John Carpenter’s Escape from L.A. (1996) – Blu-ray Disc|4K Ultra HD + Digital Code

February 14, 2022Posted in1990s, 2014, 2022, 4K Ultra HD, Action, Adventure, Authors: Bill Chambers, Authors: Bryant Frazer, Blu-ray Disc, Directors: John Carpenter, Sci-Fi, Thriller

Vlcsnap-2022-02-14-13h47m30s651Please note that these screencaps are from an alternate source and do not necessarily reflect either of the discs covered herein.

**/****
BD – Image A- Sound B+
4K – Image A- Sound A-
starring Kurt Russell, Stacy Keach, Steve Buscemi, Cliff Robertson
screenplay by John Carpenter & Debra Hill & Kurt Russell
directed by John Carpenter

by Bryant Frazer The 1990s were unkind to John Carpenter: The stock market was booming, there was a Democrat in the White House, and the American horror film was at a low ebb. That was the decade when Carpenter–arguably the best B-movie auteur in the world during the 1980s and certainly the most audacious–lost his mojo. Exhausted from the experience of making two genre classics (They Live and Prince of Darkness) back to back, Carpenter took a couple of years off from filmmaking. When he was ready to work again, he considered making The Exorcist III but eventually settled on an ill-fated Chevy Chase vehicle, the $40 million sci-fi adaptation Memoirs of an Invisible Man, that torpedoed his attempted return to big-budget filmmaking. Carpenter tore through three more projects in the next three years–the Showtime horror anthology Body Bags, the Lovecraft riff In the Mouth of Madness, and a Village of the Damned remake–before deciding to pillage his own back catalogue with a sequel to the dystopian Escape from New York.

All the Moons (2020) – Shudder

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

Allthemoons

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

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

Becoming: An Interview with Mark Pellington

February 8, 2022Posted in2022, Authors: Walter Chaw, Interviews

Markpellingtoninterviewtitle

Mark Pellington's body of work deserves serious reconsideration. It describes the arc of a serious artist, someone tapped into a collective threnody, a manifest weltschmerz expressed increasingly through techniques that move him away from traditional narratives into exclusive realms of movement and music. Schooled in rhetoric, Pellington made his mark as one of the early pioneers of MTV and music video, helming clips for artists as varied as U2 and Anthrax. His video for Pearl Jam's "Jeremy" is seen as a landmark for the form in terms of its expressiveness and willingness to venture into dark places (child abuse, bullying, suicide). Pellington was inspired at that moment by the recent loss of his father to dementia–an experience he hopes to turn into a movie someday–and it's that throughline of grief, as it moves through stages of rage, denial, and addiction, that informs the work of his lifetime. Each unimaginable loss feeds Pellington's next project. I'm in awe of his transparency and courage.

The Worst Person in the World (2021)

February 2, 2022Posted in2021, 2022, Authors: Walter Chaw, Comedy, Denmark, Drama, France, Norway, Romance, Sweden, Theatrical

Worstpersonintheworld

Verdens verste menneske
***½/****
starring starring Renate Reinsve, Anders Danielsen Lie, Herbert Nordrum
written by Eskil Vogt, Joachim Trier
directed by Joachim Trier

by Walter Chaw Joachim Trier has had his ear, unerring, pressed against the pulse of sweet melancholia and regret from the very beginning. He followed his first feature, Reprise, a downbeat essay of aspiring writers on the cusp of validation or immolation, with Oslo, August 31st, a jarring and indelible chronicle of one day in the life of a junkie trying for a second chance, maybe too late. Trier’s English-language debut, Louder than Bombs, was about how a father and son remember their dead wife/mother differently, while his Thelma was a supernaturally-tinged coming-of-age film and my favourite movie of that year. Now comes this intense character study of the anxious generation, The Worst Person in the World. These films share an interest in people at a crossroads and forced to evolve. If I have a beef with Trier, it’s that his endings of late have tended towards, if not tidiness exactly, at least a neatness not befitting his characters and their messy lives. It’s less a failing of his than a failing of mine. I think what they do, though, these endings that feel like endings, is push his films a little away from realism and a little towards fable. The Worst Person in the World, accordingly, is a film through which it appears that Trier–32 at the time of Reprise, 47 now–is wrestling with what it means to be 30 in 2021 after providing such immediate and raw social landscapes in his early work. I wonder if fable is the only way to properly contextualize the young as we push into and past middle age. Maybe it would feel unseemly to pretend otherwise.

