FILM FREAK CENTRAL

TIFF ’14: Top Five

September 11, 20142014, Authors: Bill Chambers, Comedy, Film Festivals, Romance, TIFF

**½/****
written and directed by Chris Rock

by Bill Chambers Chris Rock’s Top Five seems to begin in medias res and then backtrack, but in retrospect, the opening sequence–a nicely-sustained tracking shot of Rosario Dawson and Rock taking an afternoon stroll in New York, bickering about whether Obama has actually paved the way for other minorities to become president–could be a flash-forward to the post-film future of these characters. That’s kind of a comforting notion; the problem is I’d rather be watching that light relationship comedy, where they’re already together and routinely engaging in these Woody Allen dialectics, than this one, in which Dawson’s Chelsea and Rock’s Andre do the Forces of Nature/A Guy Thing boogie on the eve of Andre’s marriage to one of Bravo’s many profligate reality-TV subjects (Gabrielle Union). A comic-turned-megastar who made bank starring in a cop-movie franchise as a machine-gun-toting bear (Rock may have an even lower opinion of the filmgoing public than Mike Judge), Andre is asking to be taken seriously with his newest project, Uprize, about the slave revolt in Haiti. To that end, he relents to a NEW YORK TIMES profile, even though the paper of record has never given him a good review; Chelsea is the writer they send, and she comes with something of a hidden agenda. At the risk of spoiling what that is, by the end of Top Five, one thing is abundantly clear: Chris Rock hates critics.

TIFF ’14: My Old Lady

September 11, 20142014, Authors: Walter Chaw, Comedy, Drama, Film Festivals, TIFF

*/****
directed by Israel Horovitz

by Walter Chaw Israel Horovitz’s My Old Lady, written by Israel Horovitz based on a play by Israel Horovitz, is adorable. Just adorable. Really. It’s like a great, fat, French cat, or that sneezing baby panda movie, except that it stars Kevin Kline, Maggie Smith, and–I’ve never much liked her, I’m realizing now–Kristin Scott Thomas. Kline is destitute yankee Mathias Gold, who, upon inheriting an apartment in Paris, learns that it comes with a nonagenarian accoutrement, Mathilde Girard (Smith), who seems to have the girl-French version of Mathias’s name. Isn’t that precious? Because he’s spent every last dime to get to Paris to sell this apartment he’s not able to sell because there’s this just-darling old lady squatting there, My Old Lady begins to take on a minor whiff of Arsenic and Old Lace, which is also awful–er, cuddly. Lest there be any doubt as to how sweet the whole thing is, Mark Orton’s saccharine score–the only thing not by Israel Horovitz, it seems–makes sure there’s absolutely no room for even a tiny, niggling one.

TIFF ’14: Cub

September 9, 20142014, Authors: Bill Chambers, Belgium, Film Festivals, Horror, TIFF

Welp
½*/****
directed by Jonas Govaerts

by Bill Chambers Cub–or Welp, as it is humorously called in the original Dutch–has a killer hook, or at least a viable enough premise that some considerable buzz has built up around this Midnight Madness entry. A troop of cub scouts goes camping in Belgian woods allegedly occupied by Kai, a boy who becomes a werewolf by night; the two young scout masters, Peter (Stef Aerts) and Chris (Titus De Voogdt), build their own buzz about the cryptozoic creature to have something for the campfires (also because they seem to like antagonizing children), unaware of course that Kai does exist in the form of a lightning-quick feral kid wearing a mask fashioned from tree-bark. Sam (Maurice Luijten) actually stumbles on Kai’s treehouse, where the child stows trinkets purloined from campers, The Final Terror-style, but being an apparent charity case gives Sam zero credibility with those he tells–particularly Peter, who takes sadistic glee in isolating Sam from his peers and targeting him for military punishments that Chris, the more empathetic and merciful of the two, is never around to avert. Seriously: even with a wild child who can’t figure out how to work a can opener living large in a treehouse worthy of I.M. Pei, Chris’s constant absence is the movie’s most confounding mystery.

