Django Unchained (2012) – Combo Blu-ray + DVD + Digital Copy

Djangounch2

****/**** Image A Sound A Extras C+
starring Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Samuel L. Jackson
written and directed by Quentin Tarantino

by Walter Chaw If Inglourious Basterds was an ambiguous, brilliant indictment of “Jewish vengeance” wrapped in this impossibly canny exploration of violence through screenwriting, performance, and love of film, think of Quentin Tarantino’s follow-up, Django Unchained, as a glorious continuation of what has become a singular artist’s evolving theme. It demonstrates an absolute command of the medium, of what film can do when tasked to do more than usual, and it does it by being some of the finest film criticism of the year. If the Coens are our best literary critics, then Tarantino is our best film critic cum sociologist, and his topics, again, are how we understand history through specific prisms and how violence can be both catharsis and atrocity–often in the same breath and almost always in the same ways. Consider that this difficult film’s most difficult moment comes, as it does in Inglourious Basterds, at the very end, in an unbearably ugly act of violence perpetrated against not the expected slave-owner antagonist, Candie (Leonardo DiCaprio), but his manservant Stephen/Stepin (Samuel L. Jackson). Consider, too, the idea that vengeance–particularly in our post-9/11 environment–is the proverbial tiger we’ve caught by the tail: our cultural legacy that we try to justify through any means, given that our ends are so very righteous.

Like Someone in Love (2012)

***½/****
starring Rin Takanashi, Tadashi Okuno, Rio Kase, Denden
written and directed by Abbas Kiarostami


Likesomeoneinlove

by Angelo Muredda Few filmmakers know how to put you on your
guard from the first frame as effectively as Abbas Kiarostami. It's clear
enough that Like
Someone in Love
opens in a bar in Tokyo, but it's
harder to say at first what we're looking at and why. The closest voice we hear
belongs to the off-camera Akiko (Rin Takanashi), a young woman who's a little too preoccupied with lying her way out
of a hostile phone conversation to process the flat image of well-dressed young
revellers in front of her. Whether she's our lead takes a couple of false tries
to figure out. Our first candidate is a redhead around her age, sitting at a
table off to the side until she suddenly relocates to an empty seat in the
foreground, coaching Akiko through the rest of her call until she relinquishes
her spot moments later to a fortysomething man who speaks to both women with
first the familiarity of a parent, then the condescension of a high-end pimp
directing his employees. Somewhere in-between these encounters, we briefly lose track of who's even doing the looking. Akiko waltzes into our field of
vision on the way to the bathroom, the camera fixed at where her eyeline used
to be after she's vacated her seat, as if holding her place until she gets
back.

True Blood: The Complete Second Season (2009) + True Blood: The Complete Third Season (2010) – Blu-ray Discs

Image A Sound A+ Extras B-
S2: "Nothing But the Blood," "Keep This Party Going," "Scratches," "Shake and Fingerpop," "Never Let Me Go," "Hard-Hearted Hannah," "Release Me," "Timebomb," "I Will Rise Up," "New World in My View," "Frenzy," "Beyond Here Lies Nothin'"

S3: "Bad Blood," "Beautifully Broken," "It Hurts Me Too," "9 Crimes," "Trouble," "I Got a Right to Sing the Blues," "Hitting the Ground," "Night on the Sun," "Everything Is Broken," "I Smell a Rat," "Fresh Blood," "Evil Is Going On"

Truebloods2cap

by Walter Chaw "True Blood" is pulp crap. Yet as Bryant and Bill have already so eloquently pointed out, it's highly-addictive pulp crap–the sort of shallow, handsomely-mounted titillation that fosters the craze that sprung up around prime-time soaps like "Dynasty" and "Falcon Crest". White-collar smut that traffics in the currency of the age: once upon a time it was the super-rich, now it's the supernatural. Plus ça change, plus c'est la meme. It's certainly soapier than showrunner/creator Alan Ball's previous pay-cable drama, "Six Feet Under", but to its credit what "True Blood" does in returning sexuality–and gore, and (southern) Gothic trappings–to the vampire mythos, it does well. The shame of it is that it seems to be ashamed of itself and so continually strives for relevance in aligning the plight of its vampire underclass to gay rights. Bill said it first, but is the appropriate supernatural analogue to gays really vampires? Is it wise to suggest that gays present that same kind of sexual allure? The same kind of blood contagion? Doesn't that play into the Conservative storyline a bit too neatly? At least it's not "The Walking Dead".

