Les Chansons d'amour revisits the era of musical film with a modernity that is probably overwhelming for the majority of the universe. It may be less universal than the The Wizard of Oz, but its message is similar. Les Chansons d'amour is a melodramatic French flick about self-discovery - but focusing on the fluidity of sexuality. If you watch this film in hopes of viewing soft-core orgies, you're better off staying on the web.
Scenes of grey Paris complimented with a blue hue introduce us to "Part I: The Departure." Julie (Ludivine Sagnier), a stylish 20something, goes on line to buy a movie ticket. She makes a call. Ismael (Louis Garrel), her live-in boyfriend, picks up on the other end. He's at work flirting with their perky third, Alice (Clotilde Hesme.) As a comical self-referential twist, after asking Julie what film she's going to see, he states he is seriously so offended that she's going to see that.
Later, all three are together, and what happens rings true. Ismael and Alice fight for who gets to sleep in the middle. Ismael feels left out after seeing Alice jump Julie. The feelings of inadequacy expressed through friendly rival is how they mostly interact. In another scene, Alice shakes her head between the both of them when she sings "I love no one but you" in the damp, cobblestone streets after they leave a bar together.
Sadly, this act ends with one of them out of the picture permanently. One might think that this means the conflict ends, but for Ismael it just begins. Going any further would mean plot spoilers, but let's just say all of the controversy remains in the picture. But let's just also say that the trailer is highly misleading, a product of flawless marketing tactics.
Les Chansons d'amour is "French" in a very good way. The scores are not always as well developed as one would like, but they're good enough. When Ismael and Julie perform together they sound like Gainsbourg and Birkin at times. Musical films generally use song to amplify the most dramatic of moments. I don't think Les Chansons followed that structure completely, but probably for the better. At moments, breaking into musical numbers felt a little awkward - which was the overall tone of the film.
Written and Directed by Christophe Honore
Saturday, March 22, 2008
Saturday, March 15, 2008
Funny Games (2008)
Funny Games lacks a playful element which subtracts from its "game" element; additionally, it isn't clever enough to truly be considered funny. I've never watched Haneke's original German version, but it's apparently exactly the same - except for the cast, of course. Why remake it then? The answer: self-indulgence.
The film opens with a timely, likable tone. Bold red text, classical music segued into an onslaught of booming death metal, all lightly poking fun at rich, white folk. It plays out like a well-funded, wide-eyed art school auteur cut his heart out, and let it splatter all over the screen.
Ann (Naomi Watts), George (Tim Roth), and their eight-year old son, Georgie (Devon Gearhart) head out to their vacation home in Head of the Harbor, Long Island. A peaceful, almost rural affluent community. During the drive, they play a charming little game of "name that classical composer." Things seem normal enough (except for the explosive death metal score) until they see their relative and neighbor Uncle Fred (Boyd Gaines) and his family playing an unusually grave and rigid game of golf on the front lawn. Ann asks if Fred would be so kind as to help George launch their boat at their dock.
Fred dutifully arrives at their home twenty-minutes later (as requested) with Peter (Brady Corbet) who is oddly equipped with white gloves. Of course, George, Georgie and Ann don't seem to notice nor does George regard Fred's scattered behavior as strange. Peter has his in, and, well, the game begins.
Broken eggs, and knees follow - along with implausible situations. Land lines are apparently obsolete in present-day estates due to flawless cell-phone reception, and, I don't know, a lack of cable/phone/internet combo plans? Oh, and rich white men also lack instinct, and logic - this may be true if they aren't self-made, but of course, we don't get that far into character in "Funny Games." We're too busy being entertained by creepy sociopaths, Paul (Michael Pitt) and Peter (Brady Corbet.)
Funny Games feels like an underdeveloped genre bender. It's pacing is too slow to truly feel like a horror film - there are no armrest-clutching moments. Its characters aren't dissected enough (nor sophisticated enough) to play out like a psychological thriller. Funny Games also includes about one minute of wall-breaking sci-fi - a backwards attempt at adding another dimension to Haneke's dissertation about violence in cinema.
Ultimately, I left the theatre thinking that Naomi Watts is crazier than meets the eye for both starring in and producing this. The acting and the cinematography were both flawless, but the film was made for the director - not the audience.
Written and Directed by Michael Haneke
The film opens with a timely, likable tone. Bold red text, classical music segued into an onslaught of booming death metal, all lightly poking fun at rich, white folk. It plays out like a well-funded, wide-eyed art school auteur cut his heart out, and let it splatter all over the screen.
Ann (Naomi Watts), George (Tim Roth), and their eight-year old son, Georgie (Devon Gearhart) head out to their vacation home in Head of the Harbor, Long Island. A peaceful, almost rural affluent community. During the drive, they play a charming little game of "name that classical composer." Things seem normal enough (except for the explosive death metal score) until they see their relative and neighbor Uncle Fred (Boyd Gaines) and his family playing an unusually grave and rigid game of golf on the front lawn. Ann asks if Fred would be so kind as to help George launch their boat at their dock.