TIFF ’14: Clouds of Sils Maria

September 8, 20142014, Authors: Angelo Muredda, Drama, Film Festivals, France, TIFF

***½/****
starring starring Juliette Binoche, Kristen Stewart, Chloë Grace Moretz, Lars Eidinger
written and directed by Olivier Assayas

by Angelo Muredda A master class on acting played simultaneously to the orchestra and the cheap seats, Olivier Assayas’s Clouds of Sils Maria is an odd, beguiling thing. Juliette Binoche is Maria, an international star of film and theatre (naturally) on her way to accept an honorary award on behalf of the director and dramaturge who made her career when she was only eighteen in his infamous Maloja Snake, which sounds a lot like The Bitter Tears of Petra von Kant by way of All About Eve. When he dies, Maria finds herself commissioned to star in a remake by a hotshot talent of the German stage, who sees her now as Helena, the older woman in the same-sex romantic drama, giving her role of the young seductress and abandoner Sigrid to rising starlet Jo-Ann Ellis (Chloë Grace Moretz). If that isn’t enough, the text–a younger man’s treatise on the loves and rivalries of women, as Maria has come to see it–has seemingly taken on a radioactive agency of its own, creeping into Maria’s hip-joined relationship with soulmate, line-runner, and personal assistant Valentine (Kristen Stewart), who’s becoming yet another Sigrid at about the same pace Maria is settling into Helena’s skin.

TIFF ’14: The Look of Silence

September 7, 2014****/****, 2014, Authors: Bill Chambers, Denmark, Documentary, Film Festivals, Finland, France, Germany, Indonesia, Israel, Netherlands, Norway, Taiwan, TIFF, UK

Senyap
****/****
directed by Joshua Oppenheimer

by Bill Chambers Joshua Oppenheimer’s The Act of Killing is devastating because it doesn’t offer any moral opposition to the glibly boastful first-hand accounts of Indonesian death squads; and his The Look of Silence is devastating because it does. A B-side to The Act of Killing but no mere Blue in the Face afterthought, The Look of Silence follows Adi, a 44-year-old door-to-door optometrist whose senile father is 103 and whose mother improbably claims to be around the same age. The father has forgotten but the mother has not that Adi was preceded by a brother, Ramli, who was killed during the “communist” purge (the picture reiterates that anyone who didn’t immediately fall in line with the military dictatorship was tarred with the same brush, regardless of political or religious affiliation)–though “killed” somehow undersells his execution, a two-day ordeal that culminated in Ramli’s castration. Adi watches Oppenheimer’s footage of the murderers describing his brother’s death in that animated, kids-playing way familiar from The Act of Killing, though these are not the same two “actors” who appeared in that film, underscoring that desensitization to the atrocities committed has happened on a national, not individual, scale.

TIFF ’14: Nightcrawler

September 6, 20142014, Authors: Angelo Muredda, Crime, Drama, Film Festivals, TIFF

**½/****
starring Jake Gyllenhaal, Rene Russo, Riz Ahmed, Bill Paxton
written and directed by Dan Gilroy

by Angelo Muredda What would we do without Jake Gyllenhaal, who’s grounded every self-serious and thinly-sketched high-concept Movie About Something he’s appeared in since Rendition at least? The committed star pulls off the same magic trick to even more impressive effect than usual with Nightcrawler, Dan Gilroy’s directorial debut after toiling away as a screenwriter on less pedigreed fare like Real Steel and Two for the Money as well as big brother Tony’s most recent Bourne franchise effort. The Nightcrawler partisans–and they’ll be numerous and vocal–will likely downplay such hacky origins along with the filial leg-up that producer Tony no doubt provided. (How many first-timers get to work with DP Robert Elswit?) But why should they when Gilroy’s own film is about nothing so much as the corrosive effects crony capitalism wreaks on that heretofore-unsatirized American institution (certainly not covered more intelligently and presciently by a nearly forty-year-old film whose title rhymes with get work) of headline news?

