A dramatic adaption that is based on The Kite Runner, a novel, written by Afghan-American author Khaled Hosseini, an account of an Afghan emigrant turned Californian novelist, Amir (Khalid Abdalla.) Moments after opening a box that contains a freshly printed debut novel by Amir himself, a tender, proud moment spent with his wife Soraya (Atossa Leoni,) he receives a phone call from a voice (Shaun Toub) of the past that theatrically tells him "how he can be good again."
How? you ask, well by saving Sohrab, the son of his childhood companion Hassan. Hassan and his wife have been killed by the Taliban and there is reason to believe that Sohrab (Ali Danish Bakhty Ari) is still alive and salvageable (despite that fact that the Taliban took him and that Sohrab is of Hazara descent), and that Amir (who, ironically, betrayed Hassan to protect himself from the pain of his own cowardice as children) is the only one that can save him. Amir seeks redemption and steps up to plate, travels back to Afghanistan, and endures several obstacles along the way. Laspes of time are conveniently placed where the potential for the most sophisticated of conflicts might occur, the result is a suspension of disbelief that snaps into apathy and occasional frustration.
Furthermore, Amir's shortcomings do not make for an interesting protagonist. His sappy, "season's greetings" like dialogue, and lack of a sincere, internal drive leave the audience bored. Baba (Homayoun Ershadi,) his quick-witted, personable father, remained a more likeable, interesting character both before Amir's sacrificial quest and after. Even the rock-starish Taliban leader and childhood foe was more intriguing to watch. Amir's ability to challenge hostile savages of this calibre also seemed questionable due to his lack of "warrior" credentials. For a film that highlights the pre-war Taliban regime - a time seeping with tragedy and unspeakable atrocities - it somehow manages to fall flat.
Directed by Marc Foster.
Saturday, December 15, 2007
Thursday, December 6, 2007
Juno (2007)
Juno, the character (Ellen Page), makes teenage pregnancy almost seem fun which complements the film’s overwhelming potential of becoming a preachy “cautionary whale.” Juno is a somewhat precocious junior who becomes pregnant from what is implied as her one and only sexual experience shared with the athletic Paulie Bleeker (Michael Cera) who has had more experience on the track than on the field. After numerous pregnancy tests, she finally deems herself “unholy.” Rollo (Rainn Wilson), an aging yet articulate convenience store clerk, is the first to know, and perhaps the easiest to tell. What follows is a seemingly endless stream of difficult decisions and awkward situations "way beyond her maturity level."
At first, Juno is optimistic, but as the pregnancy progresses, it impedes her ability to cope. The Loring couple (sought out by Juno through a Pennysaver ad) end up complicating things for Juno - the reverse of what she was originally hoping for. Mark (Jason Bateman) is a bit green in the papa department while Vanessa Loring (Jennifer Garner) seems strangely cold and alien yet simultaneously eager and ready for motherhood. They opted for adoption due to fertility issues.
Juno displays the familiar view that women suffer more than men from the perils of sex by merely contrasting physique. As the months pass by, Juno’s stomach protrudes while Paulie continues jogging. Juno withstands judgments from the Ultrasound Technician (Kaaren de Zilva) (hilariously rebutted by her step-mother and nail technician Bren MacGuff (Allison Janney)) while Paulie considers dating Katrina “stinkeye” De Voort. The film successfully makes us not hate Paulie who isn’t being a douche, but a totally confused sixteen year-old boy.
The dialogue is sort of a clever vernacular of its own, peppered with quotable lines such as "He is the cheese to my macaroni," or "it makes his junk smell like pie," and let's not forget the formidable "fingernail" references first coined by Su-Chin (Valerie Tian.) This is definitely one of the best flicks of '07.
Directed by Jason Reitman
At first, Juno is optimistic, but as the pregnancy progresses, it impedes her ability to cope. The Loring couple (sought out by Juno through a Pennysaver ad) end up complicating things for Juno - the reverse of what she was originally hoping for. Mark (Jason Bateman) is a bit green in the papa department while Vanessa Loring (Jennifer Garner) seems strangely cold and alien yet simultaneously eager and ready for motherhood. They opted for adoption due to fertility issues.
Juno displays the familiar view that women suffer more than men from the perils of sex by merely contrasting physique. As the months pass by, Juno’s stomach protrudes while Paulie continues jogging. Juno withstands judgments from the Ultrasound Technician (Kaaren de Zilva) (hilariously rebutted by her step-mother and nail technician Bren MacGuff (Allison Janney)) while Paulie considers dating Katrina “stinkeye” De Voort. The film successfully makes us not hate Paulie who isn’t being a douche, but a totally confused sixteen year-old boy.
The dialogue is sort of a clever vernacular of its own, peppered with quotable lines such as "He is the cheese to my macaroni," or "it makes his junk smell like pie," and let's not forget the formidable "fingernail" references first coined by Su-Chin (Valerie Tian.) This is definitely one of the best flicks of '07.
Directed by Jason Reitman
Sunday, November 18, 2007
Margot At The Wedding (2007)
Margot At The Wedding is Baumbach's second consecutive film about a distraught family who can't resist breaking apart into dysfunctional pieces. Though Margot's tone is different from The Squid and The Whale's, there are the repetitive themes of semi-loser male with halfway decent female, and "I think it's time for a divorce."
Margot (Nicole Kidman) and her son Claude (Zane Pais) journey from their Manhattan life to a land known as Long Island for Pauline's (Jennifer Jason Leigh) wedding. From the get-go, Margot is clearly less than thrilled. Her and Pauline haven't spoken in sometime plus Margot disapproves of Pauline's and Malcolm's decision to marry after only knowing each other for a year. We wonder why Margot has decided to go, as does Claude.
Margot's intentions become clearer when it is revealed that Margot's illicit lover and current writing partner, Dick Koosman (Claran Hinds), lives a mile away from Pauline. Margot's life is in an unstable period. She can't decide between Dick or her devoted husband, Jim. She drinks a bit more than moderately and takes pills whenever she can get her hands on them. She is also superbly critical, and utterly unlikeable. Baumbach seems to have a special gift for creating repulsive personalites that still intrigue us. Kidman's performance is flawless, her familiar emotional chill was to her advantage in Margot.
Malcolm (Jack Black) is Pauline's almost husband. He's a music maestro, "letter writer," and professional slacker. His lack of motivation deems him pretty undesirable. Yet Pauline, a lax lady herself, appreciates his humor and knowledge of innane music trivia. Malcolm seems pretty content as does Ingrid (Flora Cross,) Pauline's cheerful daughter. Despite Pauline's apparent complacency, we come to learn that she too isn't as transparent as we initially thought.
Margot, however, refuses to accept Pauline's decision and warm up to Malcolm whom she thinks of as a rogue. She can't accept Pauline's differences. Her taste for self-help books, or use of incense. Pauline (rightfully) sees Margot's behavior as borderline psychotic and beyond hurtful. Pauline also resents Margot's family references in public writing. Something Baumbach apparently dealt with after the release of The Squid and The Whale
Though Margot At The Wedding is interesting and entertaining at times, it is ultimately a film about two sisters bickering. Margot is never in any real danger of losing her husband, and it seems nobody would mind if Pauline lost hers anyway. This film is not Baumbach's best, but definitely worth a viewing. Unfortunately, Jack Black's performance becomes less-than bearable as the film inches forward; hence, the screeching halt of an ending is thoroughly appreciated.
Margot (Nicole Kidman) and her son Claude (Zane Pais) journey from their Manhattan life to a land known as Long Island for Pauline's (Jennifer Jason Leigh) wedding. From the get-go, Margot is clearly less than thrilled. Her and Pauline haven't spoken in sometime plus Margot disapproves of Pauline's and Malcolm's decision to marry after only knowing each other for a year. We wonder why Margot has decided to go, as does Claude.
Margot's intentions become clearer when it is revealed that Margot's illicit lover and current writing partner, Dick Koosman (Claran Hinds), lives a mile away from Pauline. Margot's life is in an unstable period. She can't decide between Dick or her devoted husband, Jim. She drinks a bit more than moderately and takes pills whenever she can get her hands on them. She is also superbly critical, and utterly unlikeable. Baumbach seems to have a special gift for creating repulsive personalites that still intrigue us. Kidman's performance is flawless, her familiar emotional chill was to her advantage in Margot.
Malcolm (Jack Black) is Pauline's almost husband. He's a music maestro, "letter writer," and professional slacker. His lack of motivation deems him pretty undesirable. Yet Pauline, a lax lady herself, appreciates his humor and knowledge of innane music trivia. Malcolm seems pretty content as does Ingrid (Flora Cross,) Pauline's cheerful daughter. Despite Pauline's apparent complacency, we come to learn that she too isn't as transparent as we initially thought.
Margot, however, refuses to accept Pauline's decision and warm up to Malcolm whom she thinks of as a rogue. She can't accept Pauline's differences. Her taste for self-help books, or use of incense. Pauline (rightfully) sees Margot's behavior as borderline psychotic and beyond hurtful. Pauline also resents Margot's family references in public writing. Something Baumbach apparently dealt with after the release of The Squid and The Whale
Though Margot At The Wedding is interesting and entertaining at times, it is ultimately a film about two sisters bickering. Margot is never in any real danger of losing her husband, and it seems nobody would mind if Pauline lost hers anyway. This film is not Baumbach's best, but definitely worth a viewing. Unfortunately, Jack Black's performance becomes less-than bearable as the film inches forward; hence, the screeching halt of an ending is thoroughly appreciated.
Saturday, October 27, 2007
Saturday, October 20, 2007
Klimt (2006)
"Klimt" is a biopic that brandishes its creative license somewhat proudly. Whether the general public is pleased by an imposition of drama that substitutes historical accuracy and artistic legacy for syphilis, and instability is questionable. Raul Ruiz's depiction of Klimt (John Malkovich) is that of the crazy, sexually relentless artist - a portrait of artists that has been popularized through cinema for quite sometime now. Whether this depiction is reverent seems to be the big concern regarding "Klimt."
The debates of art, function, design, and necessity were stimulating in the early 20th century, but modern audiences may find them "boring" or that Ruiz has made a film that consists of "Talk, talk, talk" as several IMDB commentors have complained.
"Klimt" starts out with the artist hospitalized due to syphilis. He gets a visit from the young Egon Schiele (Nikolai Kinski) who catapults Klimt into a hodgepodge of insecurities, and triumphs, some of which are fantasy and others reality. The first act comes off as overacted, and redundant. The images were somewhat sophomoric featuring broken mirrors, and cake in the face.
Then, oddly, the film becomes fairly inaccessible. Perhaps this is because the version I saw was the 91 minute rendition, and not the original which was about 30 minutes longer. Fist fights breakout without explaination, and the Sekretar (Stephen Dillane) turns out to be a figment of Klimt's imagination. We know of illegitimate children, affairs, and love. The "plot" is as dizzying as Ruiz's style of "circular cinema," which consists of him slowly rotating his subjects so that they make full-circle. At times it makes for a nice image, but at other moments it seems a bit unnecessary.
