rambling, “it’s good for you, so swallow it” narrative, with blame going in equal portion to Jones–whose smug, smarter-than-you are attitude has shoehorned him into prestigious position as the resident asshole of Man of the House, Men in Black II, and The Missing–and screenwriter Guillermo Arriaga (21 Grams, Amores Perros), who paints every Mexican in the film in the same shade of saintly. (All the gringos, on the other hand, have a lot to learn about the grand mystery of being human.) It’s tedious, unsurprising stuff, this picture–the kind of thing that gets the Right in a bunch about how Hollywood is a tool of the subversive Lefties while making smart folks on both sides of the Culture War cringe before its condescension.

The Alan Clarke Collection – DVD

Posted in1970s, 1980s, 2006, Authors: Travis Mackenzie Hoover, Blue Underground, Crime, Documentary, Drama, DVD, Esoterica, Prison, Television, UK

SCUM (BBC VERSION) (1977)
***½/****
starring Ray Winstone, Phil Daniels, David Threfall
screenplay by Roy Minton
directed by Alan Clarke

SCUM (THEATRICAL VERSION) (1979)
***½/****
starring Ray Winstone, Phil Daniels, Mick Ford
screenplay by Roy Minton
directed by Alan Clarke

MADE IN BRITAIN (1982)
***½/****
starring Tim Roth, Eric Richard, Terry Richards
screenplay by David Leland
directed by Alan Clarke

THE FIRM (1989)
***/****
starring Gary Oldman, Lesley Manville, Phillip Davis
screenplay by Al Hunter
directed by Alan Clarke

ELEPHANT (1989)
***½/****
screenplay by Bernard MacLaverty
directed by Alan Clarke

DIRECTOR: ALAN CLARKE (1991)
**/****
directed by Corin Campbell-Hill

by Travis Mackenzie Hoover What would Andre Bazin have made of Alan Clarke? Both the thinker and the maker were committed to capturing something real, the one stoked on Italian neo-realism and the verity of deep-focus long takes, the other brilliantly deploying montage and the Steadicam. But where Bazin was a passive sort of theorist, Clarke was all about rubbing your face in the action, his efforts to conceal his method of brutal madness to the contrary. He single-handedly redeemed the often stuffy and half-considered mode of British social realism, wiping clean the condescending memory of Richardson, Reisz, and early Lindsay Anderson and even eclipsing old reliable Ken Loach in his commitment to a version of reality. Clarke rescued the genre from high-mindedness and shoved it into your gut like something built from scratch in the borstal hell of his Scum.

Flightplan (2005) [Widescreen] – DVD

Flightplan (2005) [Widescreen] – DVD

Posted in2000s, 2006, Authors: Bill Chambers, Authors: Walter Chaw, Drama, DVD, Mystery, Thriller

*½/**** Image B- Sound A Extras B+
starring Jodie Foster, Peter Sarsgaard, Erika Christensen, Sean Bean
screenplay by Peter A. Dowling and Billy Ray
directed by Robert Schwentke

by Walter Chaw The bad guys have a plan, and to pull it off they need only total omniscience and omnipotence, putting Robert Schwentke’s Flightplan in the company of hysterical caper flicks like Arlington Road–though it’s also the kind of hysterical estrogen melodrama à la Mildred Pierce in which Jodie Foster specializes these days. Between this and Panic Room, it almost seems as if Foster is taking tough maternal roles to protect the over-exposed, maybe-exploited child actress she used to be, to the point where the quality of the project itself comes second.

Looking for Comedy in the Muslim World (2006) + Why We Fight (2006)

Posted in2000s, 2006, Authors: Walter Chaw, Canada, Comedy, Denmark, Documentary, France, Satire, Theatrical, UK, War

LOOKING FOR COMEDY IN THE MUSLIM WORLD
*/****
starring Albert Brooks, John Carroll Lynch, Sheetal Sheth, Fred Dalton Thompson
written and directed by Albert Brooks

WHY WE FIGHT
**/****
directed by Eugene Jarecki

by Walter Chaw The most frustrating thing about Albert Brooks's crushingly boring, infuriatingly unfunny Looking for Comedy in the Muslim World (hereafter Comedy) is the possibility that such was the intention all along. 'Lost in Arabia' (well, India and Pakistan–let's not get crazy, here) finds Brooks doing a high-wire act with post-modernism–the same one he's been doing his whole career, as it happens. At some point, though, it's fair to wonder how long you can push self-awareness before it finally flies apart in a storm of narcissistic deconstruction. Mull over, if you will, a moment where Brooks (as Brooks) recreates one of his classic gags–involving the world's most ironically-tragic ventriloquist–in the middle of an interminable stand-up routine staged in a New Delhi auditorium, closing his act with the dummy (the wooden one) drinking a glass of water. It's Brooks, and Brooks's film, in microcosm: a man who returns the term "mortification" to ritual and religion while being incapable of subsuming the belief that he's still the smartest guy in the room. The trick of Comedy is that in making a movie that isn't very funny about a man who isn't very funny in the middle of a gulf of cultural misunderstanding that's especially not very funny, Brooks hopes to draw a corollary between how the troubles of the world boil down to everybody's inability to communicate. As revelations go, it's not earth-shattering. Guess it goes without saying that it's also not worth the effort to get there.