The Long Night (2022)

February 1, 2022Posted in2022, Authors: Walter Chaw, Horror, Theatrical

Thelongnight

*/****
starring Scout Taylor-Compton, Nolan Gerard Funk, Kevin Ragsdale, Deborah Kara Unger
written by Robert Sheppe, Mark Young
directed by Rich Ragsdale

by Walter Chaw Rich Ragsdale’s The Long Night is relentlessly familiar–which is too bad, because it features an excellent score by Sherri Chung, and DP Pierluigi Malavasi does yeoman’s night-work and a mean drone shot. Their aptitude–indeed, elegance–is wholly at odds with the picture’s smirky script (by Robert Sheppe and Mark Young) and solid wall of daft shoutiness. Star Scout Taylor-Compton spends so much of the picture shrieking, even before the bad things start happening in earnest, that the frequency of her hoarse emissions can be either the foundation for the world’s newest and deadliest drinking game, or maybe merely The Long Night‘s most exhausting running joke. It’s hard to say what this film wanted to be about, if it ever wanted to be about more than getting made–my obvious guess being all the supernatural doings as a metaphor for a disintegrating relationship. But if that’s the case, that particular trope has been worn to a nub, and if you’re not going to provide insight or approach it in a novel way, going through the motions really works the ol’ patience muscle.

Life During Wartime #26: APOCALYPSE NOW (Patreon exclusive)

January 30, 2022Posted inPalme d'Or Winner, Patreon
by Walter Chaw Apocalypse Now (1979) U.S.: Purchase only Canada: Purchase only My 18-year-old daughter, Mia, is graduating college this year. She's always been adventurous in her movie-watching tastes, but being in a competitive program at school means her time during the school year for watching things is limited by hours of coursework. When she was younger, she used to go with me to seminars I was teaching as part of continuing-education courses at the local college. Through them, she's seen about 40 of Hitchcock's 54 or so films and, I would say, the bulk of The Archers' output. We…

Far from the Madding Cloud: An Interview with Iuli Gerbase

January 17, 2022Posted in2022, Authors: Walter Chaw, Brazil, Film Festivals, Interviews, Sundance

Iuligerbaseinterview

I first caught Iuli Gerbase's fantastic debut The Pink Cloud as part of last year's virtual Sundance and came away from it feeling like I'd seen perhaps the definitive film of the pandemic. But it wasn't a pandemic movie, per se. It was written in 2017 and shot in 2019, meaning its story of two people negotiating isolation is engaged in unpacking a different kind of virulence. The script was completed post-Trump but pre-Bolsonaro, so this Brazilian film isn't even exactly a political metaphor, although it could certainly be read that way. While it's good, publicity-wise, for The Pink Cloud to seem a work of prescience, it's bad in that the picture's prescience detracts from the thorniness of its broader sociological themes. Given time, its embedded subtext concerning a patriarchal system reinforcing traditional gender roles should emerge as the novelty of it as the world's grimmest Magic 8-ball recedes.