This film definitely shouldn't serve as an "Introduction to Klimt" for anyone - young or old. It's just too embedded in certain conventions that are ultimately characterless pretentions that leave one confused, and maybe a little annoyed too.
Directed by Raoul Ruiz
Opened in New York on Wednesday, October 17th, 2007.
The debates of art, function, design, and necessity were stimulating in the early 20th century, but modern audiences may find them "boring" or that Ruiz has made a film that consists of "Talk, talk, talk" as several IMDB commentors have complained.
"Klimt" starts out with the artist hospitalized due to syphilis. He gets a visit from the young Egon Schiele (Nikolai Kinski) who catapults Klimt into a hodgepodge of insecurities, and triumphs, some of which are fantasy and others reality. The first act comes off as overacted, and redundant. The images were somewhat sophomoric featuring broken mirrors, and cake in the face.
Then, oddly, the film becomes fairly inaccessible. Perhaps this is because the version I saw was the 91 minute rendition, and not the original which was about 30 minutes longer. Fist fights breakout without explaination, and the Sekretar (Stephen Dillane) turns out to be a figment of Klimt's imagination. We know of illegitimate children, affairs, and love. The "plot" is as dizzying as Ruiz's style of "circular cinema," which consists of him slowly rotating his subjects so that they make full-circle. At times it makes for a nice image, but at other moments it seems a bit unnecessary.
This film definitely shouldn't serve as an "Introduction to Klimt" for anyone - young or old. It's just too embedded in certain conventions that are ultimately characterless pretentions that leave one confused, and maybe a little annoyed too.
Directed by Raoul Ruiz
Opened in New York on Wednesday, October 17th, 2007.
Saturday, October 13, 2007
Lars and The Real Girl (2007)
Lars' (Ryan Gosling) is a distraught yet functional man who lives in the garage of his inherited home that he shares with his brother Gus (Paul Schneider), and sister-in-law Karin (Emily Mortimer.) Lars is able to go to work, and church; he is able to wake up in the morning and get dressed, but he's unable to interact with people that truly care about him.
Margo (Kelli Garner), a co-worker who desperately wants to be with Lars, can't seem to get under his skin. After some relentless persistence, she finally decides to give it a break. His loving sister-in-law Karin repeatedly attempts to have him over for breakfast or dinner - or whenever, but he just can't seem to walk across the yard and into their back door. Gus is clearly less sensitive than both his wife, Karin, and his brother, Lars. He doesn't seem to think that Lars should be of much concern to anyone; he's just a man who wants to keep to himself.
When Bianca arrives in a crate, and then at Gus' and Karin's dinner table, Gus realizes he underestimated the situation at hand. They decide to seek medical attention from Dagmar (Patricia Clarkson), a medical practitioner and psychologist, who convinces Lars that Bianca is in need of weekly treatments due to a serious "illness." She takes the opportunity to unleash some of the mysteries behind Lars' delusion while Bianca "rests" from her treatment. Slowly we find out the reasoning behind his neurosis. Though Dagmar is of great assistance, the rest of Lars' community is equally eager to cater Lars' delusion, and assist in "keeping the dream alive."
This story succeeds through great acting, and semi-serious writing. Writer, Nancy Oliver, throws in the occasional gag, but generally opts for the high-road. Lars' even has religious beliefs as does Bianca. Despite the fact that she is a plastic sex-doll, she is treated with the utmost respect thoughout most of the film. Though suspension of disbelief is successful throughout most of the film, it's still a bit much to really believe when thought about logically. You can't help but wonder why anyone besides his immediate family would bother to "go along" with Lars' delusion. Nonetheless, the humanity is part of the film's success; without the emotional journey, "Lars and The Real Girl", wouldn't have a breath of life to it. But what would have made it more interesting is had the emotional journey revolved around Lars rather than the community's love of an alleged sex-toy, then maybe the suspension of disbelief would have never been interrupted...
Margo (Kelli Garner), a co-worker who desperately wants to be with Lars, can't seem to get under his skin. After some relentless persistence, she finally decides to give it a break. His loving sister-in-law Karin repeatedly attempts to have him over for breakfast or dinner - or whenever, but he just can't seem to walk across the yard and into their back door. Gus is clearly less sensitive than both his wife, Karin, and his brother, Lars. He doesn't seem to think that Lars should be of much concern to anyone; he's just a man who wants to keep to himself.
When Bianca arrives in a crate, and then at Gus' and Karin's dinner table, Gus realizes he underestimated the situation at hand. They decide to seek medical attention from Dagmar (Patricia Clarkson), a medical practitioner and psychologist, who convinces Lars that Bianca is in need of weekly treatments due to a serious "illness." She takes the opportunity to unleash some of the mysteries behind Lars' delusion while Bianca "rests" from her treatment. Slowly we find out the reasoning behind his neurosis. Though Dagmar is of great assistance, the rest of Lars' community is equally eager to cater Lars' delusion, and assist in "keeping the dream alive."
This story succeeds through great acting, and semi-serious writing. Writer, Nancy Oliver, throws in the occasional gag, but generally opts for the high-road. Lars' even has religious beliefs as does Bianca. Despite the fact that she is a plastic sex-doll, she is treated with the utmost respect thoughout most of the film. Though suspension of disbelief is successful throughout most of the film, it's still a bit much to really believe when thought about logically. You can't help but wonder why anyone besides his immediate family would bother to "go along" with Lars' delusion. Nonetheless, the humanity is part of the film's success; without the emotional journey, "Lars and The Real Girl", wouldn't have a breath of life to it. But what would have made it more interesting is had the emotional journey revolved around Lars rather than the community's love of an alleged sex-toy, then maybe the suspension of disbelief would have never been interrupted...
Saturday, October 6, 2007
The Good Night (2007)
Jake Paltrow's directorial debut, "The Good Night," is a film about reality versus fantasy, specifically relationships versus infatuations. At times, it poignantly relates Gary's (Martin Freeman) unfulfilling life and eventually unfulfilling dreamscape to certain universal truths that are worth thinking about.
Gary, a former pop-star turned commercial jingle-maker, finds his job to be unfulfilling, and somewhat demeaning. His relationship with live-in girlfriend Dora (Gwyneth Paltrow) also provides him with similar feelings. Gary's defeated disposition is only amplified by Paul (Simon Pegg), former band-mate, friend, and current boss, who rides a wave of nonstop success. He finds that his dreams of a mysterious, and elegantly dressed woman named Anna (Penelope Cruz) enthrall him in a way his waking life doesn't. And so, he ultimately does whatever it takes to dream about Anna. This is where sage/mentor Mel (Danny Devito) comes in. He teaches Gary the ways of severe, life-damaging escapism while managing to be somewhat likeable and interesting.
Much like dreams - though not the lucid dreams featured in this film - the overall structure and flow of the picture is murky. Paltrow's character is pretty one-dimensional; she merely nags Gary at every possible opportunity. Her treatment of him could also be loosely categorized as abusive. It makes one wonder why Gary would bother to save such a relationship that has apparently been in a rut for three straight years. Her incredibly undesirable presence makes his willingness to dream utterly understandable, but doesn't make much sense when the arc comes into play.
Anna's brief real-life presence is awkward nor is it used wisely; furthermore, her role in Gary's dream-life seems highly unrealistic given the circumstances of their pre-dream relationship, and post-dream revelation. One would guess that this "twist" is a directorial stint at making a larger-than-life impact on the audience, but it's a twist that is unnecessary nor terribly moving. If director Paltrow had stuck with something that made more sense then maybe the movie would actually be good. Its strongest point is the four or five moments that are genuinely funny. Interestingly enough, director Paltrow makes a "Royal Tenenbaums" reference to actor Paltrow's "Margo" character by having her involved in another "in the bathroom and depressed" situation.
The trailer of "The Good Night" has more structure than the actual film itself. Unfortunately, the trailer is not only misleading, but also god-awful. The film starts out with a series of psuedo-documentary "talking heads" interviews that are both terribly uninformative, and confusing. I guess it's worth watching on DVD if you can't leave your house due to horrible weather conditions or a crippling health issue, but other than that, not so much...
Gary, a former pop-star turned commercial jingle-maker, finds his job to be unfulfilling, and somewhat demeaning. His relationship with live-in girlfriend Dora (Gwyneth Paltrow) also provides him with similar feelings. Gary's defeated disposition is only amplified by Paul (Simon Pegg), former band-mate, friend, and current boss, who rides a wave of nonstop success. He finds that his dreams of a mysterious, and elegantly dressed woman named Anna (Penelope Cruz) enthrall him in a way his waking life doesn't. And so, he ultimately does whatever it takes to dream about Anna. This is where sage/mentor Mel (Danny Devito) comes in. He teaches Gary the ways of severe, life-damaging escapism while managing to be somewhat likeable and interesting.
Much like dreams - though not the lucid dreams featured in this film - the overall structure and flow of the picture is murky. Paltrow's character is pretty one-dimensional; she merely nags Gary at every possible opportunity. Her treatment of him could also be loosely categorized as abusive. It makes one wonder why Gary would bother to save such a relationship that has apparently been in a rut for three straight years. Her incredibly undesirable presence makes his willingness to dream utterly understandable, but doesn't make much sense when the arc comes into play.
Anna's brief real-life presence is awkward nor is it used wisely; furthermore, her role in Gary's dream-life seems highly unrealistic given the circumstances of their pre-dream relationship, and post-dream revelation. One would guess that this "twist" is a directorial stint at making a larger-than-life impact on the audience, but it's a twist that is unnecessary nor terribly moving. If director Paltrow had stuck with something that made more sense then maybe the movie would actually be good. Its strongest point is the four or five moments that are genuinely funny. Interestingly enough, director Paltrow makes a "Royal Tenenbaums" reference to actor Paltrow's "Margo" character by having her involved in another "in the bathroom and depressed" situation.
The trailer of "The Good Night" has more structure than the actual film itself. Unfortunately, the trailer is not only misleading, but also god-awful. The film starts out with a series of psuedo-documentary "talking heads" interviews that are both terribly uninformative, and confusing. I guess it's worth watching on DVD if you can't leave your house due to horrible weather conditions or a crippling health issue, but other than that, not so much...
Saturday, September 15, 2007
The Great World of Sound (2007)
When Martin (Pat Healy), an eager twenty or thirty-something in search of a cool career, answers an ad to train as a music producer, he becomes scam-artist and victim. Naivete serves as a distant cousin to self-delusion when Clarence (Kene Holiday), a chatty co-worker, and Martin get sent out on the road to "song shark."
The Great World of Sound record label will assist you in obtaining your dreams by recording your record in a state-of-the-art studio, print cds, and distribute them all for a small fee. This is exactly what Martin and Clarence tell people they audition in various hotels throughout the country. At first the power of helping people obtain their goals is so alluring that it blinds Martin and Clarence from realizing that they're scam artists. They go through the routine with great vigor and hope.