TIFF ’14: Maps to the Stars

September 6, 20142014, Authors: Walter Chaw, Canada, Directors: David Cronenberg, Drama, Esoterica, Film Festivals, TIFF

*½/****
directed by David Cronenberg

by Bill Chambers There’s something vaguely pathetic about Bruce Wagner continuing to write these Los Angeles tapestries that send up the movie business, since his Hollywood career peaked in the early-’90s (and the vision of these satires is ossified thereabouts). And getting David Cronenberg–someone so insularly Canadian, and probably the last filmmaker to pore over the trades–to direct one of them is lunacy, albeit potentially inspired in the way that getting a German to helm Paris, Texas was. Indeed, though, Maps to the Stars is the blind leading the blind, taking place in an obsolete world where Carrie Fisher, playing herself, is some kind of industry gatekeeper and a remake of an old black-and-white melodrama is the hottest project in town. Fresh off the bus from Florida, the mysterious, lightly-disfigured Agatha (Mia Wasikowska) arrives in L.A. with an ally in Fisher, who helps get her a job as the personal assistant to high-maintenance Havana Segrand (Julianne Moore), an actress haunted by both her own former glory and the superstardom of her late mother (Cronenberg’s paper-doll muse Sarah Gadon). Havana has regular, sexually-charged sessions with self-help guru Dr. Stafford Weiss (John Cusack), father of teen sensation Benjie Weiss (Evan Bird), a nightmare of Bieberian entitlement who, like Havana, has lately been receiving unwelcome visitations from the dead.

Telluride ’14: ’71

September 5, 2014****/****, 2014, Action, Authors: Walter Chaw, Drama, Film Festivals, Telluride, Telluride 2014, UK, War

****/****
starring Jack O’Connell, Paul Anderson, Richard Dormer, Sean Harris
screenplay by Gregory Burke
directed by Yann Demange

by Walter Chaw I’m old and stupid enough to have contextualized the “Troubles,” the armed conflict in Northern Ireland between the Catholics and Protestants, the IRA and the Brits, into a few U2 songs and that Paul Greengrass movie named after the same incident as…um, that one U2 song. I believed it was a tense period marked by a few unpleasant incidents. Yann Demange’s debut feature ’71 has shown me exactly how ignorant I’ve been of recent history, with a film he himself describes as an excoriation of our propensity, across nations and time, for sending our young men off to fight “dirty” wars. It’s absolutely harrowing, and it provides no respite to its tension. The best type of history, it’s alive and vital, thought-provoking and utterly, dispiritingly familiar. It reminded me a lot of Gallipoli; and as with Gallipoli, I feel like ’71 will be the moment a young actor (Jack O’Connell this time) becomes a star. It’s brilliantly shot, smart, and brutal. I went in it not knowing a thing about the film or what it portrayed and left a true believer.

TIFF ’14: Ned Rifle

September 3, 20142014, Authors: Bill Chambers, Drama, Esoterica, Film Festivals, Road Movie, TIFF

***/****
written and directed by Hal Hartley

by Bill Chambers The third, shortest, and presumably final entry in an improbable film series of seesawing returns, Hal Hartley’s Ned Rifle is the religious component of a triptych that has thus far loosely tackled Art (Henry Fool) and Politics (Fay Grim). Titular Ned (Liam Aiken) is the offspring of drifter Casanova Henry Fool (Thomas Jay Ryan) and hapless Fay Grim (Parker Posey), the latter of whom begins this movie in prison as a result of Henry’s antics, consigning Ned to the care of a reverend (Martin Donovan) and his family. Wanting to biblically avenge his mother, Ned follows a trail of breadcrumbs back to his deadbeat dad; yes, the film has the same basic quest premise as Fay Grim, though it takes the form of an askew It Happened One Night this time instead of another globetrotting “Where in the World Is Carmen Sandiego?” journey. Ned’s interloping travelling companion is Susan (Aubrey Plaza–not a fan, but she curtails her most irritating mannerisms here, and looks dynamite), a grad student with a hidden agenda that somehow entails writing her thesis on the poetry of Simon Grim (James Urbaniak) and ghost-authoring Fay’s memoirs. (“Susan’s brilliant, and she’s a good person, but she’s totally fucked-up,” Simon warns Ned. He could be describing any Hal Hartley protagonist.) A God-fearing Born-again, Ned fends off what he perceives as her advances, but he bristles with jealousy once they track down Henry at a mental hospital and she becomes drawn into his father’s orbit, like so many before her.