Extracurricular Activities: “The Monster Show”

by Bill Chambers Recently, my brother Derek
and I–a failed screenwriting team if ever there was one–took advantage of the new technological democracy and decided to make our own web cartoon, spun off from
a short story Derek wrote ("The Monster Strikes") about a closet
monster who goes on strike and becomes roommates with his intended victim. For
years we had scribbled ideas for a potential TV show based on the concept,
though our initial desire to satirize sitcom tropes changed (evolved?) over
time as we realized we wanted to get away from meta humour and do something
more organically stupid.

“Zero Dark Thirty”: The Ashes Of American Flags

by Jefferson Robbins Kathryn Bigelow’s Zero Dark Thirty is politically abhorrent, an ideologue’s digest of how torture “works” on behalf of democratic governments seeking to defend from or avenge themselves upon terrorism. There’s no debate: by means of torture, CIA operative Maya (Jessica Chastain) digs her way from Osama bin Laden’s outer network to his inner circle, one, two, three. As journalist Malcolm Harris put it, “That Kathryn Bigelow used to be involved in left aesthetics should make us shiver in fear about who we may yet become.” But subtly, in the way Bigelow presents her lead character’s view of the battlefield and the flag under which she strives, Zero Dark Thirty betrays mixed feelings about its own ramifications.

Evil Dead (2013) + Beyond the Hills (2012)

Evildead

EVIL DEAD
***½/****
starring Jane Levy, Shiloh Fernandez, Lou Taylor Pucci, Jessica Lucas
screenplay by Fede Alvarez & Rodo Sayagues, based on the screenplay by Sam Raimi
directed by Fede Alvarez

BEYOND THE HILLS
****/****
starring Cosmina Stratan, Cristina Flutur, Valeriu Andriuta, Dana Tapalaga
screenplay by Cristian Mungiu, inspired by the non-fiction novels of Tatiana Niculescu Bran
directed by Cristian Mungiu

by Walter Chaw SPOILER WARNING IN EFFECT. The greatest irony of Fede Alvarez’s otherwise laudably straightforward reboot of Sam Raimi’s Spam-in-a-cabin classic The Evil Dead is that the moments where it references its primogenitor are actually the movie’s weakest. I’m thinking, in particular, of handsome young hero David (Shiloh Fernandez) getting thrown around a wet cellar in high Raimi smash-zoom style, which only underscores how much the original films drew their tone from Bruce Campbell–and how much this new one misses him. The danger of casting a group of beautiful people and taking itself deadly seriously (and jettisoning the “The,” in a gesture that reads as hipster insouciance) is that Evil Dead might draw closer to the mainstream and farther from its grindhouse roots. The small miracle of it, then, is that in both its absolute glee in finding the line of how much gore to show and then crossing it (a pair of glasses stop a hypodermic needle…but only for a moment) and its surprising efforts at locating a deeper thread in a frayed brother/sister relationship and the impact of drug addiction, Alvarez’s film is a solid, even affecting genre piece that allows for an abundance of memorable money shots. Compare its intelligence and earnestness, its infernal energy, against the disrespectfulness and self-satisfaction of The Cabin in the Woods to see that Evil Dead is not just a taste of the old religion, it’s really pretty great.

The Pelican Brief (1993); A Time to Kill (1996); Primal Fear (1996) – Blu-ray Discs

THE PELICAN
BRIEF

½/**** Image C+ Sound C+
starring Julia Roberts, Denzel Washington, Sam Shepard, John Heard

screenplay by Alan J. Pakula, based on the novel by John Grisham


directed by Alan J. Pakula



A TIME TO KILL
½*/**** Image B+ Sound B+
starring Sandra Bullock, Samuel L. Jackson, Matthew McConaughey, Donald
Sutherland


screenplay by Akiva Goldsman, based on the novel by John Grisham


directed by Joel Schumacher



PRIMAL FEAR
***/**** Image B Sound B+ Extras B
starring Richard Gere, Laura Linney, John Mahoney, Edward Norton