The myriad of desperate subjects in the film is obviously depressing, but also rather telling. At the bottom of the pyramid is the musicians. They are a motley crew of young, old, delusional, and occasionally talented. But most interestingly, they are real people who responded to real ads placed in an actual newspaper in their hometown. Think of American Idol, but with a candid camera, and no money...or traumatic criticisms. The responses to promises of fame and fortune from two men who (at first) want to believe just as badly as you do in a dream, viewed from two different angles, is so engrossing to some while others have enough sense to listen to the small, but confident voice in their head. Pat Healy and Ken Holiday both play along flawlessly.
A curious mix of documentary and comedy, The Great World of Sound will have you questioning your own ability to remain logical under the influence of heartfelt promises by two hoodwinkers who've been duped themselves. It is a brilliant blend of fact and fiction; thus, creating a most complete study of the overwhelming desire to become an overnight superstar hoarded by so many yet acheived by so few. The raw element of the hidden cameras and non-actors emphasizes the vulnerability of its' subjects in a way story alone could not. The transition from fact to fiction isn't as seamless as it could be at times, but nor is it terrbibly disruptive. Definitely a must-see.
Directed by Craig Zobel.
The Great World of Sound record label will assist you in obtaining your dreams by recording your record in a state-of-the-art studio, print cds, and distribute them all for a small fee. This is exactly what Martin and Clarence tell people they audition in various hotels throughout the country. At first the power of helping people obtain their goals is so alluring that it blinds Martin and Clarence from realizing that they're scam artists. They go through the routine with great vigor and hope.
The myriad of desperate subjects in the film is obviously depressing, but also rather telling. At the bottom of the pyramid is the musicians. They are a motley crew of young, old, delusional, and occasionally talented. But most interestingly, they are real people who responded to real ads placed in an actual newspaper in their hometown. Think of American Idol, but with a candid camera, and no money...or traumatic criticisms. The responses to promises of fame and fortune from two men who (at first) want to believe just as badly as you do in a dream, viewed from two different angles, is so engrossing to some while others have enough sense to listen to the small, but confident voice in their head. Pat Healy and Ken Holiday both play along flawlessly.
A curious mix of documentary and comedy, The Great World of Sound will have you questioning your own ability to remain logical under the influence of heartfelt promises by two hoodwinkers who've been duped themselves. It is a brilliant blend of fact and fiction; thus, creating a most complete study of the overwhelming desire to become an overnight superstar hoarded by so many yet acheived by so few. The raw element of the hidden cameras and non-actors emphasizes the vulnerability of its' subjects in a way story alone could not. The transition from fact to fiction isn't as seamless as it could be at times, but nor is it terrbibly disruptive. Definitely a must-see.
Directed by Craig Zobel.
Saturday, September 8, 2007
Buah, Ha- (The Bubble) 2006
Noam (Ohan Knoller), a gay Israeli soldier on reserve duty at a checkpoint in Isreal, loses his ID just before being relieved from duty. Ashraf (Yousef 'Joe' Sweild), a gay Palestinian, finds it during one of his many crossings at the checkpoint and dutifully returns it to Noam's apartment in Tel Aviv.
Upon Ashraf's arrival to Noam's home (whom he shares with two roomates, a straight woman named Lulu (Daniela Virtzer) and a gay man named Yelli (Alon Friedman,) romance immediately begins. Ashraf's arrival to Noam's flat is not the first they've seen of each other. They first met at the checkpoint under a tense situation involving the miscarriage of a Palestinian child.
Then comes the morning after...The harsh reality of Politics comes into play. Ashraf doesn't have an Israeli Work Permit...Ashraf's name isn't Hebrew...Ashraf is ultimately "the enemy" - at least in the eyes of Yelli. After Noam partakes in some dilluted political debate with Yelli, it is decided that Ashraf can stay in the apartment. Yelli even gets him a job as a waiter at a restaurant he manages - though there he goes by the name "Shimi"- in an effort to hide his Arabic roots.
Of course, all of this "pops" over time. Eventually Ashraf's roots are found out by a magazine editor that Lulu briefly dated then hated. Ashraf flees home, to Nablus, for his safety as well as his sister's wedding. Out of love, Noam (with a plan devised by Lulu) goes to Nablus, but ultimately only makes things worse for Ashraf - turmoil of nearly every kind follows.
The film's storyline is interesting and naturally filled with conflict, but the dilluted politics, and the writers' ability to break the suspension of disbelief in several instances negates from the film being all that it can be. The dilluted politics are somewhat intentional. It emphasizes the bubble that these urban twentysomethings live in, but the credibility is just spread too thin leading to a contrived ending that is meant to shock, but ultimately disappoints...
Directed by Eytan Fox.
Upon Ashraf's arrival to Noam's home (whom he shares with two roomates, a straight woman named Lulu (Daniela Virtzer) and a gay man named Yelli (Alon Friedman,) romance immediately begins. Ashraf's arrival to Noam's flat is not the first they've seen of each other. They first met at the checkpoint under a tense situation involving the miscarriage of a Palestinian child.
Then comes the morning after...The harsh reality of Politics comes into play. Ashraf doesn't have an Israeli Work Permit...Ashraf's name isn't Hebrew...Ashraf is ultimately "the enemy" - at least in the eyes of Yelli. After Noam partakes in some dilluted political debate with Yelli, it is decided that Ashraf can stay in the apartment. Yelli even gets him a job as a waiter at a restaurant he manages - though there he goes by the name "Shimi"- in an effort to hide his Arabic roots.
Of course, all of this "pops" over time. Eventually Ashraf's roots are found out by a magazine editor that Lulu briefly dated then hated. Ashraf flees home, to Nablus, for his safety as well as his sister's wedding. Out of love, Noam (with a plan devised by Lulu) goes to Nablus, but ultimately only makes things worse for Ashraf - turmoil of nearly every kind follows.
The film's storyline is interesting and naturally filled with conflict, but the dilluted politics, and the writers' ability to break the suspension of disbelief in several instances negates from the film being all that it can be. The dilluted politics are somewhat intentional. It emphasizes the bubble that these urban twentysomethings live in, but the credibility is just spread too thin leading to a contrived ending that is meant to shock, but ultimately disappoints...
Directed by Eytan Fox.
Saturday, September 1, 2007
Exiled (2006)
Wo (Nick Cheung), a jovial man with a newborn baby and wife, has hardly settled in Macau - after years of being of the road - before some old skeletons find themselves patiently awaiting his arrival in a nearby courtyard. They are simultaneously hitmen, gang members of the same clan, childhood friends, and ruthless killers. A contradictory (almost unbelievably so) meshing of relations to Wo and his wife, Jin (Josie Ho).
"Exiled" has frenzied showdowns at every point; thus, satisfying the needs of the repeat action-film goer. But it also succeeds in those more interested in the softer, drama genre. Due to the complexiity of the relationships, this film is able to portray a truly difficult decision through men that are usually fleshed out solely through the use of sunglasses, trenchcoats, and guns. At first, it seems that Blaze (Anthony Won Chau Sang) and company are a result of this method of character development, but before the first act ends, we're well aware that there's more than meets the eye - though how much more is hard to say.
"Exiled" is a ultimately an action-packed test of what prevails above all others? Friendship? Money? Security? It answers the question superficially but, overall, it takes a decent stab at revealing the softer side to these Chinese gangsters - all while managing to have them, you know, keep it cool.
"Exiled" has frenzied showdowns at every point; thus, satisfying the needs of the repeat action-film goer. But it also succeeds in those more interested in the softer, drama genre. Due to the complexiity of the relationships, this film is able to portray a truly difficult decision through men that are usually fleshed out solely through the use of sunglasses, trenchcoats, and guns. At first, it seems that Blaze (Anthony Won Chau Sang) and company are a result of this method of character development, but before the first act ends, we're well aware that there's more than meets the eye - though how much more is hard to say.
"Exiled" is a ultimately an action-packed test of what prevails above all others? Friendship? Money? Security? It answers the question superficially but, overall, it takes a decent stab at revealing the softer side to these Chinese gangsters - all while managing to have them, you know, keep it cool.
Saturday, August 25, 2007
Dedication (2007)
Screwed-up children's book author, Henry, loses his best-friend and collaborator, Rudy Roth (Tom Wilkinson.) In learning to cope with Rudy's death, he finally learns to love romantically with his new, not so manly collaborator, Lucy (Mandy Moore.)
The best thing about this film is Billy Crudup's character, Henry. He's an unpredictable, self-loathing human filled with love, hate and fear. His interactions with Rudy, and especially Lucy all carry a certain depth to them. It seems as though, screenwriter, David Bromberg is Henry, or close friend's with Henry. Lucy, on the other hand, brings out not only Henry's misogyny (as proclaimed by the filmmakers themselves,) but David Bromberg's as well.
The cloth that has supposedly threaded Henry and Lucy together is that of neglect, and abuse. Henry's less-than-perfect relationship with his girlfriend, Alison (Christine Taylor,) is merely a given, some sort of back-story to prove his psychosis. Lucy's dysfunctional entanglement with Jeremy (Martin Freeman,) her former thesis advisor and boyfriend of three years, however, is forty-nine percent of who she is. The other forty-nine percent of her character is her selfish, and critical landlord/mother (Dianne Wiest.) The remaining one percent is her barely luke-warm desire to illustrate.
Ultimately, her character is docile, and lacks both the edginess and quirkiness of Henry's. Mandy Moore's performance was bad, it's just her character is poorly written for this film. Her character only works at moments, when it illustrates Henry's misogynystic qualities with his impatient and utterly obnoxious responses; but still couldn't her character still provide this dynamic while hording the essence of a fuller human being at the same time? Henry, himself, even calls her a cliche, how can we, as the audience, resist to do the same?
The best thing about this film is Billy Crudup's character, Henry. He's an unpredictable, self-loathing human filled with love, hate and fear. His interactions with Rudy, and especially Lucy all carry a certain depth to them. It seems as though, screenwriter, David Bromberg is Henry, or close friend's with Henry. Lucy, on the other hand, brings out not only Henry's misogyny (as proclaimed by the filmmakers themselves,) but David Bromberg's as well.
The cloth that has supposedly threaded Henry and Lucy together is that of neglect, and abuse. Henry's less-than-perfect relationship with his girlfriend, Alison (Christine Taylor,) is merely a given, some sort of back-story to prove his psychosis. Lucy's dysfunctional entanglement with Jeremy (Martin Freeman,) her former thesis advisor and boyfriend of three years, however, is forty-nine percent of who she is. The other forty-nine percent of her character is her selfish, and critical landlord/mother (Dianne Wiest.) The remaining one percent is her barely luke-warm desire to illustrate.