Telluride ’14: Showcase for shorts

September 3, 2014****/****, 2014, Authors: Walter Chaw, Film Festivals, France, Short Films, Telluride, Telluride 2014, UK

Toutes des connes **/**** (France, 6 mins., d. François Jaros) Recently redubbed Life’s a Bitch, Toutes des connes is a fitfully-engaging relationship dramedy composed of a few dozen ultra-shorts featuring a guy (scriptor Guillaume Lambert) who breaks up with his girlfriend, goes through stages of grief and acceptance, then gets back together with the girl. It’s well done for what it is, but it feels like it needed half the time to be what it is. Toutes des connes doesn’t do anything surprising or innovative, announcing itself conspicuously as a calling-card film for director Jaros. Yes, I see that you can shoot and edit, though the grieving dude with the shaving-creamed face staring at the mirror thing was funnier in Raising Arizona.

TIFF ’14: Waste Land

September 2, 20142014, Authors: Bill Chambers, Belgium, Film Festivals, Thriller, TIFF

**/****
written and directed by Pieter Van Hees

by Bill Chambers Ominously chaptered after the weeks in a pregnancy, Waste Land begins with an encouraging but deceptive touch of absurdity, as Brussels homicide detective Leo Woeste (Jérémie Renier) placidly stands in for the victim at a nauseatingly fresh crime scene while the addled perpetrator tries to reconstruct the murder for a forensics team. Leo’s next case, involving the occult-related death of a young Congolese immigrant, coincides with wife Kathleen (the appropriately-named Natali Broods) announcing she’s with child–her second, Leo’s first–and planning on aborting it due to her husband’s grim attachment to his profession. He goads her into keeping it by pledging to quit the force once he’s through with this latest investigation, but it proves an unreasonable vortex that soon has him becoming infatuated with the dead man’s sister (Babetida Sadjo) and going off the grid, as well as the proverbial deep end.

Telluride ’14: Rosewater

September 2, 20142014, Authors: Walter Chaw, Drama, Film Festivals, Telluride, Telluride 2014

*½/****
starring Gael García Bernal, Kim Bodnia, Haluk Bilginer, Shoreh Aghdashloo
screenplay by Jon Stewart, based on the book Then They Came for Me by Maziar Bahari
directed by Jon Stewart

by Walter Chaw Jon Stewart’s hyphenate debut Rosewater, based on briefly-imprisoned Iranian-born Canadian journalist Maziar Bahari’s memoir Then They Came For Me, is painfully earnest, suffering from the first-timer disease of being both unimaginatively shot and laboriously About Something. It’s a message movie, and there’s no crime in that, but it’s laid out so carefully that any sense of tension–or drama, really–is sapped out of it, simplifying its message to the point of inconsequence and, eventually, making the picture vulnerable to mockery. Rosewater is one of those movies that makes you cringe because although you believe in its politics, it isn’t helping the cause. Consider the moment where one of Bahari’s jailers cracks wise about Abu Ghraib because America, see, is just as bad as Iran, maybe in many ways: I was distracted by the moist sound of 1,200 eyes rolling at the same time. It also doesn’t help that this issue film casts Mexican actor Gael García Bernal as Iranian-Canadian Bahari. This “best actor for the role” nonsense has to have a limit, lest Daniel Day-Lewis one day play Martin Luther King; this Christmas, Leonardo DiCaprio is Buddha. Chill out, we’re post-racial, brah! Rosewater is the kind of shit that gives liberals a bad name, and for as much as I like and often admire “The Daily Show”, it’s very much the movie the host of “The Daily Show” would make.