screenplay by Steve Shagan and Ann Biderman, based on the novel by
William Diehl


directed by Gregory Hoblit


by Walter Chaw
Hand-in-hand with the digital revolution of the 1990s is
this backlash against the same as technical paranoia pictures like The
Net
and Hackers cohabit multiplexes with
an epidemic of John Grisham adaptations. Starting with The
Firm
in 1993 and running through to The Client (1994),
The Pelican Brief (1995), A
Time to Kill
and The Chamber (1996), The
Rainmaker
(1997), and The Gingerbread Man
(1998), these pictures share a deep interest in not just the low-grade
hackery of Grisham's declarative-prose style, but also super-secret
societies in the halls of power. Thus was limply resurrected the
paranoid New American Cinema. It was different this time around because
the ways our realities were being manipulated by the popular culture
and mass media were no longer a product of a governmental conspiracy,
but of a perceptual mutation.* It's not about not trusting the
government (nobody has trusted the government since 1972)–it's about
not trusting the medium of film itself. Not surprisingly, directors who
carved out their reputations in the Seventies–like Francis Ford
Coppola, Robert Altman, and Alan J. Pakula–jumped on board the Grisham
train, finding familiar ground in his gallery of paper-based heroes
(lawyers, judges, newspapermen) and perhaps thinking they'd bought a
ticket back to relevance when in fact they were working in an odd
parallel phenomenon that would fail almost entirely to have any kind of
relevance or longevity. Instead of producing classics, these legends
were excavating mines they'd already exhausted three administrations
ago.

The Ballad of Narayama (1958) [The Criterion Collection] – Blu-ray Disc

Ballad3

***½/**** Image B+ Sound A Extras C
starring Kinuyo Tanaka, Teiji Takahashi, Yuko Mochizuki, Danko Ichikawa
screenplay by Keisuke Kinoshita from the novel by Shichiro Fukazawa
directed by Keisuke Kinoshita

by Bryant Frazer The Ballad of Narayama, a 1958 film by Keisuke Kinoshita, a Shochiku studio stablemate of Ozu and Mizoguchi, opens with an unconventional gambit for a Japanese melodrama from the 1950s. A masked M.C. knocking two blocks of wood together matter-of-factly announces the film’s title and offers a brief abstract of its content. The fabric behind him proves to be a curtain, drawn aside after the credits are displayed–Narayama is staged as theatre, filmed by a movie camera. The voiceover narration, accompanied by music plucked on a shamisen, draws on traditional Japanese styles of drama. The sets are lavishly dressed with flowers, trees, and even gently burbling brooks. And Kinoshita’s repeated strategy of changing sets in full view of the camera by pushing platforms to the side, casting a shadow across a character, or suddenly dropping a curtain or background to reveal a new scene behind, is borrowed from the kabuki tradition.

Wake in Fright (1971)

Wakeinfright

***½/****
starring Donald Pleasence, Gary Bond, Chips Rafferty, Jack Thompson
screenplay by Evan Jones, based on the novel by Kenneth Cook
directed by Ted Kotcheff

by Angelo Muredda As exploitation-movie titles go, Wake in Fright suggests a high-concept reversal of A Nightmare on Elm Street, where the only way to fall prey to bogeymen is to stay awake. It’s a bit of an odd sell, given the more abstract horror mined by Toronto-born filmmaker Ted Kotcheff, of both The Apprenticeship of Duddy Kravitz and First Blood fame. Far from Kravitz country in its Australian setting but still working in the same territory of young, ambling men who want to be somebody, Kotcheff’s earlier film–first screened in 1971 to both wild acclaim and great distaste from animal-rights activists, and somewhat forgotten until its resurrection in the “Ozploitation” documentary Not Quite Hollywood–is more interested in the terror of duration without purpose, of waking up when you have no good reason, than in anything so prosaic as a slasher. Elm Street it isn’t, then, but Kotcheff burrows into his haughty lead’s descent into himself–a stand-in for every thirtysomething man’s realization that his coming-of-age has already happened, to no discernible effect–with a nihilist precision that’s tough to shake off.

G.I. Joe: Retaliation (2013)

*½/****
starring D.J. Cotrona, Byung-hun Lee, Adrianne Palicki, Dwayne Johnson
screenplay by Rhett Reese & Paul Wernick
directed by Jon M. Chu


Gijoe2

by Angelo Muredda While it's easy to snicker at a title sequence
that boasts of "Characters by Hasbro," G.I. Joe: Retaliation (hereafter Retaliation) is the kind of movie you root for. After the banality of
predecessor Stephen Sommers, John M. Chu is an inspired choice of director. This
is a guy who's made his name by bringing elegance and agility to his two
attempts at the surprisingly bullet-proof Step Up franchise.
There was reason enough, then, to hope his preference for long takes and
earnest interest in bodies in motion would translate to a franchise inspired by
a line of action figures. After all, such baubles are nothing if not fetish
objects, their biceps studied by the faithful with a mad love usually
reserved for dancers, matinee idols, and wrestlers. What better
meeting of the three than a project steered by the director of dance films and
anchored by Channing Tatum and Dwayne Johnson, née The Rock?