Ultimately, her character is docile, and lacks both the edginess and quirkiness of Henry's. Mandy Moore's performance was bad, it's just her character is poorly written for this film. Her character only works at moments, when it illustrates Henry's misogynystic qualities with his impatient and utterly obnoxious responses; but still couldn't her character still provide this dynamic while hording the essence of a fuller human being at the same time? Henry, himself, even calls her a cliche, how can we, as the audience, resist to do the same?
Sunday, August 5, 2007
Friday, July 27, 2007
The Simpsons Movie
An ensemble in every right, from its army of fifteen writers (including 4 consultants) to its jumble of characters (the usuals plus a few newbies,) The Simpsons Movie is everything you'd expect it to be - really. It's entertaining, smart, remains within the scope of its characters all while taking on a dramatic, action-packed storyline.
Without introducing anything terribly new it makes the transition from episodic TV show to existential film. What happens seems so right. Homer Simpson saves the world - of course only after nearly single-handedly destroying a substantial part of it on his own; and really, he's saving his world more than the world.
Homer experiences a journey that can only begin with, the band, Green Day sinking into a lake of acidic barge-eating, putrid elements concocted by the ignorance and slop of his friends, neighbors, uh, as well as himself.
Homer accompanied by Bart wreaks a noteworthly amount of havoc, but Homer in the company of his new beloved pet Pig leads to irrevocable events that change the world as he knows it. In a battle against his friends, neighbors, countrymen and eventually his own family, Homer has no choice but to look within and find the courage to battle the Environmental Protection Agency.
With its high-energy and belly-laughs at every corner, I can only say that though some may view this as a needless indulgence that offers nothing new and is therefore unnecessary, others think it's the best "episode" made in quite a few years...
Without introducing anything terribly new it makes the transition from episodic TV show to existential film. What happens seems so right. Homer Simpson saves the world - of course only after nearly single-handedly destroying a substantial part of it on his own; and really, he's saving his world more than the world.
Homer experiences a journey that can only begin with, the band, Green Day sinking into a lake of acidic barge-eating, putrid elements concocted by the ignorance and slop of his friends, neighbors, uh, as well as himself.
Homer accompanied by Bart wreaks a noteworthly amount of havoc, but Homer in the company of his new beloved pet Pig leads to irrevocable events that change the world as he knows it. In a battle against his friends, neighbors, countrymen and eventually his own family, Homer has no choice but to look within and find the courage to battle the Environmental Protection Agency.
With its high-energy and belly-laughs at every corner, I can only say that though some may view this as a needless indulgence that offers nothing new and is therefore unnecessary, others think it's the best "episode" made in quite a few years...
Saturday, July 14, 2007
Saturday, June 23, 2007
Thursday, June 14, 2007
Eagle vs Shark
Seencine.com took advantage of an advanced screening this week with a post-screening Q & A with director Taika Waititi. Here it goes:
Two oddballs are united by "Meaty Boy," a fast-food restaurant in New Zealand where Lily (Loren Horsley), a methodical cashier, ogles over Jarrod (Jermaine Clement), a too-cool-for-school yet goofy lunch-time regular. Things get taken out of the restaurant when Jarrod hands Lily an invitation - to give to Jenny, her co-worker. Lily keeps in line with her good-nature and shows Jenny the invitation in the backroom later. After Lily asks if she could come too, Jenny throws the invite in the trash. When Jenny leaves, Lily goes for the trash, grabs the crumpled invitation - among other things...
Lily goes to the dress-as-your-favorite-animal party, and dresses as, you got it, a shark. When she arrives, Jarrod who is dressed as an eagle, asks where Jenny is, and ultimately acts like an insecure jerk not only throughout the party but throughout the entire film.
According to the director, Taika Waititi, Jarrod is riddled with all of the traits males stereotypically have; thus, the character is utterly cartoonish, and hard to empathize with - yet not your average male. He's fashion oriented, and creative. Men like this do exist, and they're usually twenty and going to art school. So, the director did succeed in creating characters that acted like they were in high school but were in older peoples bodies - which is apparently exactly what he wanted to do. Lily's character is juvenile in her own way - she's dumb enough to follow a guy like this around. Not only follow him around, but convince her silly brother Damien (Joel Tobeck) to drive him hours, and hours away to his hometown so that he can seek revenge on a high-school rival whom he's been stalking for years, and is finally heading back home.
The director uses a trendy, hipster aesthetic for the film, and there is ultimately nothing new about it. Boy meets girl - turned around - in this film the girl does all the chasing. This is fine, and at times it's funny but the film generally lacks any sort of story thread. Is this about Eagle vs Shark? Is it about Eagle vs former high school bully? Is it about Shark chasing Eagle? It depends what part of the film you're watching I guess.
Ultimately, young people are into characters that dress in the slighly alternative fashions of urban twenty-somethings, and say a lot of catchy things that don't add much to the story. Because of the film's bubble gum qualities (I assume), Taika Waititi landed a writing gig for Flight of the Conchords as did Jermaine Clement as one of the co-stars. Coming to a boob tube near you. Eagle vs Shark opens in New York on June 15th.
Two oddballs are united by "Meaty Boy," a fast-food restaurant in New Zealand where Lily (Loren Horsley), a methodical cashier, ogles over Jarrod (Jermaine Clement), a too-cool-for-school yet goofy lunch-time regular. Things get taken out of the restaurant when Jarrod hands Lily an invitation - to give to Jenny, her co-worker. Lily keeps in line with her good-nature and shows Jenny the invitation in the backroom later. After Lily asks if she could come too, Jenny throws the invite in the trash. When Jenny leaves, Lily goes for the trash, grabs the crumpled invitation - among other things...
Lily goes to the dress-as-your-favorite-animal party, and dresses as, you got it, a shark. When she arrives, Jarrod who is dressed as an eagle, asks where Jenny is, and ultimately acts like an insecure jerk not only throughout the party but throughout the entire film.
According to the director, Taika Waititi, Jarrod is riddled with all of the traits males stereotypically have; thus, the character is utterly cartoonish, and hard to empathize with - yet not your average male. He's fashion oriented, and creative. Men like this do exist, and they're usually twenty and going to art school. So, the director did succeed in creating characters that acted like they were in high school but were in older peoples bodies - which is apparently exactly what he wanted to do. Lily's character is juvenile in her own way - she's dumb enough to follow a guy like this around. Not only follow him around, but convince her silly brother Damien (Joel Tobeck) to drive him hours, and hours away to his hometown so that he can seek revenge on a high-school rival whom he's been stalking for years, and is finally heading back home.
The director uses a trendy, hipster aesthetic for the film, and there is ultimately nothing new about it. Boy meets girl - turned around - in this film the girl does all the chasing. This is fine, and at times it's funny but the film generally lacks any sort of story thread. Is this about Eagle vs Shark? Is it about Eagle vs former high school bully? Is it about Shark chasing Eagle? It depends what part of the film you're watching I guess.
Ultimately, young people are into characters that dress in the slighly alternative fashions of urban twenty-somethings, and say a lot of catchy things that don't add much to the story. Because of the film's bubble gum qualities (I assume), Taika Waititi landed a writing gig for Flight of the Conchords as did Jermaine Clement as one of the co-stars. Coming to a boob tube near you. Eagle vs Shark opens in New York on June 15th.
Saturday, June 9, 2007
La Vie En Rose
From her street-perfomer father to her brothel-running grandmother whom raised her, Edith Piaf (played by Marion Cotillard) was destined for an audacious life filled wiith both triump and tragedy. Director Olivier Dahan (The Cranberries' Best Videos: 1992-2002) illuminates all segments of her life in the tone of Piaf's jovial nature.
Ocassionally, and somewhat expectedly, parts of her life are glossed over in the name of damage control. The syringes, the tools of an addict, are featured prominently in the film, but the word "morphine" isn't once mouthed by anyone. Her aloof, incapable parents are practically co-stars from the beginning; but her own failure as a parent isn't revealed until the end of the film. Watching a child unexpectedly battle blindness is an opportune moment for a filmmaker, whereas being deaf after overcoming blindness spoils the pacing of the film. Though, ultimately, the film serves as an intriguing depiction of the life of Edith Piaf.
Born in the poverty-stricken Belleville district in Paris, doom was merely young Piaf's (Manon Chevallier) birthright. Piaf is a frail child who battles an onslaught of ailments from a hacking cough to conjunctivitis. Her mother, Anetta (Clotilide Courau) is a drunk street singer herself, and abandones Edith at a disturbingly young age. Her father, Louis Gassion (Jean-Paul Rouve), is a talented contortionist who made his living at the circus; but, after seeing Edith inching towards her deathbed, decides to join the army in hopes of stability. He takes Edith away from her "foster home" of sorts, and takes her to visit her not very grandmotherly grandmother. It is during this visit that it is decided that Edith will live in the brothel where she develops a particularly strong bond with one of the protistutes, Titine (Emmanuelle Seigner).
Eventually, her father comes back for adolescent Piaf (Pauline Burlet), and to the streets they go. Him, performing his contortionist feats, and her, holding out a hat for change. Then, an audience member asks if she is also part of the perfomance, and alas, her street singing career begins.
Shortly, thereafter, she branches out to become her own street performer with best friend Momone (Sylvie Testud), and the tables have turned. Piaf is now the performer, and Momone the hat holder. It doesn't take too long for her overwhelming talent to become noticed by people who can do something about it, like night-club owner Louis Leplee (Gerard Depardieu) who gave her the last name Piaf because of her undersized stature.
Fame brings her riches, and problems alike. Pressure, love, death, and haunting memories seem to work against her at all times in her life but is mitigated when she is with her true love, boxer, Marcel Cerdan (Jean-Pierre Martins).
Though, by age 44 she looks as if she were a sickly 70 year old, and her performing career has practically ended; her legacy will clearly live on forever. With a character like Piaf it is nearly impossible for this film to be unmemorable. All in all, this should certainly be at the top of everyone's must-see queue.
Ocassionally, and somewhat expectedly, parts of her life are glossed over in the name of damage control. The syringes, the tools of an addict, are featured prominently in the film, but the word "morphine" isn't once mouthed by anyone. Her aloof, incapable parents are practically co-stars from the beginning; but her own failure as a parent isn't revealed until the end of the film. Watching a child unexpectedly battle blindness is an opportune moment for a filmmaker, whereas being deaf after overcoming blindness spoils the pacing of the film. Though, ultimately, the film serves as an intriguing depiction of the life of Edith Piaf.
Born in the poverty-stricken Belleville district in Paris, doom was merely young Piaf's (Manon Chevallier) birthright. Piaf is a frail child who battles an onslaught of ailments from a hacking cough to conjunctivitis. Her mother, Anetta (Clotilide Courau) is a drunk street singer herself, and abandones Edith at a disturbingly young age. Her father, Louis Gassion (Jean-Paul Rouve), is a talented contortionist who made his living at the circus; but, after seeing Edith inching towards her deathbed, decides to join the army in hopes of stability. He takes Edith away from her "foster home" of sorts, and takes her to visit her not very grandmotherly grandmother. It is during this visit that it is decided that Edith will live in the brothel where she develops a particularly strong bond with one of the protistutes, Titine (Emmanuelle Seigner).