Scream (2022)

January 15, 2022Posted in2022, Authors: Walter Chaw, Horror, Mystery, Theatrical, Thriller

Scream5

***½/****
starring Melissa Berrera, Mason Gooding, Jenna Ortega, Neve Campbell
written by James Vanderbilt & Guy Busick
directed by Matt Bettinelli-Olpin & Tyler Gillett

by Walter Chaw Kevin Williamson and Wes Craven’s Scream cycle, in terms of its influence on modern film, constitutes the most important metatext of the last 25 years in that it’s not only self-referential, it’s curious about how self-reference can be an essential ontological tool as opposed to a mere existential exercise. They’re better movies, in this respect, than The Matrix and its sequels, and, at least in terms of their popularity, they’re more important than even Charlie Kaufman’s extraordinary but limited-appeal body of work. The Scream saga, for lack of a better word, matters. Not for nothing does Scream 3, despite being the weakest installment of the original four and the only one of those that didn’t involve Williamson in any significant way, take place mainly on a simulacrum of hero Sidney’s childhood home and neighbourhood, recreated inside a soundstage like the to-scale streets of Kaufman’s Synecdoche, New York. If the first film is a watershed, the second is perhaps the series’ masterpiece: a phenomenal bit of pop philosophy that sees Sidney (Neve Campbell) as a Cassandra figure, literally forced onto the stage with a pack of masked murderers to re-enact her trauma from and into eternity. It’s her role in these Passion Plays to be preyed upon–and through her suffering, the “rules” of engagement between women coming of sexual age and men wanting to possess and punish them for that are forged. She has become an archetype, a thing that is representative of a fundamental truth, and the movies understand that. When she makes her entrance in the new Scream (hereafter Scream 5), standing up in a hospital waiting area to greet a young woman initiated into the abattoir, it is framed and shot as though we are all in the presence of a divine visitation.

Dune (2021) – 4K Ultra HD + Blu-ray + Digital Code

January 11, 2022Posted in****/****, 2021, 2022, 4K Ultra HD, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Canada, Directors: Denis Villeneuve, Drama, FFC Must-Own, Sci-Fi

Vlcsnap-2022-01-11-00h14m56s151Please note that all framegrabs are from the 1080p version

Dune Part One
****/**** Image A Sound A+ Extras B
starring Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Javier Bardem
screenplay by Jon Spaihts and Denis Villeneuve and Eric Roth, based on the novel by Frank Herbert
directed by Denis Villeneuve

by Walter Chaw I couldn’t get through the Lord of the Rings trilogy when I was a kid, but I devoured Frank Herbert’s Dune in a fever and read it again immediately. I have a tactile memory of it. Mostly, I was haunted by the frequent use of passages from the diaries, histories, and philosophies of one Princess Irulan, inserted throughout the text to give the book’s story a sense of lost time, immense. I wouldn’t experience this feeling reading something again until years later when I finally got into Proust, this thing where you read it in the present, but the text is irretrievably past. You’ve arrived at the dock, but the ferry, impossibly beautiful and decked out with incomprehensible pleasures and mysteries, has left, and it’s not coming back. Princess Irulan opens the book by warning us not to be deceived by its hero, Paul, having spent the first fourteen years of his life on a planet called “Caladan”–that his story is inextricable from the fate of a place called “Arrakis.” It reminds me of the many epitaphs for T.E. Lawrence. Herbert told his son that he left multiple threads unresolved in Dune so its readers would want to revisit it–return obsessively to it to follow different paths, suggestions, prophecies. I think it’s why I’ve read four or five of the subsequent Dune novels only once and retained so little of the stories they tell and the answers they provide. It’s like Arthur C. Clarke’s sequels to his 2001: A Space Odyssey novelization: I don’t actually want to know what’s inside the Monolith.

The 355 (2022)

January 6, 2022Posted in2022, Action, Authors: Walter Chaw, China, Theatrical, Thriller

The355

½*/****
starring Diane Kruger, Penélope Cruz, Jessica Chastain, Lupita Nyong’o
screenplay by Theresa Rebeck and Simon Kinberg
directed by Simon Kinberg