Telluride ’14: Two Days, One Night

September 2, 2014****/****, 2014, Authors: Walter Chaw, Belgium, Directors: Jean-Pierre and Luc Dardenne, Drama, Film Festivals, Telluride, Telluride 2014

Deux jours, une nuit
****/****
starring Marion Cotillard, Fabrizio Rongione, Pili Groyne, Simon Caudry
written and directed by Jean-Pierre and Luc Dardenne

by Walter Chaw Somewhere in the middle of the Dardennes’ Two Days, One Night, Sandra (Marion Cotillard), trying to convince her sixteen co-workers to vote to allow her to keep her job at the expense of a bonus of one thousand euros, accuses her husband Manu (Fabrizio Rongione) of turning off the radio because the song is too sad and he fears she’s too fragile for it. She turns it back on. It’s Petula Clark’s French-language cover of Jackie DeShannon’s “Needles and Pins,” “La Nuit N’en Finit Plus.” Shot in the Dardennes style, close and over the shoulder, Sandra looks at Manu slyly for a second, pumps up the volume, and laughs. Cotillard is disarming, as always, and she’s so natural in this moment–in all of the film, but in this moment in particular. It’s stunning. Her Sandra is absolutely compelling throughout. Her victories are ecstatic; her defeats are deflating. About an hour in, I realized that Two Days, One Night is a fable–a literal one, with a heroine undergoing a series of trials, forced to say the same things like a Belgian Bartleby to a sequence of different people in different situations. Even her exit line at the end of every encounter (“Thank you, goodbye”) is identical each time. It’s through this repetition that the film finds a rhythm, sure, but also room for Sandra to learn and for Two Days, One Night to paint as complete and sympathetic a picture of depression as there’s ever been.

Telluride ’14: Foxcatcher

September 1, 20142014, Authors: Walter Chaw, Biopic, Drama, Film Festivals, Sports, Telluride, Telluride 2014, Thriller

***½/****
starring Steve Carell, Channing Tatum, Mark Ruffalo, Vanessa Redgrave
screenplay by E. Max Frye and Dan Futterman
directed by Bennett Miller

by Walter Chaw Bennett Miller’s Foxcatcher is timely because of its excoriation of the 1%–and timeless because of the care with which it handles relationships between men, and between men and their mothers. It has faith in its audience in a way that’s rare and always has been, leaving wide swaths of exposition buried in glances and gestures, making itself into something that’s very much like the amateur wrestling it ably recreates in the film. It’s a big movie composed of subtle movements; it’s reticent. It’s also grounded by unbelievable performances from Mark Ruffalo, an actor I really like who’s never been better; and Channing Tatum, who reduces himself to a pure distillation of his masculinity and will probably be underestimated as a result. An early moment with Ruffalo and Tatum–playing Olympic champion wrestlers and brothers Dave and Mark Schultz, respectively–as they train in a dingy little college gym, is grim and wordless, bloody and violent, and capped by Dave cuffing his little brother and asking for a hug as he drops him off. It’s brotherhood in its intimate complexity in just a few gestures.

Telluride ’14: The Imitation Game

August 31, 20142014, Authors: Walter Chaw, Biopic, Drama, Film Festivals, Telluride, Telluride 2014, Thriller, UK, War

**½/****
starring Benedict Cumberbatch, Keira Knightley, Matthew Goode, Rory Kinnear
screenplay by Graham Moore
directed by Morten Tyldum

