FILM FREAK CENTRAL

Crimewave (1986) – Blu-ray Disc

May 19, 20131980s, 2013, Authors: Walter Chaw, Blu-ray Disc, Coen Brothers, Comedy, Crime, Directors: Sam Raimi, Scream/Shout! Factory

*½/**** Image B- Sound C+ Extras A
starring Louise Lasser, Paul L. Smith, Brion James, Reed Birney
screenplay by Ethan Coen & Joel Coen & Sam Raimi
directed by Sam Raimi

by Walter Chaw Sam Raimi’s sophomore picture Crimewave is a nightmare, a mess, a calamity of rare scope but also one possessed of a singular, maybe misguided but definitely committed, vision. It wants very badly to be a feature-length Three Stooges sketch or Warner Bros. cartoon (one of the early Tex Averys), and so the thing it most resembles is Joe Dante’s segment of The Twilight Zone: The Movie, stretched to a truly sadistic length (a deceptively scant-sounding 83 minutes) and thrown together by misadventure, studio interference, and a lot of talented people who didn’t know what they didn’t know. It’s so consistently and dedicatedly cross-eyed badger spit, in fact, that it eventually takes on the surreality of a Max Ernst gallery, or an acid trip in a travelling funhouse. It’s deeply unpleasant, even as fans of Raimi and the Coen Brothers (who co-wrote the screenplay with Raimi) busily trainspot all the auteur signatures in double time. What Crimewave represents is that peculiar artifact of a film that should have ended careers instead getting “lost” by a bumfuddled, betrayed studio for long enough to allow Evil Dead II and Blood Simple the opportunity to cement reputations before this one could bury them.

The We and the I (2013)

May 17, 20132013, Authors: Angelo Muredda, Comedy, Coming of Age, Drama, Teen, Theatrical

**½/****
starring Michael Brodie, Teresa Lynn, Raymond Delgado, Jonathan Ortiz
screenplay by Michel Gondry, Paul Proch, Jeff Grimshaw
directed by Michel Gondry

by Angelo Muredda The We and the I opens with a throwback, an image that wouldn’t be out of place in Michel Gondry’s distinctive music videos from the late-1990s, which were themselves full of backward glances to the more rough-hewn early days of MTV and old-school hip hop. Over the credits, a boombox modified into a miniature bus rolls along the streets of the Bronx pulsing out Young MC’s “Bust A Move,” until it’s crushed by what’s ostensibly the real thing, a city bus packed with urban teens who make up Gondry’s boisterous, gossiping, and privately wounded nonprofessional cast. That’s an interesting start, insofar as it suggests that Gondry’s obsession with whimsical props tinged with nostalgia are about to be traded in for something more authentic, even as it implies a bit cheekily that the “real” bus, taking a bunch of high-schoolers home on the last day of school, is itself a roaming set on which to stage semi-scripted exchanges between proper teens doubling as actors and artistic partners.

Naked Lunch (1991) [The Criterion Collection] – Blu-ray Disc

May 15, 20131990s, 2013, Authors: Walter Chaw, Blu-ray Disc, Canada, Directors: David Cronenberg, Esoterica, The Criterion Collection, UK

***½/**** Image A Sound A- Extras A
starring Peter Weller, Judy Davis, Ian Holm, Roy Scheider
screenplay by David Cronenberg, based on the book by William S. Burroughs
directed by David Cronenberg

“A group of children have tied an idiot to a post with barbed wire and built a fire between his legs and stand watching with bestial curiosity as the flames lick his thighs. His flesh jerks in the fire with insect agony.” —William S. Burroughs, Naked Lunch