The Master (2012) – Blu-ray Disc

Master1

****/**** Image A Sound A Extras A-
starring Joaquin Phoenix, Philip Seymour Hoffman, Amy Adams, Laura Dern
written and directed by Paul Thomas Anderson

by Walter Chaw Of all the recognizable and memorable phrases that John Keats contributed to the English language, this ranks high:

A thing of beauty is a joy for ever:
Its loveliness increases; it will never
Pass into nothingness; but still will keep
A bower quiet for us, and a sleep
Full of sweet dreams, and health, and quiet
breathing.

Countess Dracula (1971)/The Vampire Lovers (1970) [Midnite Movies Double Feature] – DVD|The Vampire Lovers (1970) – Blu-ray Disc

COUNTESS DRACULA
*½/**** Image B Sound B+ Extras A
starring Ingrid Pitt, Nigel Green, Sandor Eles, Maurice Denham
screenplay by Jeremy Paul
directed by Peter Sasdy

THE VAMPIRE LOVERS
***/****
DVD – Image A Sound B+ Extras A-
BD – Image B+ Sound A- Extras B
starring Ingrid Pitt, George Cole, Kate O’Mara, Peter Cushing
screenplay by Tudor Gates, based on the story “Carmilla” by Sheridan Le Fanu
directed by Roy Ward Baker

by Walter Chaw Britain’s Hammer Studios all but defined the period horror film from the late-Fifties on, making matinee idols of Christopher Lee and Peter Cushing as Bram Stoker’s Dracula and erstwhile vampire hunter Van Helsing. But musty is what most Hammer productions remain (with notable exceptions like Quatermass and the Pit), and as the drive-in exploitation ethic of Herschell Gordon Lewis began to redefine the limits of what could be shown with regards to gore and nudity in the United States (arguably, the European films that found currency in the Sixties with a more sophisticated audience had as much or more to do with the “opening” of America’s notorious piety), the studio found itself distressingly out of touch–Merchant/Ivory doing The Matrix.

The Hobbit: An Unexpected Journey (2012) – Combo Pack: Blu-ray + DVD + Ultraviolet

½*/**** Image A Sound A+ Extras B
starring Ian McKellen, Martin Freeman, Richard Armitage, Andy Serkis
screenplay by Fran Walsh & Philippa Boyens & Peter Jackson & Guillermo Del Toro, based on the novel by J.R.R. Tolkien
directed by Peter Jackson


Hobbit1click any image to enlarge

by Walter Chaw Shot at a vaunted 48 frames-per-second to
better approximate the television soap opera its mammoth length suggests, Peter
Jackson's vainglorious trainwreck The Hobbit: An Unexpected Journey
(hereafter "Hobbit 1") looks for all intents and purposes like
its own porn knock-off. A technological "advancement" that is to the
naked eye identical to any episode of reality television or live sporting event
you've been watching in your living room for years, the 48fps "breakthrough"
was for Jackson a way of making the increasingly unpopular new-gen 3-D a little
bit less crappy. It's like putting a dress on a pig. Understand, complaints
about "HFR" are not akin to the bellyaching about colour film or
CinemaScope, since those innovations didn't actively cheapen the moviegoing experience. The irony of all that being, of course, that while the
image indeed doesn't stutter or blur as much in 3-D, what we're forced to
look at is overlit, obviously artificial, and reminded me more than once of
the jarringly amateurish "Star Wars Holiday Special".

Zero Dark Thirty (2012) – Combo Blu-ray + DVD + Digital Copy

Zerodarkthirty2

***½/**** Image A- Sound A+ Extras C
starring Jessica Chastain, Jennifer Ehle, Jason Clarke, Kyle Chandler
screenplay by Mark Boal
directed by Kathryn Bigelow

by Angelo Muredda As of this writing, the latest wannabe tastemaker to thumb his nose at Zero Dark Thirty is novelist and professional blowhard Bret Easton Ellis, who tweeted that critics lauding the film “need to admit that they’re admiring a morally indefensible movie.” With that, Ellis joins an army of self-deputized film writers who’ve taken issue on moral grounds with Kathryn Bigelow and Mark Boal’s treatment of the CIA’s decade-spanning manhunt for Osama bin Laden. While Ellis’s tasteless tweets about Bigelow’s appearance a few weeks back make his word suspect, it’s harder to dismiss Glenn Greenwald, the liberal firebrand whose initial survey of early praise for the film (then unseen by him) slammed Bigelow and Boal for glorifying torture. Incensed by the suggestion that crowd-sourcing knowledge about Zero Dark Thirty‘s representation of torture from the likes of David Edelstein constituted poor form, Greenwald soon saw the picture for himself and insisted that the viewing only confirmed his initial impressions: “[T]o depict X as valuable in enabling the killing of bin Laden is – by definition – to glorify X,” he observed, where X meant torture; woe to the “huge numbers of American viewers” about to be “led” down the filmmakers’ dim alleyways.