by Walter Chaw There’s a moment early on in Simon Kinberg’s execrable The 355 where Lupita Nyong’o, playing cyber-security expert Khadijah, is walking on a pier swarming with commercial fishermen, tailing a bad guy by holding her phone up like she’s looking at her phone camera while it’s recording him. After the third or fourth time they’ve locked eyes, she declares, with total seriousness, that she’s been “made.” No fucking shit you were made. If Lupita Nyong’o were walking along holding up a phone and staring at me from six feet away, I like to think I’d notice. Later, the reason given for Colombian psychologist Graciela (Penélope Cruz) tagging along on a very dangerous mission is that some dead guy’s phone has been locked with her fingerprint. Because I’m able to remember that Khadijah is a cyber-security expert, and given that Graciela’s fingerprint-bearing finger is sitting right there, I’m wondering why someone else’s fingerprint couldn’t be assigned to the phone. I’m also wondering where Sebastian Stan’s CIA agent Nick found a crisp white T-shirt that doesn’t stain when you spill coffee on it. That’s some NASA shit, probably the technology everyone should actually be fighting over. Then there’s the conversation where Graciela’s son, over the phone, asks for “Duvalins,” and Graciela responds, “Yes, I will bring you your favourite candy,” which…okay, level with me–which one of them needed to know that Duvalins is candy? The first thing is a problem with direction; the next a script issue; the next, direction again; and the last another script issue. Meaning that while there might be enough blame to go around, I’m gonna put the bulk of it on co-writer/director Kinberg.

A Hero (2021)

January 5, 2022Posted in2021, 2022, Authors: Walter Chaw, Drama, France, Iran, Streaming, Theatrical, Thriller

A Hero

Ghahreman
**½/****
starring Amir Jadidi, Mohsen Tanabandeh, Fereshteh Sadrorafaii, Sarina Farhadi
written and directed by Asghar Farhadi

by Walter Chaw A Hero is Asghar Farhadi's Iranian Neorealist version of Stephen Frears's gaudy American prestige flick Hero, in which a man lauded as one type of person is secretly another type of person, thus calling to the stand society's process for determining object choice and assigning value. Not a new conceit, in other words. Here, it's given Farhadi's "miserablist parade" approach, whereby the exhausted didacticism of the premise is meted out with the punishing drip-drip of water torture. Freed for 48 hours from a debtor's prison, Rahim (Amir Jadidi) has a clandestine–because of divorce or something–meeting with his girlfriend, Farkhondeh (Sahar Goldust), who produces a handbag she's found abandoned that's full of gold coins. Problem solved, yes? No. Exchange rates being what they are in this global economy, the gold isn't quite enough to cover Rahim's obligations, and so he hatches a plan to make a big show out of giving the money back, the better to capitalize on his freshly-minted Good Samaritan persona. It works until it stops working, as these things do.

“The 50 Best Films of 2021” by Walter Chaw

December 31, 2021Posted in2021, Authors: Walter Chaw, Best-of Lists, Blog

Top502021

by Walter Chaw Writing these annual wrap-ups feels to me a little like this passage from Anne Sexton’s “45 Mercy Street”:

I walk, I walk
I hold matches at street signs
for it is dark,
as dark as the leathery dead

The annual best-of ritual is frustrating because one can never see all the great films in a year–but it’s the kind of frustration that feels aspirational for a change in this, our time of social and environmental apocalypse. I’m thrilled to talk about things that are good for a change and the movies in 2021 were very good indeed. So good that while I feel like I could have made a list 100 strong, I know there are still more gems from this year left to see.

The Tragedy of Macbeth (2021)

December 24, 2021Posted in2021, Authors: Walter Chaw, Coen Brothers, Drama, Esoterica, Shakespeare, Theatrical, Thriller, War

Tragedyofmacbeth

***½/****
starring Denzel Washington, Frances McDormand, Bertie Carvel, Brendan Gleeson
written for the screen and directed by Joel Coen