by Walter Chaw “Sexual ambulance, did you say?” asks Bill Lee (Peter Weller), erstwhile exterminator of rational thought (and cockroaches) and stand-in for William S. Burroughs (who used the nom de guerre himself in Junkie) in David Cronenberg’s impenetrable, impossibly complex, surprisingly funny, curiously pleasurable Burroughs adaptation Naked Lunch. Bill is responding to a statement–an introduction, really–to a creature called a “Mugwump,” named after a political group that split from the Republican party in 1884 to support Grover Cleveland in protest of their own candidate James Blaine’s financial corruption. Those Mugwumps were members of a social elite; these Mugwumps, Cronenberg’s, are reptiles or insects (or should I say “also reptiles or insects”?), each voiced by Peter Boretski in his insistent, Columbo-esque rasp, asking just one more clarifying question. This Mugwump declares itself to be a master of sexual ambivalence, leading to Bill Lee’s miscomprehension of it as “sexual ambulance”–which, as mondegreens go, is a fairly loaded one. Naked Lunch is, after all, invested in language and corruption. Describing to Bill what it’s like to get high by injecting the toxin Bill uses to kill roaches, Bill’s wife Joan (the great Judy Davis) says, “It’s a very literary high–it’s a Kafka high, you feel like a bug”–the processing of which provides by itself a kind of literary high.

Mama (2013) – Blu-ray + DVD + Digital Copy + Ultraviolet

May 13, 20132013, Authors: Bill Chambers, Blu-ray Disc, Canada, DVD, Horror, Spain

Mama1

**/**** Image A Sound A Extras B-
starring Jessica Chastain, Nikolaj Coster-Waldau, Megan Charpentier, Isabelle Nélisse
screenplay by Neil Cross and Andy Muschietti & Barbara Muschietti
directed by Andy Muschietti

by Bill Chambers Mama is about a woman who doesn’t want kids being forced into motherhood by her pigheaded boyfriend. Yes, it’s a horror movie, but that’s ostensibly not the scary part–that would be the titular ghost who challenges our heroine to a mom-off for the souls of two little girls. Mama has watched over them since their crazed father Jeffrey (the suddenly omnipresent Nikolaj Coster-Waldau), still smarting from a bad day on Wall Street that saw him going postal, tried to execute them in a remote cabin in the woods. Five years later, Jeffrey’s brother Lucas (Coster-Waldau again) finally hits pay dirt in his obsessive search for his nieces when a routine check turns up the cabin with the girls inside, now feral and living on cherries.¹ Not that I’m asking for a prequel, but I’d love to–and would perhaps rather–see those lost years, the gradual breakdown of these kids’ language, hygiene, decorum. Alas, the Western cinema is preoccupied with domestication, which is where this sincerely well-made movie gets into trouble.

Monsieur Verdoux (1947) [The Criterion Collection] – Blu-ray Disc

May 12, 20131940s, 2013, Authors: Bryant Frazer, Blu-ray Disc, Chaplin, Comedy, Directors: Charles Chaplin, Drama, The Criterion Collection, Thriller

***½/**** Image B+ Sound B+ Extras B-
starring Charles Chaplin, Martha Raye, Marilyn Nash, Isobel Elsom
screenplay by Charles Chaplin, based on an idea by Orson Welles
directed by Charles Chaplin

by Bryant Frazer Charles Chaplin augmented his trademark mix of physical comedy, sweetness, and lefty politics with a dose of suspense (borrowed, probably, from Hitchcock) and a sardonic worldview (informed, maybe, by film noir) in the playful, funny, but ultimately downbeat Monsieur Verdoux. In a scenario that originated with Orson Welles, who receives an “idea” credit, Henri Verdoux is a serial killer based on Henri Landru, a French Bluebeard who seduced, married, and then murdered a string of Parisian women in order to liberate their assets. Chaplin plays Verdoux as a charming fiend whose demeanour incorporates the barest echo of the Little Tramp, but whose murderous M.O. recalled the director’s own reputation as a womanizer.

The Great Gatsby (2013)

May 8, 20132013, Authors: Walter Chaw, Drama, Romance, Theatrical

*/****
starring Leonardo DiCaprio, Tobey Maguire, Carey Mulligan, Joel Edgerton
screenplay by Baz Luhrmann & Craig Pearce, based on the novel by F. Scott Fitzgerald
directed by Baz Luhrmann