Schindler’s List (1993) [Collector’s Gift Set] – DVD|[20th Anniversary Limited Edition] – Blu-ray Disc

***/****
DVD – Image
B+ Sound
A
Extras A
BD – Image A+ Sound A Extras B-


starring Liam Neeson, Ben Kingsley, Ralph Fiennes,
Caroline Goodall
screenplay by Steven Zaillian, based on the novel by Thomas Keneally
directed by Steven Spielberg


Schindlers1click
any image to enlarge

by Bill
Chambers
It's not the "I could've done more" speech that
rankles, but rather the scene directly preceding it, in which Herr
Direktor
Oskar Schindler (Liam Neeson) shames a gaggle of SS
guards into leaving the 1100 Jews they've been ordered to kill unharmed
in a manner not far removed from one of paterfamilias
Mike's guilt-trips on "The Brady Bunch". ("You don't really want to
shoot these nice people, do you?" he asks (I'm hardly
paraphrasing)–and one-by-one they skulk off.) I realized during my
first viewing of Steven Spielberg's Schindler's List
in almost a decade that I'm too much the representationalist to treat
any text as sacred just because its subject matter is. Ergo, I allowed
myself to cringe whenever I perceived Spielberg to be leaning on the
crutch of suburban ethics, which he does often in the film's "for he's
a jolly good fellow" denouement.*

Design for Living (1933) [The Criterion Collection] – Blu-ray Disc

Design1

****/**** Image A Sound B Extras A+
starring Fredric March, Gary Cooper, Miriam Hopkins, Edward Everett Horton
screenplay by Ben Hecht, based on the play by Noel Coward
directed by Ernst Lubitsch

by Walter Chaw The impulse to call the work of Ernst Lubitsch “frothy” and “bubbly” and otherwise insubstantial (a practice excoriated, rightfully so, by film scholar William Paul on Criterion’s Blu-ray release of Design for Living) obscures the fact that none of Lubitsch’s romantic masterpieces would carry any kind of resonance without an essential heart of darkness and decay. The oft-invoked “Lubitsch Touch”–that well-circulated anecdote that Billy Wilder hung the words “What Would Lubitsch Do” above his office door–suggests to me the wellspring of the asshole element in Wilder’s works: the idea that Wilder was just Hitchcock undercover, with Lubitsch influencing both directors in ways obvious and not so and not in terms of a “light” touch so much as a decidedly bitter one. Take my favourite Lubitsch film, Trouble in Paradise, which begins with a trash barge in the middle of the night in a Venice we don’t see again until Nicolas Roeg’s Don’t Look Now. The picture proceeds to document the love affair between two professional thieves and the innocent woman who falls victim to them. In that, there’s a direct reference to hated President Hoover’s deep-in-the-Depression platitude that “prosperity is right around the corner,” offered in piercing irony for a cash-strapped audience for whom the theatre had most likely just lowered their admission to a dime. The “Lubitsch Touch,” indeed: edged and between the ribs before you know it’s being brandished.

Neighbouring Sounds (2013)

Neighboringsounds

O som ao redor
***½/****
starring Gustavo Jahn, Maeve Jinkings, W.J. Solha, Irma Brown
written and directed by Kleber Mendonça Filho

by Angelo Muredda In his 1975 survey of trends in Canadian literature, Northrop Frye famously diagnosed the national character as paranoiac, fraught with nightmares about being invaded by the outside world. That so-called garrison mentality, Frye offered, meant early white Canadian settlers bonded together against both the malevolent nature past their forts and the more generalized outside threats it represented–shutting their doors to anyone who seemed the slightest bit unneighbourly. Although Frye had a very specific community in mind, it’s hard not to see it reflected in the gated neighbourhood of critic-turned-filmmaker Kleber Mendonça Filho’s Neighbouring Sounds, a conclave of middle-class northern Brazilian condo-dwellers who define themselves by the riffraff they discard, whether car-stereo thieves or sleeping doormen. Part-Hanekian surveillance thriller and part-Altmanesque ensemble of overlapping voices, it’s one of the most assured debut features to land in years, the sort of fully-formed high-concept work you expect after a couple of interesting misfires.