Eventually, her father comes back for adolescent Piaf (Pauline Burlet), and to the streets they go. Him, performing his contortionist feats, and her, holding out a hat for change. Then, an audience member asks if she is also part of the perfomance, and alas, her street singing career begins.
Shortly, thereafter, she branches out to become her own street performer with best friend Momone (Sylvie Testud), and the tables have turned. Piaf is now the performer, and Momone the hat holder. It doesn't take too long for her overwhelming talent to become noticed by people who can do something about it, like night-club owner Louis Leplee (Gerard Depardieu) who gave her the last name Piaf because of her undersized stature.
Fame brings her riches, and problems alike. Pressure, love, death, and haunting memories seem to work against her at all times in her life but is mitigated when she is with her true love, boxer, Marcel Cerdan (Jean-Pierre Martins).
Though, by age 44 she looks as if she were a sickly 70 year old, and her performing career has practically ended; her legacy will clearly live on forever. With a character like Piaf it is nearly impossible for this film to be unmemorable. All in all, this should certainly be at the top of everyone's must-see queue.
Saturday, June 2, 2007
Mala Noche (Bad Night)
Shot on location in Portland, Oregon's Skid-Row in 1985, and first released in Germany in 1987; Gus Van Sant's first film, "Mala Noche," has been re-released nationwide on June 1st, 2007, twenty years after its first release; twenty years to witness the evolution of Gus Van Sant's career from gritty to somewhat glamorous. This film was made with a shoe string budget of $25,000.00, and shot mostly on black-and-white 16mm. The film is based on an autobiographical novel by Oregon poet Walt Curtis.
Walt (Tim Streeter), a young homosexual store clerk, mainly deals with patrons that buy hits of nitrous, and ask for store credit. Despite the obvious poverty, lack of jobs, and communal drug addiction, Walt clearly feels at home here. Johnny (Doug Cooeyate), a teenage Mexican who's new in town, saunters into the store, and Walt is immediately taken by him. After work, Walt hangs out with Johnny nearby, but things are cut short when Johnny realizes Walt wants to be more than friends.
In a bar, Walt tenderly speaks of Johnny to his friend Betty (Nyla McCarthy). After reminding him that he's always in love, she decides that he should invite him to dinner over at her place. Seconds later, Walt and Betty idle down Skid-Row in search of Johnny. Walt spots him.
Johnny accepts under the condition that Roberto "Pepper" (Ray Monge), his friend, also comes. They have dinner. They get drunk. They dance. It is the beginning of rocky friendships that provide endless torment mainly for Walt; but also for Roberto, and Johnny who aren't mature, or open enough to deal with their situation in a way that's very constructive. They get a kick out of pushing Walt around, and sometimes playing with guns.
Overall, the film is sincere in its tone, and ocassionally shot well. The beginning of the film suffers from a couple of scenes that are cut too short, but that goes away after the first few minutes. In terms of its narrative, "Mala Noche" chronically jumps from events without concluding the previous sequence very well. Also, the ending doesn't tie very much together; though you do get the feeling that Walt just isn't going to let go anytime soon, and this cyclical situation has him on the ropes. Despite some of its faults, "Mala Noche" will stick with you. Maybe it's the ocassionally insightful dialogue, or maybe it's the street feel; but I would say watch it while you can because this isn't a rentable re-release, and who knows what'll happen over the next twenty years.
Walt (Tim Streeter), a young homosexual store clerk, mainly deals with patrons that buy hits of nitrous, and ask for store credit. Despite the obvious poverty, lack of jobs, and communal drug addiction, Walt clearly feels at home here. Johnny (Doug Cooeyate), a teenage Mexican who's new in town, saunters into the store, and Walt is immediately taken by him. After work, Walt hangs out with Johnny nearby, but things are cut short when Johnny realizes Walt wants to be more than friends.
In a bar, Walt tenderly speaks of Johnny to his friend Betty (Nyla McCarthy). After reminding him that he's always in love, she decides that he should invite him to dinner over at her place. Seconds later, Walt and Betty idle down Skid-Row in search of Johnny. Walt spots him.
Johnny accepts under the condition that Roberto "Pepper" (Ray Monge), his friend, also comes. They have dinner. They get drunk. They dance. It is the beginning of rocky friendships that provide endless torment mainly for Walt; but also for Roberto, and Johnny who aren't mature, or open enough to deal with their situation in a way that's very constructive. They get a kick out of pushing Walt around, and sometimes playing with guns.
Overall, the film is sincere in its tone, and ocassionally shot well. The beginning of the film suffers from a couple of scenes that are cut too short, but that goes away after the first few minutes. In terms of its narrative, "Mala Noche" chronically jumps from events without concluding the previous sequence very well. Also, the ending doesn't tie very much together; though you do get the feeling that Walt just isn't going to let go anytime soon, and this cyclical situation has him on the ropes. Despite some of its faults, "Mala Noche" will stick with you. Maybe it's the ocassionally insightful dialogue, or maybe it's the street feel; but I would say watch it while you can because this isn't a rentable re-release, and who knows what'll happen over the next twenty years.
Saturday, May 26, 2007
Nuovomondo (The Golden Door)
Poetic even in its English translation, "The Golden Door," from its literal Italian meaning, "new world"; this film lacks narrative, but, for most, makes up for it with aesthetics. Director Emanuele Crialese takes cues from the widely-acclaimed Fellini as well as a not as well known Italian Neorealist, Luchino Visconti. The film mixes early, narratiive Fellini with late surreal Fellini. It also captures a similar cultural precision of early 20th century, poverty-stricken Sicilians that is reminiscent of Visconti's 1948 film, "La Terra Trema."
Salvatore Mancuso (Vincenzo Amato), an illiterate Sicilian peasant, climbs over a rocky Sicilian countryside with his son, Angelo (Franceso Casisa.) Each of them carry a rock in their mouth as they continue on their laborious climb. With their clothes just as tattered and dirty as their feet, they finally arrive at a monumental Cross made of logs. They humbly drop the rocks onto a pile that indicates a common ritualistic sacrifice among locals. Salvatore begins to pray in the form of asking questions that he can't answer himself.
Outside of a windowless shelter made of rocks cemented together, two generations of women sit in awe over postcards of America that show people towing giant onions, and money growing on trees. With just a touch more of drive from Salvatore and lifelessness from Rosa (Isabella Ragonese), the family finally finds the courage to emigrant overseas.
Salvatore first sets his sights on Lucy (Charlotte Gainsbourg), an Italian speaking Englishwomen who somehow found her way to Sicily, on a chaotic port just before boarding the boat. She seems to need his assistance from the get-go as she pretends to be with him whenever anyone with authority looms near. They get separated; and so, they don't board the ship together. Though, eventually, to the dismay of his mother Fortunata (Aurora Quattrocchi), they reunite. Lucy wants to marry him when they arrive at Ellis Island for reasons unknown, though she states it isn't for love. Salvatore eagerly accepts, and defensively states that they hardly know each other, but these things take time...
The half-baked love story serves as a device for the greater focus of the film; the strife of the early 20th century Sicilian emigrants. When they arrive at Ellis Island, they're treated like animals. The purpose of these tests are not purely medical (contrary to the beliefs of the doctors during that time), but are meant to weed out those who are believed to be intellectually inferior, because studies showed that stupidity is contagious; and officials want to be sure that anyone entering the country isn't going to spread their "stupid gene." Many of these people live on the basis of survival for their entire lives, and lack even the most basic education. Sadly, most fail miserably at these tests.
Ultimately, "The Golden Door" changed genres whenever Crialese felt it was convenient to do so. Not as hard to decipher as Fellini's mid to late Surrealist works, but more artful than Visconti's Neorealist film, "La Terra Trema"; "The Golden Door" aims to please everyone. Though, it's one of the better films that have been released lately, it surely isn't flawless, and somewhat superficial. Lucy is a women with no past; thus, unknown motivations.
A nice touch is that the Sicilians speak dialect, and not proper Italian which adds credibility as well as a sort of charisma to the characters. It isn't a must-see, but it certainly is a should-see.
Salvatore Mancuso (Vincenzo Amato), an illiterate Sicilian peasant, climbs over a rocky Sicilian countryside with his son, Angelo (Franceso Casisa.) Each of them carry a rock in their mouth as they continue on their laborious climb. With their clothes just as tattered and dirty as their feet, they finally arrive at a monumental Cross made of logs. They humbly drop the rocks onto a pile that indicates a common ritualistic sacrifice among locals. Salvatore begins to pray in the form of asking questions that he can't answer himself.
Outside of a windowless shelter made of rocks cemented together, two generations of women sit in awe over postcards of America that show people towing giant onions, and money growing on trees. With just a touch more of drive from Salvatore and lifelessness from Rosa (Isabella Ragonese), the family finally finds the courage to emigrant overseas.
Salvatore first sets his sights on Lucy (Charlotte Gainsbourg), an Italian speaking Englishwomen who somehow found her way to Sicily, on a chaotic port just before boarding the boat. She seems to need his assistance from the get-go as she pretends to be with him whenever anyone with authority looms near. They get separated; and so, they don't board the ship together. Though, eventually, to the dismay of his mother Fortunata (Aurora Quattrocchi), they reunite. Lucy wants to marry him when they arrive at Ellis Island for reasons unknown, though she states it isn't for love. Salvatore eagerly accepts, and defensively states that they hardly know each other, but these things take time...
The half-baked love story serves as a device for the greater focus of the film; the strife of the early 20th century Sicilian emigrants. When they arrive at Ellis Island, they're treated like animals. The purpose of these tests are not purely medical (contrary to the beliefs of the doctors during that time), but are meant to weed out those who are believed to be intellectually inferior, because studies showed that stupidity is contagious; and officials want to be sure that anyone entering the country isn't going to spread their "stupid gene." Many of these people live on the basis of survival for their entire lives, and lack even the most basic education. Sadly, most fail miserably at these tests.
Ultimately, "The Golden Door" changed genres whenever Crialese felt it was convenient to do so. Not as hard to decipher as Fellini's mid to late Surrealist works, but more artful than Visconti's Neorealist film, "La Terra Trema"; "The Golden Door" aims to please everyone. Though, it's one of the better films that have been released lately, it surely isn't flawless, and somewhat superficial. Lucy is a women with no past; thus, unknown motivations.
A nice touch is that the Sicilians speak dialect, and not proper Italian which adds credibility as well as a sort of charisma to the characters. It isn't a must-see, but it certainly is a should-see.
Saturday, May 19, 2007
Severance
A satiric slasher that cuts itself in half with too much comedy, and too little concept. "Severance" is a film that reveals more plot holes than bullet (though it is certainly action-packed), and leaves us with a lame storyline. A "team-building" weekend funded by a multi-national weaponry corp by the name of Palisades Defence turns into an unoriginal slash fest in a mountainous Eastern European countryside.