by Walter Chaw Benedict Cumberbatch is amazing, truly, in Morten Tyldum’s better version of A Beautiful Mind, The Imitation Game. Based on the life of logician and mathematician Alan Turing, the Bletchley Park genius who broke the Enigma code but was later pilloried for his homosexuality, the film is conventional in every way save Cumberbatch, who, frankly, had never particularly appealed to me before now. His Turing is clearly (to a guy in the middle of all this sudden awareness of Autism) somewhere on the Autism spectrum, incapable of building relationships and understanding metaphors, making him the perfect person, in his (mis)understanding of the world, to break codes. All language and every subtlety of human interaction is a puzzle for him, you see; breaking the unbreakable German Enigma cipher is simply another of the same variety. The Imitation Game, however, is crystal clear, lockstep in narrative and exposition and careful to leave no child behind as it explains how Turing and his team of irregulars managed to build the first computer and defeat the Nazi war machine by intercepting its communications. At the end, its message is the same as The Incredibles‘, though housed in a far more conventional motor: different is good, and you shouldn’t criminalize homosexuality, because what if a gay guy is the saviour of the free world and you just chemically-castrated him and caused him to kill himself? As messages go, that’s not a tough one to get behind.

Telluride ’14: Wild

August 30, 20142014, Adventure, Authors: Walter Chaw, Biopic, Drama, Film Festivals, Telluride, Telluride 2014

**/****
starring Reese Witherspoon, Thomas Sadoski, Michiel Huisman, Laura Dern
screenplay by Nick Hornby, based on the novel by Cheryl Strayed
directed by Jean-Marc Vallée

by Walter Chaw Wild is exactly what you think it will be and is that for what feels like forever. It’s the inspirational true story of smack-addicted party girl Cheryl Strayed (Reese Witherspoon), who, after reading a lot of well-known volumes of collected verse, cleans out an REI store and sets out to walk the PCT up the Western coast. And she likes Snapple. Yeah, it’s a commercial about regaining white privilege after trying to give it away, complete with more rapey moments than expected. That’s not fair: Cheryl doesn’t so much give her privilege away as indulge in the perks of it to the point where a trio of hale, happy-go-lucky trail-bums dub her the “Queen of the PCT” for all the favours and special treatment she receives along the way. It also takes time for Cheryl to thank REI for being her most favouritest corporation ever for replacing her faulty boots, so that happened.

Telluride ’14: Birdman

August 29, 20142014, Authors: Walter Chaw, Best Picture (Academy Awards), Comedy, Drama, Esoterica, Film Festivals, Telluride, Telluride 2014

Birdman or (The Unexpected Virtue of Ignorance)
*/****
starring Michael Keaton, Zach Galifianakis, Edward Norton, Andrea Riseborough
screenplay Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr. & Armando Bo
directed by Alejandro González Iñárritu

by Walter Chaw A benighted, gangly thing midway between a mid-life crisis Black Swan and the Noises Off version of Brazil, Alejandro González Iñárritu's Birdman is the lonesome yawp of a limited, one-trick-pony given now to defensiveness and self-consciousness. Assailing the tale of a washed-up former mega-star of superhero blockbusters, Riggan Thompson (Michael Keaton, check), who's trying to gain a measure of self-respect on Broadway in a Raymond Carver adaptation he wrote, directed, and is starring in, the picture doesn't do anything it doesn't warn us about first and then apologize for after. It covers the three preview performances leading to opening night in one, digitally-unbroken take, making room along the way for Method asshole Michael Shiner (Method asshole Edward Norton)–who steals both the play Birdman is about and the play-within-a-play conceit of the movie by stealing the movie–and tons of narrative melodramatics, including a neurotic leading lady (Naomi Watts), Riggan's burnout daughter (Emma Stone), and his stressed-out lawyer/manager (Zach Galifianakis). The whole story roils with desperation and disappointment, and the film-as-object does the same–the transparency between those two things (cine-reality and sad-truth-of-it reality) cited repeatedly in the screenplay-by-committee in exhausting, self-abnegating fashion. Birdman is an incredible bore. The closest analogue in feel is Todd Solondz's unfortunate riposte to his detractors, Storytelling, but at least that one wasn't all tarted up in attention-grabbing technical pandering. Birdman is about as clever as that Blues Traveler song: the tedious offense of idiots calling you an idiot.