Fred dutifully arrives at their home twenty-minutes later (as requested) with Peter (Brady Corbet) who is oddly equipped with white gloves. Of course, George, Georgie and Ann don't seem to notice nor does George regard Fred's scattered behavior as strange. Peter has his in, and, well, the game begins.
Broken eggs, and knees follow - along with implausible situations. Land lines are apparently obsolete in present-day estates due to flawless cell-phone reception, and, I don't know, a lack of cable/phone/internet combo plans? Oh, and rich white men also lack instinct, and logic - this may be true if they aren't self-made, but of course, we don't get that far into character in "Funny Games." We're too busy being entertained by creepy sociopaths, Paul (Michael Pitt) and Peter (Brady Corbet.)
Funny Games feels like an underdeveloped genre bender. It's pacing is too slow to truly feel like a horror film - there are no armrest-clutching moments. Its characters aren't dissected enough (nor sophisticated enough) to play out like a psychological thriller. Funny Games also includes about one minute of wall-breaking sci-fi - a backwards attempt at adding another dimension to Haneke's dissertation about violence in cinema.
Ultimately, I left the theatre thinking that Naomi Watts is crazier than meets the eye for both starring in and producing this. The acting and the cinematography were both flawless, but the film was made for the director - not the audience.
Written and Directed by Michael Haneke
Saturday, February 9, 2008
The Band's Visit (Bikur Ha-Tizmoret) 2007
An Egyptian police band, due to perform at the Arab Cultural Center in Beta Tikva, experiences life in a Israeli town when they find themselves stranded in a small town called Biet Haktiva instead. Biet Haktiva has no hotels, but the band is lucky enough to be offered shelter by lascivious restaurant owner, Dina (Ronit Elkabetz,) and awkward regular, Itzik (Rubi Moskovitz.)
Half of the band goes to Itzik's house, and solemnly celebrates his wife's birthday with Itzik's family. Both Itzik's family and the band twist their oral biographies to sound more impressive; thus, taking advantage of the language barrier. This only adds more tension (especially within Itzik's family) and creates an almost hostile environment. Then, gentle Simon (Khalifa Natour) serenades them with his unfinished overture for concerto on his clarinet. The only one that seems to appreciate it is Itzik. Regardless of the unpleasantness created by others, Simon and Itzik find meaning in one another despite their ephemeral interaction.
The other half of the band is divided up even further due to space issues. Two of them stay in Dina's restaurant and sleep on the floor, while the other two stay in her apartment. Khaled (Saleh Bakri,) a lady's man who serenades women he fancies with a
Chet Baker tune, is forced to go with the authoritative band leader, Tawfiq (Sasson Gabai,) who feels he needs to make sure he stays out of trouble. Dina finds herself drawn to the old-fashioned Lieutenant-colonel, Tawfiq Zacharya and takes him out for a quiet night on the town where they begin to understand each other and develop a deeper fondness for one another. Eventually Khaled, left alone in Dina's apartment, finds himself bored of chugging from an airport-sized bottle of booze, goes back to the restaurant, and finds Papi (Shlomi Avraham) who is rather reluctant to take Khaled out on a double date. But the persistent Khaled gets his way...much to Papi's advantage.
The Band's Visit is optimistic in its message, and demonstrates how simple it is to look past ethnic boundaries and crippling assumptions, and how similar people really are at the core. Perhaps Simon's unfinished concerto is symbolic of a sort of history in the making. The coming of an era of peace and tolerance. The Band's Visit is filled with humble poetic moments that reference anything from Shakespeare to Wes Anderson, yet finishes with a voice of its own. Writer/Director Eran Kolirin does what any good filmmaker aspires to do, he deals with very serious issues without hitting you over the head with them. More than 50% of the dialogue is in broken English, which makes for great pop references, and the rest is in Arabic and Hebrew. Definitely a must-see.
Half of the band goes to Itzik's house, and solemnly celebrates his wife's birthday with Itzik's family. Both Itzik's family and the band twist their oral biographies to sound more impressive; thus, taking advantage of the language barrier. This only adds more tension (especially within Itzik's family) and creates an almost hostile environment. Then, gentle Simon (Khalifa Natour) serenades them with his unfinished overture for concerto on his clarinet. The only one that seems to appreciate it is Itzik. Regardless of the unpleasantness created by others, Simon and Itzik find meaning in one another despite their ephemeral interaction.