by Walter Chaw The great irony of Baz Luhrmann’s unwatchable farrago The Great Gatsby is that it’s not so much an interpretation of its titular hero’s self-aggrandizing fandangos as a literalization of one. It’s all surface, all façade, and not coincidentally, the most successful thing about it is Luhrmann’s shooting of Gatsby’s legendary parties as infernal bacchanalia. But that bit of useful critique is clearly a fluke, an accident of Luhrmann’s one-trick pony kicking over the single element in Fitzgerald’s book that is remotely compatible with Luhrmann’s style. The marriage of Baz with Fitzgerald, in fact, is a little like asking Michael Bay to adapt The Brothers Karamazov–it’s Timur Bekmambetov’s A Farewell to Arms. It’s showing off in the loudest, most obnoxious way possible, without any kind of critical, nay, useful, rationale for all the bread and circus–an asshole at play with Welles’s “best train set a boy could ever want,” with the casualty only what’s possibly the best American novel ever written. It’s an effrontery to taste, the sole consolation being that as Baz Luhrmann’s The Great Gatsby is something of a motherless child, there’s no one who will love it. No one could.

Hot Docs ’13: When I Walk

May 6, 20132013, Authors: Angelo Muredda, Canada, Disability, Documentary, Film Festivals, Hot Docs

***/****
directed by Jason DaSilva

by Angelo Muredda Midway through When I Walk, Jason DaSilva's seven-year record of his experience since an early diagnosis of multiple sclerosis at age 25, the filmmaker wonders what his future will be, his life an ever-moving series of targets since illness and disability became a part of it. It's to DaSilva's great credit that that curiosity about what will become of him is developed in more than prurient ways with an unexpected but welcome detour into what it means to struggle through the normal checkpoints of a committed relationship–babies and all–when one also has a degenerative illness with an uncertain endgame. That isn't to say we should celebrate the film simply for being something other than a depressive's video diary of his body gone awry, but that DaSilva's hook is honestly come by and cannily placed. What's more, it pays off to the extent that DaSilva is a mordantly funny subject, candid about his bodily quirks, his vanities, and his anxieties.

Hot Docs ’13: Fuck for Forest

May 6, 20132013, Authors: Angelo Muredda, Documentary, Esoterica, Film Festivals, Hot Docs

***½/****
directed by Michael Marczak

by Angelo Muredda "Don't you think we're already fucked anyway?" a twentysomething European reveller bathed in neon light asks an environmentalist recruiter early on in Fuck for Forest, Michael Marczak's gorgeously-lensed and strangely resonant nature documentary about a very strange pack of wild animals, the titular porn collective-cum-NGO. It's a decent question, but you don't get the sense that the sweet young Berliners to whom it's directed have much of a clue about how to answer. Their approach to saving the world, which Marczak never openly laughs at but never quite endorses either, is to turn the surprisingly good coin they make from their vaguely nature-themed amateur pornography into angel investments towards causes they believe in. A gently detached observer who drops in on the audio track only for occasional Jules and Jim-inspired backgrounders on our daffy leads, Marczak is an ideal mock-tour guide for the group's journey to Peru, where they scope out a group of locals who want to preserve the Amazon.

Hot Docs ’13: Remote Area Medical

May 3, 20132013, Authors: Angelo Muredda, Documentary, Drama, Film Festivals, Hot Docs

***½/****
directed by Jeff Reichert and Farihah Zaman

by Angelo Muredda When he was seriously injured in the jungle thirty years ago, broadcaster and philanthropist Stan Brock tells an interviewer in Jeff Reichert and Farihah Zaman's powerful Remote Area Medical, the nearest doctor was over 26 days' worth of travel away–23 more than if he'd been on the moon, as an astronaut once told him. You can tell that Brock has massaged that anecdote into a homily with repetition, but rather than seeming slick, his pitch for greater medical care for those stuck in remote areas and extreme conditions has an air of earned righteousness about it, the sound of human decency filtered through experience. That same spirit of professionalism and earnestness pervades Reichert and Zaman's film, which profiles not the volunteer pop-up clinics Brock initially founded in faraway parts of the world but one right in his adoptive home of Tennessee, where hundreds of uninsured working-poor citizens line up days in advance for a fighting shot at care.