Telluride ’14: Second Variety or: An Introduction

August 29, 20142014, Authors: Walter Chaw, Blog, Film Festivals, Telluride, Telluride 2014

by Walter Chaw You get into trouble when you expect the things you love the most in your life to be the salvation for bad choices. I was in a job last year that I hated. It paid well, and I took the money without thinking over-much that it was money for lying to people who trusted and respected me so they would continue to be productive for an organization that didn’t care about them. I was good at this. To quiet the little voices that began to fray around the edges of “everything I’m supposed to do,” I taught, and I wrote, and I identified myself as a writer and a critic and a teacher whenever someone asked me what I did. I came to Telluride last year at the invitation of a friend at a point where I thought of suicide a lot and couldn’t figure out why exactly that was. I didn’t review much anymore. I didn’t want to watch movies. I didn’t know what made me happy–I didn’t understand why nothing made me happy. Then there was the attendant self-loathing where you realize you have it made and shouldn’t you just stop complaining?

Without Warning (1980) – Blu-ray + DVD Combo Pack

August 25, 20141980s, 2014, Authors: Bill Chambers, Blu-ray Disc, DVD, Horror, Sci-Fi, Scream/Shout! Factory

Withoutwarning1

***/**** Image B- Sound B+ Extras A-
starring Jack Palance, Martin Landau, Tarah Nutter, Christopher S. Nelson
written by Lyn Freeman, Daniel Grodnik, Ben Nett, Steve Mathis
directed by Greydon Clark

by Bill Chambers A slasher movie in spirit, Greydon Clark’s Without Warning sure opens like one, in that some cannon fodder is swiftly dispatched to establish the bogeyman and the threat he represents. But instead of the typical frisky coeds or vacationing couple, the first victims are a father (Cameron Mitchell) and his adult son (Darby Hinton) on a hunting trip, and their dialogue is freighted with an impressive amount of history and subtext. The son is rudely awakened at the crack of dawn by his angry father; he proceeds to criticize the taste of the local water, which the father stubbornly hears as girlish griping rather than the anvil it actually is. Though they’re archetypal opposites (the Great Santini and his sensitive offspring), the son does try to call a truce of sorts and is soundly, sadly rebuffed. The father’s macho anti-intellectualism–the boy brought books on a hunting trip!–makes theirs an unbridgeable generation gap, and there’s an unsettling moment where he trains his rifle on his son, sniper-style, before thinking the better of it. Then suddenly, the father is attacked by flesh-eating disks that burrow into his skin, and what can he do except cry out for his kid, who soon suffers the same tragic fate.

Herzog: The Collection [Blu-ray Disc] – Heart of Glass (1976)

August 19, 20141970s, 2014, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Directors: Werner Herzog, Drama, DVD, Esoterica, Scream/Shout! Factory, West Germany

Herz aus Glas
***½/****
DVD – Image A Sound B Commentary B
BD – Image A- Sound A- Commentary B
starring Josef Bierbichler, Stefan Güttler, Clemens Scheitz, Volker Prechtel
written and directed by Werner Herzog

by Walter Chaw Hias (Josef Bierbichler) is a shepherd and a prophet, and his pronouncements pepper Heart of Glass like edicts from God. He defines the structure, in so much as there is one, of a picture that drifts in tone between Werner Herzog’s nightmarish, nostalgic Bavarian romanticism and a certain variety of gothic surrealism. Indeed, Heart of Glass, while hewing close to Herzog’s themes of the insufficiency of myth as a means to obscure truths about horror and beauty as well as of the artist as solitary, Byronic voyager, appears to be Herzog’s play at the stylization of Buñuel. After an aged glassblower dies in a small village, the out-of-time surviving villagers, reliant on the “ruby glass” that was the artisan’s specialty, spend the balance of the piece spiralling in a maddening gyre to divine the secret of the formula. Like Aguirre: The Wrath of God, the story behind the scenes–that Herzog hypnotized his cast daily to create a trancelike (glassy-eyed, if you will) mien–has become almost better known than the details of the film itself.

Borderline (2025) + Novocaine (2025)

Snow White (2025)

O’Dessa (2025)