by Walter Chaw The Tragedy of Macbeth is a middle-aged lament of the childless, a haunted interpretation of Shakespeare that underscores my belief that the Coen Brothers–in this case, just Joel–are/is among our finest literary critics. Their O Brother, Where Art Thou? unpacks The Odyssey as a collection of regional tales and songs; their adaptations of No Country for Old Men and True Grit demonstrate a deep understanding of not merely the specific works being adapted, but Cormac McCarthy’s and Charles Portis’s entire bodies of work as well. The Big Lebowski, needless to say, is a brilliant and essential take on Chandler’s The Big Sleep. That their planned adaptation of James Dickey’s To the White Sea with Brad Pitt hasn’t happened yet and doesn’t look like it ever will is a genuine tragedy. (The relative failure of their Ladykillers remake suggests this skill may be limited to the transmutation between mediums.) For his solo debut, Joel Coen has taken a German Expressionistic approach, leaning heavily into long shadows and aestheticism that feels like mourning. The film falls somewhere between the mysticism of Kurosawa’s Throne of Blood and Orson Welles’s incantatory 1948 Macbeth, though it’s less wild and windswept than either, reminding in this way of how steeped in superstition and the supernatural was Shakespeare–and how raw, even stripped down, the Scottish Play seems in comparison to the Bard’s other histories.

Editor’s Choice: The Year in Blu-ray (2021)

December 23, 2021Posted in2021, 4K Ultra HD, Authors: Bill Chambers, Best-of Lists, Blog, Blu-ray Disc

Tenbestdiscs2021

by Bill Chambers It was a pretty strong year for Blu-ray and another bad one for civilization, which is probably why an unusually high number of discs (Donnie Darko 4K, The Road Warrior, and Criterion’s Citizen Kane, to name a few) fell victim to human error in 2021. I’m not dissuaded by this, I’m touched by the format’s resilience in the face of adversity. One thing is for certain: the pandemic has not been kind to the hoarder of physical media–this hoarder, at least. It’s led to short-stocked titles, import levies, fewer offers of review copies, and me not making one of these lists in 2020 because there was so much I missed. I don’t think I expected to be back in the same boat 12 months later–or maybe, to paraphrase the world’s greatest detective, I knew I would be, but I hoped I wouldn’t be. I’m ignoring any pangs of FOMO this time around, though, because I did see at least 10 titles worth singling out, even if collectively they don’t tell the whole story of the year in home video. Besides, any excuse to proselytize for physical media as the oil slick of streaming continues to submerge preexisting content delivery systems.

The Matrix Resurrections (2021)

December 21, 2021Posted in2021, Action, Authors: Walter Chaw, Esoterica, Sci-Fi, Streaming, Theatrical

Matrix4

½*/****
starring Keanu Reeves, Carrie-Anne Moss, Yahya Abdul-Mateen II, Neil Patrick Harris
screenplay by Lana Wachowski & David Mitchell & Aleksandar Hemon
directed by Lana Wachowski

by Walter Chaw I guess I wouldn’t mind that The Matrix: Resurrections (hereafter Matrix 4) is so stupid if it didn’t spend so much of its bloat trying to explain itself. Just let it go. If you’re riding with the same plot as Space Jam: A New Legacy, own it–run with it, for fuck’s sake. Exposition is always a delicate if necessary evil, but here it’s particularly undignified. It’s Glen from Raising Arizona explaining his Polack jokes. The plot of Matrix 4 is essentially that conversation with the guy who’s way too stoned who has this great idea for a Matrix sequel. “Okay, okay, see, Neo is–haha–NEO is Mr. Anderson again and–haha, check it–he’s like this programmer dude, real boring piece of shit, and he made a game back in 1999 called ‘The Matrix’, and yo, yo, yo, wait, wait… What if Trinity was The One, too?” You’ve heard of the concept of “raising all boats”? Well, an hour of deadening exposition devoted to explaining a plot this contrived, this smug and half-cocked, this simultaneously convoluted and simplistic, sinks the boat–sinks all fucking boats. Good poker players have confidence and chill; not only does Lana Wachowski have a real bad tell, she gives speeches about what she’s holding. “Hi, I’m Lana, creator of The Matrix, and I’m drawing on an inside straight.” Small wonder Lilly refused to participate in this boondoggle, leaving Lana to recruit their Cloud Atlas partner-in-crime David Mitchell as one of her co-writers. That either of these people kept their names on this is evidence of an almost majestic, feline confidence.