Iron Man 3 (2013)

May 2, 20132013, Action, Adventure, Authors: Walter Chaw, Christmas, Revenge, Superhero, Theatrical

Iron
Man Three
*½/****
starring
Robert Downey Jr., Gwyneth Paltrow, Don Cheadle, Ben Kingsley
screenplay
by Drew Pearce & Shane Black
directed
by Shane Black

by
Walter Chaw I laughed once during Shane Black's Iron
Man 3–an unfortunate milestone for me and Black's
films, which I
have found, without exception, pretty amusing. That one moment is a
reference serial post-modernist and industrialist Tony Stark (Robert Downey Jr.)
makes to
Michael Crichton's 1973 cult fantasia Westworld.
The Tony Stark character is not just the cocksure pop-cultural embodiment of Roland Barthes's work on semiotics and myth: he'd be Barthes's greatest subject for analysis–the object that presumes a pop-cultural universal constant. The place where Black works, in other words, is that place where everyone's seen and read and heard everything they "should have" seen and read and heard. When Stark drops the Westworld bomb, then, we understand the implication that Stark is observing an evil henchman to not only appear to be robotic and indestructible, but maybe sexy and Yul Brynner-esque as well–maybe a female fantasy, maybe a "stupid sexy Flanders" homosexual fantasy. Certainly there's a recognition that dropping a reference like this is pleasurable in a way that structuralism would appreciate, but only for the nerd bourgeoisie. It's a moment meant to create a sense of exclusionary cloister in the midst of one of the most widely-dissembled entertainments in human history, and I liked that.

Hot Docs ’13: NCR: Not Criminally Responsible

May 2, 20132013, Authors: Angelo Muredda, Canada, Documentary, Drama, Film Festivals, Hot Docs

***/****
directed by John Kastner

by Angelo Muredda The ending of Taxi Driver could well be the start of John Kastner's NCR: Not Criminally Responsible. Where Scorsese's paranoiac dream closes with Travis Bickle returning to his cab after his bloodbath as either an undeserving hero or a delusional phantom, Kastner's film opens with an admirably complex consideration of what it means–for everyone from victim to convict to society at large–to reintegrate into Canadian culture a violent criminal who's been found not culpable for his actions. Kastner begins with the conditional release of Sean Clifton, a previously undiagnosed and ostensibly nonviolent Cornwall man who one day stabbed a young woman in a Walmart parking lot. Despite their spiritual belief in the power of rehabilitation and the doctors' assurances that Clifton is now medicated, the victim's family is understandably vexed. And, despite our own best liberal intentions, so are we.

Hot Docs ’13: Shooting Bigfoot

May 2, 20132013, Authors: Angelo Muredda, Documentary, Esoterica, Film Festivals, Hot Docs, Mystery, UK

***/****
directed by Morgan Matthews

by Angelo Muredda There's a Weakerthans song called "Bigfoot!" about a Manitoba ferry operator who was harassed by local media for disclosing his alleged encounter with the furry legend. It's an oddly affecting little thing, especially around the chorus, where the man insists–likely just to himself–that he won't go through it all again "when the visions that I've seen will believe me." If nothing else, Morgan Matthews's genre-crossing Shooting Bigfoot confirms that the loneliness and hermeticism of the poor Manitoban's life after Bigfoot–defined by a vision he can't possibly share, for obvious reasons–is pretty standard stuff in the cult of sightings. Mixing Werner Herzog's eccentric profiles with both Christopher Guest's institutional satire and an unexpected but not unwelcome helping of The Blair Witch Project, the film starts as an arm's-length survey of Bigfoot culture before fully immersing itself in its manic compilation of signs and wonders.

Hot Docs ’13: Pussy Riot: A Punk Prayer

April 30, 20132013, Authors: Angelo Muredda, Documentary, Film Festivals, Hot Docs, Russia

**½/****
directed by Mike Lerner and Maxim Pozdorovkin

by Angelo Muredda Civil disobedience is about as uncinematic as political protests get, so credit Mike Lerner and Maxim Pozdorovkin for making Pussy Riot: A Punk Prayer a more or less compelling paean to the troupe's fortitude against Russian orthodoxy. The film chronicles the ongoing legal battle that ensued from the feminist collective's 15-second guerrilla performance of a song called "God Shit" at the altar of St. Christ Church in Moscow. The impromptu number, captured in fuzzy cellphone video that's the most stirring footage in the movie by a mile, got masked performers Nadezhda Tolokonnikova, Ekaterina Samutsevich, and Mariya Alyokhina a 3-year sentence at a penal colony for simultaneously dumping on the Orthodox Church and Putin. That such a minor demonstration could inspire such a heavy-handed state response is just one of the hooks the filmmakers exploit to strong effect in their look at how deeply religious values are embedded in Putin's Russia, which turns relatively minor acts of punk rebellion into the most vital expressions of political dissent.