The films start with clips taken out of its ending...though the directorial reasons behind this are murky; perhaps Christopher Smith thought it, well, looked cool. Meanwhile, a tour bus with seven weapons designers (or sales people? It's never made clear) roar past on a nearby road - unaware of the doom that awaits. Trivial is almost too sophisticated a word to describe most of the scenes in this film. It's like "Scary Movie" for twenty-somethings that cultivate their political convictions by watching Saturday Night Live.
First, Steve (Danny Dyer) openly takes hallucinogens despite the fact that he's on a corporate outing, but no worries, no one seems to find this bothersome or unprofessional anyway. Then, perhaps in an effort to emphasize the types of cityslickers we're dealing with, everyone whines about walking down an unknown road that the bus driver refuses to take instead of using their energy to move a fallen tree out of the main road so that they can pass. It makes little sense considering the whole point of the weekend is to unify the team, and the length of the walk is unknown. It's also odd that no one questions why a perfectly normal bus driver would suddenly turn ballistic when asked to go slightly off-route. The lack of subtitles is also the lamest of cop outs because it frees the filmmakers from having to write, I don't know, something that makes sense or maybe has meaning...
The characters are ocassionaly likeable but never intriguing enough to care about when slaying time abounds. When bear traps are complemented by flame throwers and mine dodgers the film really does become entertaining, but any expectation of a poignant political satire should be left at ticket booth. A missle crashing into an airplane flying overhead is about as funny as seeing a decapitated head smile eagerly at the camera...This film left many major questions unanswered like: who is behind this vengeful militia or why didn't this go straight to DVD?
The films start with clips taken out of its ending...though the directorial reasons behind this are murky; perhaps Christopher Smith thought it, well, looked cool. Meanwhile, a tour bus with seven weapons designers (or sales people? It's never made clear) roar past on a nearby road - unaware of the doom that awaits. Trivial is almost too sophisticated a word to describe most of the scenes in this film. It's like "Scary Movie" for twenty-somethings that cultivate their political convictions by watching Saturday Night Live.
First, Steve (Danny Dyer) openly takes hallucinogens despite the fact that he's on a corporate outing, but no worries, no one seems to find this bothersome or unprofessional anyway. Then, perhaps in an effort to emphasize the types of cityslickers we're dealing with, everyone whines about walking down an unknown road that the bus driver refuses to take instead of using their energy to move a fallen tree out of the main road so that they can pass. It makes little sense considering the whole point of the weekend is to unify the team, and the length of the walk is unknown. It's also odd that no one questions why a perfectly normal bus driver would suddenly turn ballistic when asked to go slightly off-route. The lack of subtitles is also the lamest of cop outs because it frees the filmmakers from having to write, I don't know, something that makes sense or maybe has meaning...
The characters are ocassionaly likeable but never intriguing enough to care about when slaying time abounds. When bear traps are complemented by flame throwers and mine dodgers the film really does become entertaining, but any expectation of a poignant political satire should be left at ticket booth. A missle crashing into an airplane flying overhead is about as funny as seeing a decapitated head smile eagerly at the camera...This film left many major questions unanswered like: who is behind this vengeful militia or why didn't this go straight to DVD?
Friday, May 11, 2007
Saturday, May 5, 2007
Armin
"Armin" is potentially a slogger film, but relies on omission as its saving grace. If you think about the pace of this film in a logical way - it really shouldn't work. Not too much happens; not too much changes. The shots are average in length, but offer a seductive silence that teases curiousity, and cultivates patience. What's odder about the pacing is "Armin" isn't even a mystery, far from a horror flick, but a comedy of sorts.
Ibro (Emir Hadzihafisbegovic) waits with his son, Armin (Armin Omerovic), by a bus stop in Bosnia. All we know is that they're headed for Zagreb, the largest city in Croatia. For the first ten minutes of the film, we are unaware of their names, the nature of their relationship, and lastly, whether they even know each other. On the bus, naturally, they sit next to each other, and still not a word has come out of Armin's mouth. Though Ibro is a bit of a chatterbox; he drinks from a flask, talks to the businessman in a seat nearby, and then, tosses insults at the bus driver for his lack of skill. All the while, Armin sits in silence.
When they arrive, we finally learn that Armin is auditioning for a German film about the Balkan conflict. Armin reads the script in a way that someone who doesn't know how to act does: without emotion, or rhythm. Throughout the lobbies, bars, and hallways of the hotel, Ibro manages to brag about his son's accordian playing skills - something, he believes, none of the kids have, or are even capable of.
Their trip to Croatia symbolizes a global trend in the "widening gap." Ibro is baffled by modern technology such as the hand dryer in the men's bathroom, and car alarms. Armin refuses whenever his father wants to buy him something - a characteristic of a child who feels guilty of spending money they know their parents don't have. But Ibro is supercilious, and always insists until his son finally gives in, and so his ego is satisfied.
Armin's first indulgence is eating an enormous amount of McDonald's - something every small-town Euroteen can never seem to resist. Then he's interested in a world atlas he sees in a newspaper stand. Ibro immediately buys it for him even though Armin protests this as well. Back at the room, they look it over, and Ibro comments on how large China is; a sort of subconcious realization of how small they actually are.
This is reiterated through awkward social situations in the hotel lounge with film people. Ibro is loud, a little dorky - even his speech lacks assimilation. He's is ultimately laughed at, but luckily, too drunk to notice. This is relatively subtle like everything else in the film, and this subtlety is precisely what makes it so interesting.
What's more interesting is Ognjen Svilicic wrote "The Melon Route," Armin Omerovic's acting debut. This leaves us wondering what the fact-to-fiction ratio of "Armin," the film, really is. Ultimately, this film serves as an interesting critique of what it is to be a foreigner; futhermore, what lacking privilege can really mean - especially when combined with facing true hardships. In this context, success by many would be considered just plain survival, and this epiphany is exactly what Ibro and Armin get to take home, back to Bosnia, with them.
Written and Directed by Ognjen Svilicic.
I was unable to locate a trailer with subtitles...sorry!
Ibro (Emir Hadzihafisbegovic) waits with his son, Armin (Armin Omerovic), by a bus stop in Bosnia. All we know is that they're headed for Zagreb, the largest city in Croatia. For the first ten minutes of the film, we are unaware of their names, the nature of their relationship, and lastly, whether they even know each other. On the bus, naturally, they sit next to each other, and still not a word has come out of Armin's mouth. Though Ibro is a bit of a chatterbox; he drinks from a flask, talks to the businessman in a seat nearby, and then, tosses insults at the bus driver for his lack of skill. All the while, Armin sits in silence.
When they arrive, we finally learn that Armin is auditioning for a German film about the Balkan conflict. Armin reads the script in a way that someone who doesn't know how to act does: without emotion, or rhythm. Throughout the lobbies, bars, and hallways of the hotel, Ibro manages to brag about his son's accordian playing skills - something, he believes, none of the kids have, or are even capable of.
Their trip to Croatia symbolizes a global trend in the "widening gap." Ibro is baffled by modern technology such as the hand dryer in the men's bathroom, and car alarms. Armin refuses whenever his father wants to buy him something - a characteristic of a child who feels guilty of spending money they know their parents don't have. But Ibro is supercilious, and always insists until his son finally gives in, and so his ego is satisfied.
Armin's first indulgence is eating an enormous amount of McDonald's - something every small-town Euroteen can never seem to resist. Then he's interested in a world atlas he sees in a newspaper stand. Ibro immediately buys it for him even though Armin protests this as well. Back at the room, they look it over, and Ibro comments on how large China is; a sort of subconcious realization of how small they actually are.
This is reiterated through awkward social situations in the hotel lounge with film people. Ibro is loud, a little dorky - even his speech lacks assimilation. He's is ultimately laughed at, but luckily, too drunk to notice. This is relatively subtle like everything else in the film, and this subtlety is precisely what makes it so interesting.
What's more interesting is Ognjen Svilicic wrote "The Melon Route," Armin Omerovic's acting debut. This leaves us wondering what the fact-to-fiction ratio of "Armin," the film, really is. Ultimately, this film serves as an interesting critique of what it is to be a foreigner; futhermore, what lacking privilege can really mean - especially when combined with facing true hardships. In this context, success by many would be considered just plain survival, and this epiphany is exactly what Ibro and Armin get to take home, back to Bosnia, with them.
Written and Directed by Ognjen Svilicic.
I was unable to locate a trailer with subtitles...sorry!
Saturday, April 28, 2007
Diggers
"Diggers" plays like the bad parts in a full season of a one-hour television drama series all mashed together than a well-edited, gripping feature. Sadly, the only digging going on here is literally for clams, and coins. The score (original music by David Mansfield) also screams "This guy is our friend, so we didn't have to pay for the rights. He's an insurance adjuster now."
The strong point of "Diggers" would be the honesty of the characters; aimless working class Long Islanders who live for sex, drugs and clams(?). But they are almost too human; thus, not always terribly interesting. Many of the scenes fall flat in this film, and leave one wondering why they weren't edited out, or better yet, why they were ever filmed to begin with.
The writer (Ken Marino), and director (Katherine Dieckmann) don't seem to be interested in maintaining any sort of theme, or thread to the story. Vaguely, it all revolves around the death of Hunt's (Paul Rudd), and Gina's (Maura Tierney) father; a clammer who made a decent living before the "South Shell" dynasty came into town. His death (hardly) functions as a catalyst for Hunt's friends, who are also a younger generation of clammers. Hunt's father symbolizes the death of the full-time, breadwinning clammer, and this is supposed to evoke an onslaught of adjustments.
The problem with all this supposed "change" is nobody seems to have any difficult decisions to make. Should we sit around, whine about the new corporation in town, and do drugs all day; or try to do something functional with our lives? Gee, I'm not sure; let's pop some pills, and think about this.
Also, if a writer or director chooses to make a character-driven film shouldn't the characterss be involved in complicated, and mysterious relationships? Sixteen year olds have friendships of this magnitude, but you'd think thirty-six year olds would have evolved into something deeper, perhaps something capable of evoking discomfort, or at least bigger change. But not these guys, not much has changed for them since high school, and so the decisions they're faced with are as complicated as that of a recent college graduate who functions at the pace of a sedated turtle. The tagline is "No one can drift forever," but you can't help but wonder if they're sure about this.
The strong point of "Diggers" would be the honesty of the characters; aimless working class Long Islanders who live for sex, drugs and clams(?). But they are almost too human; thus, not always terribly interesting. Many of the scenes fall flat in this film, and leave one wondering why they weren't edited out, or better yet, why they were ever filmed to begin with.
The writer (Ken Marino), and director (Katherine Dieckmann) don't seem to be interested in maintaining any sort of theme, or thread to the story. Vaguely, it all revolves around the death of Hunt's (Paul Rudd), and Gina's (Maura Tierney) father; a clammer who made a decent living before the "South Shell" dynasty came into town. His death (hardly) functions as a catalyst for Hunt's friends, who are also a younger generation of clammers. Hunt's father symbolizes the death of the full-time, breadwinning clammer, and this is supposed to evoke an onslaught of adjustments.