Driving Miss Daisy (1989) – Blu-ray Disc (DigiBook)

Drivingmissdaisy1

*/**** Image B Sound B Extras B
starring Morgan Freeman, Jessica Tandy, Dan Aykroyd, Patti Lupone
screenplay by Alfred Uhry, based on his play
directed by Bruce Beresford

by Walter Chaw The heart-warming story of how a bitter old Jewess learns to not be such a bitch to a patient Negro driver in an idyllic pre-integration South, Bruce Beresford’s Driving Miss Daisy, released the same year as other such landmark films about race as Ferris Bueller’s Black Civil War Regiment and Do the Right Thing, discusses how forty-one years of forced companionship can overcome even the deepest-seated prejudices and resentments. Or, at least, dementia can. We meet Ms. Daisy (Jessica Tandy) as she crashes her car, and we meet Hoke (Morgan Freeman) when he begs Miss Daisy’s son Boolie (Dan Aykroyd) for a job as her chauffeur–meaning they’re both prisoners of circumstance, see? Meaning this is an unlikely but no less racially naïve remake of Stanley Kramer’s embarrassing melodrama The Defiant Ones, scored by Hans Zimmer with outtakes from his synth-heavy, bullshit-rich Rain Man score, all teddy bears humping and building music boxes and shit. Meaning, essentially, that we are to believe there is no substantive difference between a wealthy white woman needing to hire a driver and a destitute black man looking for work in 1948 Atlanta. My favourite scene is either the one where Hoke asks Miss Daisy’s permission to make water, or the one where Hoke says something and Miss Daisy tells him to “be still.”

The Loneliest Planet (2012) – DVD

****/**** Image B Sound B- Extras C+
starring Gael Garcia Bernal, Hani Furstenberg, Bidzina Gujabidze
screenplay by Julia Loktev, based on the short story by Tom Bissell
directed by Julia Loktev


Loneliestplanetcap

by Walter Chaw Julia Loktev's The Loneliest Planet
is an existentially terrifying little film about life's essential loneliness,
the absolute mutability of interpersonal relationships, and the ways our
identities are formed not only by our perceptions of others, but by our
preconceptions of the roles we play and, in turn, cast others to
play, unbeknownst to them or to anyone. It gives the lie to the
possibility of an unconditional relationship, to the idea that we can ever
truly know ourselves or the people with whom we choose to share our lives. Most
uncomfortably of all, it posits that everything we believe, everything we hold
most dear about who we are and who we think we are, can change in an instant. It's
about love in that way, but love only in the context of the brutal, capricious,
arbitrary world–love in the sense that we invest everything in it in acts of
faith entirely unjustified by Nature and circumstance. There's a scene in The
Loneliest Planet
where two pairs of feet play with each other on top of a
sleeping bag, followed fast, after something small but terrible happens, by the
owner of one pair of those feet watching the owner of the other walk away and
eventually disappear into the ugly, insensate terrain of Russian Georgia's
Caucasus mountains. I think it's no accident that the film takes place there,
where mythology places Titan Prometheus in his eternal torment: Prometheus the
bringer of fire, and life, and foresight (literally, in his name)–the father
of Man flayed bare and reintroduced to the carnal night.

Holy Motors (2012) – Blu-ray Disc

Holymotors1

****/**** Image B Sound B- Extras B
starring Denis Lavant, Edith Scob, Eva Mendes, Kylie Minogue
written and directed by Leos Carax

by Angelo Muredda It’s no great shock that Holy Motors is innovative, coming from the same headspace as The Lovers on the Bridge and Mauvais Sang–movies that seemed fashioned out of whole cloth despite their indebtedness to names like David Bowie and Herman Melville. What’s most surprising is that beneath the formal variety and cheekiness, mainstays of Leos Carax’s freewheeling cinema, is a moving and altogether serious exploration of what it means to be an actor, in both a professional and a metaphysical sense. Carax’s films have been ranked among the boldest aesthetic manifestos since the 1980s for good reason, yet the ineffable quality that distinguishes them from the superficially similar grandstanding of nascent stylists like Xavier Dolan is their deep sincerity and unabashed adoration of the eccentric city-dwellers who cross paths on the loneliest roads in urban France. If Holy Motors is even wilder in presentation than its predecessors, then, it’s also perfectly legible within a body of work that’s always found a human streak in the avant-garde.