The other half of the band is divided up even further due to space issues. Two of them stay in Dina's restaurant and sleep on the floor, while the other two stay in her apartment. Khaled (Saleh Bakri,) a lady's man who serenades women he fancies with a
Chet Baker tune, is forced to go with the authoritative band leader, Tawfiq (Sasson Gabai,) who feels he needs to make sure he stays out of trouble. Dina finds herself drawn to the old-fashioned Lieutenant-colonel, Tawfiq Zacharya and takes him out for a quiet night on the town where they begin to understand each other and develop a deeper fondness for one another. Eventually Khaled, left alone in Dina's apartment, finds himself bored of chugging from an airport-sized bottle of booze, goes back to the restaurant, and finds Papi (Shlomi Avraham) who is rather reluctant to take Khaled out on a double date. But the persistent Khaled gets his way...much to Papi's advantage.
The Band's Visit is optimistic in its message, and demonstrates how simple it is to look past ethnic boundaries and crippling assumptions, and how similar people really are at the core. Perhaps Simon's unfinished concerto is symbolic of a sort of history in the making. The coming of an era of peace and tolerance. The Band's Visit is filled with humble poetic moments that reference anything from Shakespeare to Wes Anderson, yet finishes with a voice of its own. Writer/Director Eran Kolirin does what any good filmmaker aspires to do, he deals with very serious issues without hitting you over the head with them. More than 50% of the dialogue is in broken English, which makes for great pop references, and the rest is in Arabic and Hebrew. Definitely a must-see.
Sunday, January 20, 2008
Rockabilly 514
Rockabilly 514 is a playful "rockumentary" that focuses on rockabilly performances, and the devotees that keep the subculture alive - at least in Montreal, Canada. Directors Patricia Chica and Mike Wafer spent three years following people like the driven loner, and one-man-band Bloodshot Bill, and grocer-by-day-rockstar-by-night members of The Cockroaches. Rockabilly 514 is in no way mind-blowing, nor is it terribly informative, but it is a refresher of the working-class rocker's outlook, and their altruism towards rockabilly.
Nathalie Lavergne, one of the key subjects in the documentary, is the founder of Montreal's rockabilly weekender Red Hot and Blue featuring headliners such as The Comets (in all their geriatric glory,) as well as the less surreal, younger generation of rockabilly, Lyse and The Hot Kitchen. Nathalie is possibly the most interesting subject because of her fiscal selflessness. For two years she has spearheaded a costly yet impressive three day fest of rock n' roll, hot rods, and dance parties only to find herself thousands of dollars in the hole. Her solution? Working seventy-five hour weeks for nine months out of the year to pay off the debt, and hope the the next festival will at least break even.
Then there is Guillaume Ozoux, a lover of rockabilly and hot rod enthusiast - with hardly any money. Guillaume is perhaps the least interesting because of his incessant banter for the scorn he feels towards "the guys with money that just bring it into the shop." It's especially tiresome because even though he was filmed over a period of three years, his rod-to-be is still in shambles by the end of the documentary.
As far as directorial flaws, the one that I was most vexed by was the faux 50s educational-documentary-narration. First and foremost, it's a cheap gimmick. Additionally, it isn't terribly provocative in the sense that it is not especially entertaining, comical or clever. Also, the narration was inconsistent in tone. It did not flawlessly mimick the monotonous tone we've all heard in stodgy made-for-tv wildlife documentaries.
All in all, Rockabilly 514 is filled with the sort of naive, youthful spirit that America might very well be lacking. It's certainly worth a watch, if only to remind us that people still follow their hearts over their wallets, and still manage to eat sometimes too.
Nathalie Lavergne, one of the key subjects in the documentary, is the founder of Montreal's rockabilly weekender Red Hot and Blue featuring headliners such as The Comets (in all their geriatric glory,) as well as the less surreal, younger generation of rockabilly, Lyse and The Hot Kitchen. Nathalie is possibly the most interesting subject because of her fiscal selflessness. For two years she has spearheaded a costly yet impressive three day fest of rock n' roll, hot rods, and dance parties only to find herself thousands of dollars in the hole. Her solution? Working seventy-five hour weeks for nine months out of the year to pay off the debt, and hope the the next festival will at least break even.
Then there is Guillaume Ozoux, a lover of rockabilly and hot rod enthusiast - with hardly any money. Guillaume is perhaps the least interesting because of his incessant banter for the scorn he feels towards "the guys with money that just bring it into the shop." It's especially tiresome because even though he was filmed over a period of three years, his rod-to-be is still in shambles by the end of the documentary.
As far as directorial flaws, the one that I was most vexed by was the faux 50s educational-documentary-narration. First and foremost, it's a cheap gimmick. Additionally, it isn't terribly provocative in the sense that it is not especially entertaining, comical or clever. Also, the narration was inconsistent in tone. It did not flawlessly mimick the monotonous tone we've all heard in stodgy made-for-tv wildlife documentaries.
All in all, Rockabilly 514 is filled with the sort of naive, youthful spirit that America might very well be lacking. It's certainly worth a watch, if only to remind us that people still follow their hearts over their wallets, and still manage to eat sometimes too.
Saturday, December 15, 2007
The Kite Runner (2007)
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.
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.
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.
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