The Agony and the Ecstasy: An Interview with Lauren Hadaway

December 19, 2021Posted in2021, Authors: Walter Chaw, Interviews

Laurenhadawayinterview

World-weary and wise and sharp as the crack of a pistol, Lauren Hadaway, after years as a top-shelf ADR artist, set a goal for herself to become a director. During the downtime between looping sessions on Justice League in 2017, she started writing the script for what would become The Novice, a semi-autobiographical film about a driven young woman joining her college crew team and finding in it an Everest she must scale just because it's there. Just because, nay, especially because, it's hard. The resulting film is as sharp and as driven as its creator, every frame composed not just beautifully but to tell a visual story of the protagonist's interiors. It's clear almost immediately that, more than a sports story, The Novice is about finding purpose through ritualized pain–and maybe a little bit or more about Hadaway overcoming self-doubt and enduring an unprecedented global event to see this project through to completion.

I began our interview by asking her about the process of coming through a difficult time.

Spider-Man: No Way Home (2021)

December 17, 2021Posted in2021, Action, Adventure, Authors: Walter Chaw, Sci-Fi, Spider-Man, Superhero, Theatrical

Spidermannowayhome

**½/****
starring Tom Holland, Zendaya, Benedict Cumberbatch, Marisa Tomei
written by Chris McKenna & Erik Sommers
directed by Jon Watts

by Walter Chaw SPOILER WARNING IN EFFECT. Peter Parker (Tom Holland), having just been outed to the world as Spider-Man by a dying Mysterio (Jake Gyllenhaal), finds himself besieged by press and angry mobs mistaken in their belief that Mysterio was a very handsome hero. This pushes Peter into hiding with his Aunt May (Marisa Tomei), girlfriend MJ (Zendaya), and bestie Ned (Jacob Batalon). The kids need guards when they go to school (why are they still going to school?) and are trying to focus on applying to MIT because they’re all three of them brilliant, in case you’ve forgotten. Recognizing the toll of his exposure on the people who have remained loyal to him, Peter asks Dr. Strange (Benedict Cumberbatch) to cast a spell on the universe so that people forget him. How this might be achieved in the age of social media and pocket cameras is dismissed as “magic,” which is also how it’s explained that a hole in the multiverse opens up, allowing a bunch of villains and other versions of Peter Parker (Tobey Maguire, Andrew Garfield) to cross over into this one’s reality. At least the film has the self-awareness to constantly call out the facility of “magic” as a catch-all, layering its characters’ incredulity in a running joke about a “wizard’s dungeon” and one character’s “You have magic here?” As wit goes, it ain’t much, but I’ll take it.

The Novice (2021)

December 16, 2021Posted in****/****, 2021, Authors: Walter Chaw, Sports, Streaming, Theatrical, Thriller

Thenovice

****/****
starring Isabelle Fuhrman, Amy Forsyth, Dilone, Jonathan Cherry
written and directed by Lauren Hadaway

by Walter Chaw Lauren Hadaway’s hyphenate debut The Novice is so good, so self-assured, so kinetic and so very much about something that, all hyperbole justified, it heralds the arrival of an important new artist. Garnering instant comparisons to Whiplash for its heart-attack-fuelled kineticism and hyperfocus on the obsessive, gnostic practice of an obscure discipline and to Black Swan for similar reasons as well as its troubled female protagonist, The Novice‘s closest analogue for me is actually Andrew Niccol’s Gattaca, a film about the pursuit of knowledge and sublimity free of the depressingly quotidian limitations of the body. The Novice itself is free of Damien Chazelle’s preening and the literalness of the hero’s emotional fracture in Black Swan. Rather, it preaches the gospel of being fine with who you are not despite how fucked up and “intense” you might be, but because of that. At the end of all that auto-excavation, it says that the self, whatever its attendant flaws and hardwired weaknesses, has intrinsic value, and the knowledge of that value comes with immeasurable power. The title of Hadaway’s film recalls the Christian concept of the religious “novitiate,” that period where a person called to servitude enters into intense study, constant prayer, forced brotherhood, and an invasive interiority, all to prove whether or not they will be welcomed into the fold. In The Novice, the novitiate is Alex Dall, and the “fold” is everyone at her school who thinks she’s some kind of freak.