Hot Docs ’13: Downloaded

April 29, 20132013, Authors: Angelo Muredda, Documentary, Esoterica, Film Festivals, Hot Docs

***/****
directed by Alex Winter

by Angelo Muredda Who would have expected both Bill and Ted to become a pair of slick documentarians about media revolutions? Just last year there was the Keanu Reeves-produced Side by Side, and now, Alex Winter's Downloaded, an engaging if overly twee sort-of prequel to The Social Network about the formation and early death of Napster. Downloaded moves at a good clip, establishing early on both the company's miraculous birth over a bunch of IRC chats between nerdy cofounders Shawn Fanning and Shawn Parker (interviewed in a ridiculous penthouse suite that Facebook built) and the larger systemic changes in information-management that produced their baby, the first major decentralized file-sharing system. Winter gets utopian about the spirit of exchange that ensued when campus-dwellers started trading their Nirvana concerts and Sugar Ray singles in the late-Nineties, but you can forgive him for getting misty-eyed: It's easy in retrospect to forget just how easy and inevitable library consolidation through downloading became when Napster took off.

Hot Docs ’13: Interior. Leather Bar.

April 26, 20132013, Authors: Angelo Muredda, Documentary, Esoterica, Film Festivals, Hot Docs

*/****
directed by James Franco and Travis Mathews

by Angelo Muredda Whatever goodwill James Franco built up with his mesmerizing turn in Harmony Korine's Spring Breakers is bulldozed by Interior. Leather Bar., his second infuriating Hot Docs appearance in as many years. Ostensibly a recreation of a lost 8-minute sequence from William Friedkin's Cruising that was to show Al Pacino's undercover detective intimately crowdsourcing a gay S&M bar for a serial killer, this is nothing short of an incompetent lecture on queer theory and the importance of being a heterosexual ally to the community from a vain graduate student and, even worse, a tourist.

Hot Docs ’13: The Manor

April 26, 20132013, Authors: Angelo Muredda, Documentary, Family, Film Festivals, Hot Docs

**½/****
directed by Shawney Cohen

by Angelo Muredda "I call myself a filmmaker," Shawney Cohen muses off the top of his debut feature The Manor, "but I've actually been a strip-club manager for longer." Family inheritances have long proven fertile ground for emerging documentarians, like Sarah Polley with Stories We Tell just last year. Still, Cohen has a distinctive enough angle here, given the unusual visual dynamics of his family (dad's overweight, mom has an eating disorder) and its business, the titular Guelph club that Cohen's father has been running for over 30 years.

Pain & Gain (2013)

April 25, 20132013, Action, Authors: Angelo Muredda, Comedy, Crime, Directors: Michael Bay, Theatrical, Thriller

**/****
starring Mark Wahlberg, Dwayne Johnson, Anthony Mackie, Ed Harris
screenplay by Christopher Markus & Stephen McFeely, based on the articles by Pete Collins
directed by Michael Bay

by Angelo Muredda A man does a stomach crunch in mid-air, suspended off the armpit of a muscleman logo that's spray-painted onto the side of a gym. Is there a more quintessential Michael Bay image than the opening shot of Pain & Gain? The only serious contender comes later on, in a slow-motion tableau of the same bro, Mark Wahlberg's personal trainer-cum-murderer Danny Lugo, sailing over the windshield of an SUV, propelled by the debris from a flying fruit stand. When your story doesn't have any Autobots, I guess you just have to improvise with your surroundings to get all your primary colours in. To say that the radioactive pop palette and abs-fetishism is familiar is an understatement, but it's the thematic material and belaboured telling of it that makes Pain & Gain a perfect storm of Bay. Temporarily freed from the restraints of a battling-robot franchise, he's allowed to make his most purely ideological statement yet in the form of a (fact-based) story about three idiots pursuing their warped vision of the Horatio Alger myth–which happily coincidences with Bay's.