The problem with all this supposed "change" is nobody seems to have any difficult decisions to make. Should we sit around, whine about the new corporation in town, and do drugs all day; or try to do something functional with our lives? Gee, I'm not sure; let's pop some pills, and think about this.
Also, if a writer or director chooses to make a character-driven film shouldn't the characterss be involved in complicated, and mysterious relationships? Sixteen year olds have friendships of this magnitude, but you'd think thirty-six year olds would have evolved into something deeper, perhaps something capable of evoking discomfort, or at least bigger change. But not these guys, not much has changed for them since high school, and so the decisions they're faced with are as complicated as that of a recent college graduate who functions at the pace of a sedated turtle. The tagline is "No one can drift forever," but you can't help but wonder if they're sure about this.
Saturday, April 21, 2007
La Doublure (The Valet)
A cartoonish telepic with would-be riveting characters that bore us with silly antics, and shallow portraits. I can enjoy the occasional slapstick scene thoroughly, but when a film (such as this one) lacks overall depth, it just becomes disengaging.
Francois Pignon (Gad Elmaleh) is a sorry valet deprived of confidence, and status. Emilie (Virginie Ledoyen), his girlfriend, is a bookstore owner who is too wrapped up in her own life to take Francois seriously. Their fathers are involved in a "reverse" doctor/patient relationship where Francois' father, Andre Pignon (Michel Jonasz), doctors the doctor (Michel Aumont) who is apparently senile, and has all of his patients give him shots, take his temperature, and whatnot. A fine example of the irreverent moments that, at times, take over this film.
Near simultaneous scenes of supermodel Elena (Alice Taglioni), and powerful Pierre Lavasseur (Daniel Auteail) having a covert date; and Francois and Emilie having a rushed lunch show that heartbreak does not discriminate, and everyone is a loser sometimes.
Then, of course, the gimmick that the whole plot is based around is put into motion, and Pierre finds himself in a bad situation when his uberwealthy wife, Christine Lavasseur (Kristin Scott Thomas), sees photos of Pierre, and Elena together. Christine begins questioning him, and spying on him, but never shows any signs of remorse. This is odd considering she seemed quite happy with her marriage prior to this finding.
And the manipulation begins! But too bad all of it lacks creativity, and just leaves us craving some sort of unexpected plot twist, or character arc. None of that happens, just a series of predictable events follow that may only make one compelled to force a chuckle just to go through the motions.
Directed and written by Francis Veber.
How To Share Videos With Your Friends And Get Paid! Click Here.
Francois Pignon (Gad Elmaleh) is a sorry valet deprived of confidence, and status. Emilie (Virginie Ledoyen), his girlfriend, is a bookstore owner who is too wrapped up in her own life to take Francois seriously. Their fathers are involved in a "reverse" doctor/patient relationship where Francois' father, Andre Pignon (Michel Jonasz), doctors the doctor (Michel Aumont) who is apparently senile, and has all of his patients give him shots, take his temperature, and whatnot. A fine example of the irreverent moments that, at times, take over this film.
Near simultaneous scenes of supermodel Elena (Alice Taglioni), and powerful Pierre Lavasseur (Daniel Auteail) having a covert date; and Francois and Emilie having a rushed lunch show that heartbreak does not discriminate, and everyone is a loser sometimes.
Then, of course, the gimmick that the whole plot is based around is put into motion, and Pierre finds himself in a bad situation when his uberwealthy wife, Christine Lavasseur (Kristin Scott Thomas), sees photos of Pierre, and Elena together. Christine begins questioning him, and spying on him, but never shows any signs of remorse. This is odd considering she seemed quite happy with her marriage prior to this finding.
And the manipulation begins! But too bad all of it lacks creativity, and just leaves us craving some sort of unexpected plot twist, or character arc. None of that happens, just a series of predictable events follow that may only make one compelled to force a chuckle just to go through the motions.
Directed and written by Francis Veber.
How To Share Videos With Your Friends And Get Paid! Click Here.
Saturday, April 14, 2007
Everything's Gone Green
This is a tale of moral corruption that turns wayward in a way that does benefit society. Just before deeming it another whiny, slacker film, Ryan (Paulo Costanzo), gets involved in some identity altering putrefaction. "Everything's Gone Green" introduces us to Ryan, a boy-man asleep on the couch, snuggled up with a sleeping bag while the tv plays an exercise video that seems to be geared toward women. He awakens from his slumber to find that his girlfriend, and her barbarian of a brother are moving him out. His now x-girlfriend explains that her therapist explained that Ryan refuses to "unleash his inner warrior," and she's looking for more from life than Ikea furniture, and weekend trips to auto-malls.
Ryan goes to work, where he undergoes a review by a less-than-pleased supervisor who printed out several acquisitions discovered during their "server maintenance" period. Ryan's gloomy, redundant poetry is telling of his attitude toward his job, and life in general. His supervisor suspends him but gives him the option to come back if he decides to go to therapy, and "they" decide he's okay. As he's cleaning out his office, his mother calls to tell him they've just won 4.3 million dollars, but his father can't find the ticket.
Ryan takes a colorful bike ride to his parents house. Aliens from the "Mars, Texas" shoot have invaded his ride in the most pleasant way possible. He rides through this childlike atmosphere in Vancouver, and it seems that his life is going to work out.
At Ryan's parent's house is where his stodgy, business-first brother Kevin, his recently fired Father, and his somewhat passive Mother are introduced. Ryan calls the Lotto Bureau after the ticket is found and finds out they have a losing ticket, but is offered an interview for a job that recently opened up.
He gets the job at the Lotto Bureau, where he interviews people who have just won big time. An amusing montage of ecstatic people from all walks of life give the film a goofy kitsch quality. A beached whale, a feng shui loving boss, a Chinese-American women; her ritzy, "golf course designer" boyfriend, her grandmother and Mandarin classes are all new parts of Ryan's life; and this when things begin to get strange.
The delusion that money brings happiness is the theme in the film. From Spike to Furry Creek (and eventually Ryan) it seems everyone's motivation is to collect massive fortunes at any cost. But what are they willing to sacrifice? And how many times have we seen this before? But (yes but) what makes this film interesting is that it is taken away from the usual brunts, the stockbroker, the lawyer, the CEO, and puts the responsiblity of the negative affects of capitalism into the hands of regular, everyday people.
Get rich quick schemes, a grow op that Ryan's parents get involved with, and the Japanese mafia all contribute to this mish mash of a story that some how works. Its tagline "A new kind of comedy" is pushing it a bit, but nevertheless, it's way better than the last Canadian Indie film that I saw. It's entertaining, yet seemingly aimless; thus, a successful reflection of slacker life, and not fully predictable. The character arc is one that we can all probably relate to but have seen a few too many times. But still, you should watch it for its artful scenes, strong performances, and witty situations. Plus, it's very well written, as Douglas Coupland is a seasoned novelist, and this is his first stab at a screenplay.
Ryan goes to work, where he undergoes a review by a less-than-pleased supervisor who printed out several acquisitions discovered during their "server maintenance" period. Ryan's gloomy, redundant poetry is telling of his attitude toward his job, and life in general. His supervisor suspends him but gives him the option to come back if he decides to go to therapy, and "they" decide he's okay. As he's cleaning out his office, his mother calls to tell him they've just won 4.3 million dollars, but his father can't find the ticket.
Ryan takes a colorful bike ride to his parents house. Aliens from the "Mars, Texas" shoot have invaded his ride in the most pleasant way possible. He rides through this childlike atmosphere in Vancouver, and it seems that his life is going to work out.
At Ryan's parent's house is where his stodgy, business-first brother Kevin, his recently fired Father, and his somewhat passive Mother are introduced. Ryan calls the Lotto Bureau after the ticket is found and finds out they have a losing ticket, but is offered an interview for a job that recently opened up.
He gets the job at the Lotto Bureau, where he interviews people who have just won big time. An amusing montage of ecstatic people from all walks of life give the film a goofy kitsch quality. A beached whale, a feng shui loving boss, a Chinese-American women; her ritzy, "golf course designer" boyfriend, her grandmother and Mandarin classes are all new parts of Ryan's life; and this when things begin to get strange.
The delusion that money brings happiness is the theme in the film. From Spike to Furry Creek (and eventually Ryan) it seems everyone's motivation is to collect massive fortunes at any cost. But what are they willing to sacrifice? And how many times have we seen this before? But (yes but) what makes this film interesting is that it is taken away from the usual brunts, the stockbroker, the lawyer, the CEO, and puts the responsiblity of the negative affects of capitalism into the hands of regular, everyday people.
Get rich quick schemes, a grow op that Ryan's parents get involved with, and the Japanese mafia all contribute to this mish mash of a story that some how works. Its tagline "A new kind of comedy" is pushing it a bit, but nevertheless, it's way better than the last Canadian Indie film that I saw. It's entertaining, yet seemingly aimless; thus, a successful reflection of slacker life, and not fully predictable. The character arc is one that we can all probably relate to but have seen a few too many times. But still, you should watch it for its artful scenes, strong performances, and witty situations. Plus, it's very well written, as Douglas Coupland is a seasoned novelist, and this is his first stab at a screenplay.
Saturday, April 7, 2007
Whole New Thing
Previously homeschooled Emerson Thorsen (Aaron Webber), a 13 year-old author and playwright, may have an age appropriate Harry-Potter-inspired image (without the mousy disposition), but his problems are more of this world as well as less sensational - the latter perhaps not being to his benefit. His excellent verbal and written communication skills aren't enough to convince his mother, Kaya (Rebecca Jenkins), that his anemic math abilities shouldn't be honed by someone presumably better fit for the job, like a public school teacher.
Hubristic by nature yet lacking the experience, and accoutrement that only Junior High can offer, Emerson gets himself into a bit of a pickle when he (privately) intimates a crush on his new English teacher, Don Grant (Daniel MacIvor), without actually thinking about the circumstance involved. In some ways this endearing yet troublesome escapade would seem to wreak havoc on Don Grant's life, problem is it doesn't. This decision of not opting for small-town drama, or pedophilia could be viewed as taking the high road by many, but a lack of satisfaction emerges when you realize the cheap shots haven't been supplemented by top-shelf concoctions.
Though the characters are somewhat engaging, the story fails to shed any sort of light or dismay on the initial set-up. Emerson's parents, Kaya and Rog (Robert Joy), undergo a marital crisis due to Rog's ongoing disinterest in sex. Emerson's English teacher, Don, has depressing sexual encounters with other closeted men at a local rest stop to usurp his post-failed-relationship blues.
Emerson's naive attempts at love somehow serve as a catalyst for the more seasoned characters in the film. It concludes with everyone else's problems on the way to resolution, except for Emerson's - which are presumably just beginning. In some ways, it feels like a liberal's version of an after-school special. In other ways, it's a bit like Rog's eco-friendly, not yet workable, excrement/fuel idea; the idea is there, but its ability to create an impact isn't.