The Wolf of Wall Street (2013) – 4K Ultra HD + Digital Code

December 14, 2021Posted in2013, 2021, 4K Ultra HD, Authors: Angelo Muredda, Authors: Bill Chambers, Biopic, Blu-ray Disc, Comedy, Crime, Directors: Martin Scorsese, Drama

Vlcsnap-2021-12-14-21h26m42s437Please note that all framegrabs are from the 1080p version

***½/****
BD – Image A+ Sound A Extras C-
4K UHD – Image C+ Sound A Extras C+
starring Leonardo DiCaprio, Jonah Hill, Margot Robbie, Jean Dujardin
screenplay by Terence Winter, based on the book by Jordan Belfort
directed by Martin Scorsese

by Angelo Muredda “For us, to live any other way was nuts,” Ray Liotta’s schnook turned gangster Henry Hill explains early on in Martin Scorsese’s Goodfellas. With that, spoken over a montage of permed Italian men in tailored suits gorging themselves at an upscale restaurant, Hill at once launched a wave of lesser, faux-conflicted pictures about the swanky perks and ethical compromises of organized crime, and raised the fundamental moral question of Scorsese’s latest, The Wolf of Wall Street. An unashamedly indulgent, ribald, and formally troubled biopic of Jordan Belfort, this unofficial Goodfellas follow-up likewise revolves around the kind of work that makes living like a pig in shit possible. His kinship to Hill aside, Belfort has had an unusually clear-sailing trajectory to garner the interest of a filmmaker who tends to be drawn to Catholic tales of excess followed by redemptive suffering. Belfort is still a born stockbroker and swindler, despite his working-class origins and federal inquiries and stints in rehab; the fact that he debuted on Wall Street the day of the crash and remains in demand as a guru well after the financial crisis of 2008 seems to give Scorsese and screenwriter Terence Winter pause, as well the astonishing survival rate of cockroaches should. What better way to make a film about such a man, Scorsese and Winter appear to have concluded, than to structure his story as a Roman orgy?

Being the Ricardos (2021)

December 11, 2021Posted in2021, Authors: Walter Chaw, Biopic, Drama, Streaming, Theatrical

Beingthericardos

**/****
starring Nicole Kidman, Javier Bardem, J.K. Simmons, Nina Arianda
written and directed by Aaron Sorkin

by Walter Chaw One of the best home viewing experiences I ever had was going through New Line’s “Infinifilm” DVD of Roger Donaldson’s Thirteen Days with my wife, clicking on every single prompt to view the voluminous supplementary material threaded through the picture and getting what felt like a freshman-level introductory course on the 13 days of the Cuban Missile Crisis. An old and dear friend here in the Denver Market threw his hands up while we were talking about Aaron Sorkin’s Being the Ricardos and asked, rhetorically and not to an imaginary Sorkin, “Why Aaron Sorkin?” It’s a great question. I think the “why Aaron Sorkin” is that he is the human manifestation of the “Infinifilm” concept but less educational and more facile and self-indulgent, hence populist in the worst way. That is, populist in a way that seems prestigious but is, in fact, playing to the groundlings-infested pit. Emboldened perhaps by the success of the David Fincher-directed/Sorkin-scripted The Social Network and the Bennett Miller-directed/Sorkin-co-scripted Moneyball, Sorkin’s directorial efforts so far–Molly’s Game, The Trial of the Chicago 7, and now Being the Ricardos–have all been based on true stories. Maybe he figures he’s hit a rich vein of biopic dramaturgy that he can strip-mine until this mountain is just a pile of rubble littered with Oscars. Sorkin is a slick one-trick pony, that guy. Giddyup, cowboys.