Tristana (1970) – Blu-ray Disc

April 24, 20131970s, 2013, Authors: Angelo Muredda, Blu-ray Disc, Disability, Drama, Esoterica, France, Spain

***/****
Image A- Sound B+ Extras B+
starring Catherine
Deneuve, Fernando Rey, Franco Nero, Lola Gaos
screenplay
by Luis Buñuel in collaboration with Julio Alejandro, based on the novel
by Benito Pérez Galdós
directed
by Luis Buñuel

by
Angelo Muredda You might not think it from overdetermined
schlock like Simon
Birch, but disability is a tough trope to wrangle, an
errant bodily signifier that doesn't always play nice. Just think of
Million Dollar Baby,
which tries and fails to use Hilary Swank's
impairment as a
narrative shortcut for Clint Eastwood's transformation into a tender
father,
troubled Catholic, and euthanizer-turned-agent of transcendence all at
once.
Eastwood the director has to stumble over the mechanics of his scene
partner's
newly-maimed body and horizontal status, fudging the timeline so that
her
bedsores appear to sprout within minutes of her injury and puzzling over
how to
frame her, whether as a head poking out of a hospital bed in the
background or
a wheelchair-sporting cyborg parked in dead centre, staring out her
hospital
window like a forlorn puppy. That representational awkwardness is so
common that
in disability studies, it even has a name: Ato Quayson calls it
"aesthetic
nervousness," meaning a text's tendency to collapse in a fit of nerves
before the matter of how to represent a disabled body.

The Blob (1958) [The Criterion Collection] – Blu-ray Disc

April 22, 20132013, Authors: Jefferson Robbins, Blu-ray Disc, Horror, Sci-Fi, Teen, The Criterion Collection

***½/**** Image A Sound A Extras B
starring Steven McQueen, Aneta Corseaut, Earl Rowe, George Karas
screenplay by Theodore Simonson and Kate Phillips, from an idea by Irvine H. Millgate
directed by Irvin S. Yeaworth Jr.

click any image to enlarge

by Jefferson Robbins Burt Bacharach and Mack David’s sock-hoppin’ title-track lyrics aside, the key creature of Irvin S. Yeaworth Jr.’s The Blob never “leaps.” Sure, it sort of lunges up a stick to absorb an old hermit’s paw, but mostly what it does is ooze around, digest flesh, and act as the centring point for the film’s fine balance of character, pacing, and grace in the face of certain doom. While The Blob has its light moments, it’s seldom again as carefree as its opening credits would seem to portend. The blob crashes within its meteor-case into a riven small-town society and drives it–the way all good monsters do–to better know and reconcile with itself.

The Fury (1978) [The Limited Edition Series] – Blu-ray Disc

April 18, 20131970s, 2013, Authors: Bill Chambers, Blu-ray Disc, Directors: Brian De Palma, Espionage, Revenge, Sci-Fi, Teen, Thriller

***½/**** Image B- Sound B Extras D
starring Kirk Douglas, John Cassavetes, Carrie Snodgress, Charles Durning
screenplay by John Farris, based on his novel
directed by Brian DePalma

by Bill Chambers SPOILER WARNING IN EFFECT. While Brian DePalma is nothing if not a leitmotif filmmaker, it’s curious that he chose to direct The Fury right after Carrie. Imagine Spielberg following up Jaws with Orca–it’s like De Palma was begging to be pigeonholed. And it’s not surprising that The Fury wasn’t as zeitgeisty: it lacks the classical simplicity and youth appeal of Carrie, with almost no one in the cast under 30 save for future softcore legend Andrew Stevens and Carrie holdover Amy Irving, a good actress who just doesn’t have that X factor. But The Fury‘s echo can still be heard, because its ending is indeed that impactful. Nearly every review mentions it, and the terms in which Pauline Kael and her acolytes described it gave it a kind of porny rep that’s since inspired generations of young film buffs to seek the movie out. (Armond White called it an “orgasm.”) It is a great ending, but a revisit makes clear that The Fury is worth reading for the articles.

Heretic (2024)

SDAFF ’24: Bitterroot

Red One (2024)