Directed by Amnon Buchbinder, and co-written with Daniel MacIvor.
Hubristic by nature yet lacking the experience, and accoutrement that only Junior High can offer, Emerson gets himself into a bit of a pickle when he (privately) intimates a crush on his new English teacher, Don Grant (Daniel MacIvor), without actually thinking about the circumstance involved. In some ways this endearing yet troublesome escapade would seem to wreak havoc on Don Grant's life, problem is it doesn't. This decision of not opting for small-town drama, or pedophilia could be viewed as taking the high road by many, but a lack of satisfaction emerges when you realize the cheap shots haven't been supplemented by top-shelf concoctions.
Though the characters are somewhat engaging, the story fails to shed any sort of light or dismay on the initial set-up. Emerson's parents, Kaya and Rog (Robert Joy), undergo a marital crisis due to Rog's ongoing disinterest in sex. Emerson's English teacher, Don, has depressing sexual encounters with other closeted men at a local rest stop to usurp his post-failed-relationship blues.
Emerson's naive attempts at love somehow serve as a catalyst for the more seasoned characters in the film. It concludes with everyone else's problems on the way to resolution, except for Emerson's - which are presumably just beginning. In some ways, it feels like a liberal's version of an after-school special. In other ways, it's a bit like Rog's eco-friendly, not yet workable, excrement/fuel idea; the idea is there, but its ability to create an impact isn't.
Directed by Amnon Buchbinder, and co-written with Daniel MacIvor.
Saturday, March 31, 2007
After The Wedding (Efter Brylluppet)
After reading the tagline 'Champagne is poured...Secrets are spilled," I was not expecting much out of this Oscar-nominated Danish drama. The plot is as thick as they come, and if the script hadn't summoned an abundance of talent to back up its Hollywood-like storyline - this review might be rather different.
Susanne Bier directed, and co-wrote (with screenwriter Anders Thomas Jensen), while remaing true to some of her Dogme ideals by using shakey, unflattering close-ups of somewhat brave, oddly attractive, and extremely talented actors. The aesthetic of the film is that of realism with an ocassional metaphoric montage of stuffed animals mounted on red walls, and flowers thriving or dying - I already feel that my description of the film isn't doing it justice. Perhaps this film is also successful by the fact that it can only be appreciated by watching it, while being widely misunderstood if only explained through verbiage.
Mads Mikkelsen (Casino Royale) plays Jacob Pedersen who is a stubborn, social activist, and runs a struggling orphanage in Bombay, India. He is a Danish ex-pat whose only friend is Pramod (Neeral Mulchandani), a boy who Jacob has raised since infancy. Pramod is reluctant to face the reality that Jacob needs to go to Cophenhagen when he is summoned by a billionaire interested in funding the orphanage that would, otherwise, inevitably close its doors in the following months. This surrogate father, whom Pramod calls "Mr. Jacob" (along with fifty other orphans) is the only he family knows. For those whose stomachs might be more sensitive than their hearts, no worries; this scene, like many others in the film, is underplayed rather than over.
The contrast of the luxury hotel that Jacob has been provided with in Copenhagen manages to come across as humorous in comparison to the living conditions in Bombay. In one way, it is sad that we can detach ourselves to such harsh realities as Westerners; on the other hand, kudos to the director for, once again, avoiding the temptation to turn this into a pity party.
Jacob meets with formidable businessman, Jorgen Hansson (Rolf Lassgard). Mystery begins to surface when Jorgen seems disinterested in the nuts and bolts of the orphanage, discloses the possibility of a four million dollar donation that he'll think about over the weekend, and tops it off with an odd insistence that Jacob come to his daughter, Anna's (Stine Fischer Christensen), wedding tomorrow.
Jacob shows up only to find that his life has changed dramatically when he meets former flame, Helene (Sidse Babett Knudsen), who is also Jorgen's wife. Coincidence that Jacob is here with an ex-flame on the day of her daughter's wedding? I think not. Is this beginning to sound like a soap opera? Understandable. But for a film whose plot surfs along Hollywood undercurrents, it emphasizes the reaction of each character with reverent honesty.
Throughout tumultuous dramas within the film (and there are several more to come after the wedding), there are many quiet moments that allow us to marinate with the characters, and absorb the situation at hand. It makes us feel as though this could happen to anybody, and much of it has - just not all of it. These unhurried, awkward moments are what make "After The Wedding" incredibly different from so many other melodramatic films. I give it four out of five stars for being one that sticks out among thousands, and being light on the cheese while at it.
Susanne Bier directed, and co-wrote (with screenwriter Anders Thomas Jensen), while remaing true to some of her Dogme ideals by using shakey, unflattering close-ups of somewhat brave, oddly attractive, and extremely talented actors. The aesthetic of the film is that of realism with an ocassional metaphoric montage of stuffed animals mounted on red walls, and flowers thriving or dying - I already feel that my description of the film isn't doing it justice. Perhaps this film is also successful by the fact that it can only be appreciated by watching it, while being widely misunderstood if only explained through verbiage.
Mads Mikkelsen (Casino Royale) plays Jacob Pedersen who is a stubborn, social activist, and runs a struggling orphanage in Bombay, India. He is a Danish ex-pat whose only friend is Pramod (Neeral Mulchandani), a boy who Jacob has raised since infancy. Pramod is reluctant to face the reality that Jacob needs to go to Cophenhagen when he is summoned by a billionaire interested in funding the orphanage that would, otherwise, inevitably close its doors in the following months. This surrogate father, whom Pramod calls "Mr. Jacob" (along with fifty other orphans) is the only he family knows. For those whose stomachs might be more sensitive than their hearts, no worries; this scene, like many others in the film, is underplayed rather than over.
The contrast of the luxury hotel that Jacob has been provided with in Copenhagen manages to come across as humorous in comparison to the living conditions in Bombay. In one way, it is sad that we can detach ourselves to such harsh realities as Westerners; on the other hand, kudos to the director for, once again, avoiding the temptation to turn this into a pity party.
Jacob meets with formidable businessman, Jorgen Hansson (Rolf Lassgard). Mystery begins to surface when Jorgen seems disinterested in the nuts and bolts of the orphanage, discloses the possibility of a four million dollar donation that he'll think about over the weekend, and tops it off with an odd insistence that Jacob come to his daughter, Anna's (Stine Fischer Christensen), wedding tomorrow.
Jacob shows up only to find that his life has changed dramatically when he meets former flame, Helene (Sidse Babett Knudsen), who is also Jorgen's wife. Coincidence that Jacob is here with an ex-flame on the day of her daughter's wedding? I think not. Is this beginning to sound like a soap opera? Understandable. But for a film whose plot surfs along Hollywood undercurrents, it emphasizes the reaction of each character with reverent honesty.
Throughout tumultuous dramas within the film (and there are several more to come after the wedding), there are many quiet moments that allow us to marinate with the characters, and absorb the situation at hand. It makes us feel as though this could happen to anybody, and much of it has - just not all of it. These unhurried, awkward moments are what make "After The Wedding" incredibly different from so many other melodramatic films. I give it four out of five stars for being one that sticks out among thousands, and being light on the cheese while at it.
Saturday, March 24, 2007
Offside
Golden Berlin Bear nominee, and Silver Berlin Bear winner, "Offside," is a psuedo-documentary whose feel is emphasized by the use of non actors, near real-time shooting, and occasionally, a handheld camera. The writer, producer, director, Jafar Panahi is a widely acclaimed director; winner of twenty-three awards, and five nominations. He is also the director of "Dayereh" ("The Circle"), a less comedic film that criticizes the treatment of women in Iran, and is banned by the Islamic Government of Iran. "Offside" has not yet been cleared for release in Iran.
It is the World Cup 2005, Iran versus Bahrain. Throngs of soccer fanatics fill the streets wearing jerseys, flags, and other sports paraphernalia. The majority of the fans have two things in common; they are all headed towards the stadium, and they are all men - most of them anyway. In Iran, women are not allowed to enter sports stadiums for fear that they would be exposed to an onslaught of harsh language that the impassioned male audience would naturally indulge in.
Nonetheless, six women who are serious soccer devotees, mostly unaware of each other, attempt to sneak into the stadium with a variety of amusing costumes - all attempting to resemble men. But by the middle of the film, they are all held captive in a make-shift pen that is adjacent to a stadium entrance where the game can merely be overheard. The soldiers are dim-witted country boys, and the women held captive are sharper, more assertive than your stereotypical Middle Eastern woman. This makes for amusing dialogue at times.
The film is riddled with situations, behaviors, and decisions all aimed towards showing the hypocrisy of this particular law. The soldiers curse while watching the game through the entrance - all in earshot of the captive ladies in drag. Bahraini women who gathered by the entrance (though, are never shown) are eventually allowed entry, but placed in a glass room to "protect" them from foul language. One of the more convincing women in drag asks about the Japanese women that were allowed into the stadium to view the recent Japan versus Iran game. The most convincing argument the soldier can come up with is that those women don't understand the language.
The film is paradoxically light-hearted - though it focuses on such important issues. With its wit, and subtext, "Offside" manages to be simultaneously entertaining, and poignant. It ends with a sense of hope pertinent to keeping these young women moving forward. It is, without a doubt, a must-see.
It is the World Cup 2005, Iran versus Bahrain. Throngs of soccer fanatics fill the streets wearing jerseys, flags, and other sports paraphernalia. The majority of the fans have two things in common; they are all headed towards the stadium, and they are all men - most of them anyway. In Iran, women are not allowed to enter sports stadiums for fear that they would be exposed to an onslaught of harsh language that the impassioned male audience would naturally indulge in.
Nonetheless, six women who are serious soccer devotees, mostly unaware of each other, attempt to sneak into the stadium with a variety of amusing costumes - all attempting to resemble men. But by the middle of the film, they are all held captive in a make-shift pen that is adjacent to a stadium entrance where the game can merely be overheard. The soldiers are dim-witted country boys, and the women held captive are sharper, more assertive than your stereotypical Middle Eastern woman. This makes for amusing dialogue at times.
The film is riddled with situations, behaviors, and decisions all aimed towards showing the hypocrisy of this particular law. The soldiers curse while watching the game through the entrance - all in earshot of the captive ladies in drag. Bahraini women who gathered by the entrance (though, are never shown) are eventually allowed entry, but placed in a glass room to "protect" them from foul language. One of the more convincing women in drag asks about the Japanese women that were allowed into the stadium to view the recent Japan versus Iran game. The most convincing argument the soldier can come up with is that those women don't understand the language.
The film is paradoxically light-hearted - though it focuses on such important issues. With its wit, and subtext, "Offside" manages to be simultaneously entertaining, and poignant. It ends with a sense of hope pertinent to keeping these young women moving forward. It is, without a doubt, a must-see.
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