The PianoTuner of EarthQuakes (2006); Mutual Appreciation (2006); Unknown (2006)

Posted in2000s, 2006, Animation, Authors: Walter Chaw, Crime, Drama, Esoterica, Family, Fantasy, France, Germany, Music, Mystery, Romance, Theatrical, Thriller, UK

THE PIANOTUNER OF EARTHQUAKES
*½/****
starring Amira Casar, Gottfried John, Assumpta Serna, César Saracho
screenplay by Alan Passes and The Quay Brothers
directed by The Quay Brothers

MUTUAL APPRECIATION
***½/****
starring Justin Rice, Rachel Clift, Andrew Bujalski, Seung-Min Lee
written and directed by Andrew Bujalski

UNKNOWN
½*/****
starring Jim Caviezel, Greg Kinnear, Bridget Moynahan, Joe Pantoliano
screenplay by Matthew Waynee
directed by Simon Brand

by Walter Chaw The Quay Brothers, Stephen and Timothy, are marvellous animators, having shepherded stop-motion and a disquieting biomechanical ethic into a series of notably discomfiting shorts, more than one of which pays tribute to their hero/mentor Jan Svankmajer. I met their 1995 transition to live-action features (Institute Benjamenta) with equal parts excitement, curiosity, and trepidation–I believed they'd be a little like either fellow animator-turned-director Tim Burton or those masters of a form who overreach by switching to a different medium, à la Michael Jordan. The truth is somewhere in-between, as the Quays have retained a bit of their glacial patience and a marked affection for created environments but have miscalculated the extent to which our fascination with animate clockworks translates into a commensurate fascination with people sitting around, staring at a wall. The former inspires existential thoughts on the nature of sentience; the latter generally inspires boredom. No question in my mind that something's lurking in the Quays' underneath, but it's important to mark that fine line distinguishing fascination from obtuseness for the sake of itself. Exploring the waking/dreamlife divide is interesting–but it's neither original nor terribly useful when the main tactic seems to be to conjure up pomposity-inspired sleepiness.

Two for the Money (2005) [Widescreen] – DVD

Posted in2000s, 2006, Al Pacino, Authors: Travis Mackenzie Hoover, Crime, Drama, DVD, Sports

**/**** Image B+ Sound A- Extras B-
starring Al Pacino, Matthew McConaughey, Rene Russo, Armand Assante
screenplay by Dan Gilroy
directed by D.J. Caruso

by Travis Mackenzie Hoover Finally, a movie as loud and incoherent as Al Pacino himself. He's the resident corruptor of Two for the Money, and the film gives him massive monologues of dubious insight just so the Duke of Hambone can do his thing. Sadly, he's not the one running the show–that honour belongs to the perpetually-ripped Matthew McConaughey, whose role requires him to look mesmerized as Pacino talks of things that "pucker your asshole to the size of a decimal point." Two for the Money sure has that effect: the experience is assaultive in so many ways that you're likely to be riveted even as you wish it would all go away.

Transamerica (2005) + Mrs. Henderson Presents (2005)

Posted in2000s, 2006, Adventure, Authors: Walter Chaw, Comedy, Drama, Music, Road Movie, Theatrical, UK, War

TRANSAMERICA
**/****
starring Felicity Huffman, Kevin Zegers, Fionnula Flanagan, Graham Greene
written and directed by Duncan Tucker

MRS. HENDERSON PRESENTS
*½/****
starring Judi Dench, Bob Hoskins, Will Young, Christopher Guest
screenplay by Martin Sherman
directed by Stephen Frears

by Walter Chaw Duncan Tucker makes his hyphenate debut with Transamerica, one of the first pictures distributed by the Weinsteins under their new aegis. Predictably, all the earmarks of the earnest indie genre Miramax blazed are cemented into place: it's over-written when it's not overreliant on a soundtrack of ethnically-cued melodies (the wood flute marks the appearance of an Indian, for instance) and folksy ballads (I challenge you not to 'pit up when a tune about a rose blooming accompanies our hero swapping his "outie" for an "innie"); narratively creaky; and hangs its hopes on its star, Felicity Huffman, to impose nuance where there is none. Huffman's performance being the sort of stunt in a minor independent film that plays fast and loose with smug liberal paternalism should guarantee her an Oscar nomination–and it can't hurt that another Leonardo DiCaprio doppelgänger arrives post-Michael Pitt in the form of Kevin Zegers, trailing a little pathos and a little inappropriate titillation on his thin shoulders.

The Scalphunters (1968) – DVD

Posted in1960s, 2006, Authors: Alex Jackson, Comedy, DVD, Western

**/**** Image A- Sound B
starring Burt Lancaster, Shelley Winters, Telly Savalas, Ossie Davis
screenplay by William Norton
directed by Sydney Pollack

by Alex Jackson In that glorious blow-job-thinly-disguised-as-a-documentary Stanley Kubrick: A Life in Pictures, director Sydney Pollack claims to remember Pauline Kael's pan of 2001: A Space Odyssey "very well." A decade later, he says, the film was considered a classic–suggesting that Kael was seriously out of touch when she reviewed it, I guess. Pollack fails to mention the punch line, though: in the same piece, a notorious essay called "Trash, Art, and the Movies," Kael exalts Pollack's own The Scalphunters! 2001 is pretty lousy art, she decided, while The Scalphunters is pretty great trash. Between the two, she frankly prefers The Scalphunters.