Category Archives: Film Review

Jan 29 2013
Film Review

Amore

I just returned from seeing Michael Haneke’s AMORE, which earlier last year won the Palme d’Or at Cannes Film Festival. This was not the reason I went to see it.

I have seen three of his earlier films: THE PIANO TEACHER, which I detested; TIME OF THE WOLF, a post-apocalyptic film stripped of artifice that I admired; and THE WHITE RIBBON, which was an excellent study of dark German history. My summaries are terribly vague, though I’d invite you to see them. I will warn that his approach to storytelling is rigorous, hard and quite clinical at times, though this is not a fully accurate depiction of his work. It is better to say that he does not allow sentiment to cloud his presentation, and this is why I was very keen to see how he portrayed his latest film which deals with old age, dementia and death.

Jean-Louis Trintignant plays Georges, who is married to Anne, played by Emmanuelle Riva. They are an elderly French couple, avid music lovers enjoying their retirement. Early on in the film she suffers a stroke, and he promises to care for her and not bring her into a hospital or nursing home, which she is dearly afraid of. Over the course of the film, she deteriorates and grows less verbal and less aware, and he isolates them both from the rest of the world, even trying to prevent their daughter (Isabelle Huppert) from seeing her mother. His love for her becomes a shield, perhaps a rebuke to reality, and eventually the stress grows too great for him to handle.

If I haven’t lost you completely by this point with this grim summary, I would recommend this film for its even handed depiction of homecare, with many long running tableux shots that calmly and nonjudgmentally witness the minute and intimate details of cleaning, feeding, and emotional distress that he endures. Both actors bring complete sincerity to their roles, with Ms. Riva’s transformation from a whole person to a human husk being very deep and especially painful to watch. Not a whiff of soap opera, treacle or maudlin tearjerking is present, and this makes for a tough and revealing film. I will be processing it for some time, there are a lot of things to mull over.

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Jan 27 2013
Film Review

Zero Dark Thirty

I went to see ZERO DARK THIRTY today at the Manville Reading Cinemas today. There has been a lot of talk about the political ramifications of this film, notably with the opening torture scenes, but I felt that it was rather objective in its depiction of everything. And I mean everything. Not a whiff of jingoism or liberalism to be had, and for the contemporary war/conflict film this is the right way to do it.

A laser focused Jessica Chastain plays the quiet yet super-determined CIA operative sent out into the field in 2003 to hunt for Osama Bin Laden, and the film shows the laborious process of intelligence gathering over the course of nearly a decade she is involved in. Not an action heavy film, but the climactic raid is extremely well choreographed, and there are many prolonged passages of tension and anticipation spread throughout.

Kathryn Bigelow has followed up THE HURT LOCKER with another excellent study of modern warfare. I am very impressed with her reportage/documentary style of filmmaking she has explored in both films. She has evolved tremendously as a director and is very sure of her approach and execution. Recommended for adults who like serious entertainment about real adults, and not the 30-40 something children who populate Hollywood’s purported “adult” enterprises.

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Jan 04 2013
Film Review

Les Miserables

Many years ago I went on a class trip to see Les Miserables on Broadway, and it was a great experience. The excellent songs, the caliber of acting, the bawdy comedy and heartfelt tragedy, the grand theatricality of it all. I have rarely ventured to see Broadway shows since, but it was the highest example of what the medium can acheive.

Today I took my mother to see LES MISERABLES the film. The Oscar contender, the critical darling, the Hollywood spectacle. She enjoyed it very much, having never seen the musical or heard its fantastic score, and I am very glad for that. But was I as moved?

I cannot say I wasn’t, in some spots and by certain scenes, greatly impressed and inspired to creative fancies during the screening. Any film that can fuel my own muse is certainly one to be recommended. Yet the stop-start, on again off again nature of this production hampered my consistent enjoyment. Slathered as it was in blood, grime and sweat, in an effort to bring a gritty reality of sorts to this theatrical super-production, somehow made it feel even more artificial.

The actors were overall fine, though as singers some were under the assumption that a ragged half-spoken presentation would convey the turmoil of the moment better than a straightforward clean craftsmanship. The women fared better than the men in that regard, notably Samantha Barks as Eponine, who in her moments was very touching. The comedic elements, most certainly the Innkeeper and his wife, who in the musical were hilariously low humans, felt shortchanged and undercut here. No offense to Sacha Baron Cohen or Helena Bonham Carter, it was more in the presentation, which was more successful in the dramatic and romantic aspects.

I will ponder this film for a bit, mining my memories of it for my own creative purposes. But I won’t say that I was captivated by it. That would be lying.

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Jul 02 2012
Film Review

Film Review: Moonrise Kingdom

Wes Anderson has done it again with his latest film MOONRISE KINGDOM (2012), a lovely piece of work that I will likely see again in theatres.

Set in 1965 on an island off the New England coast, we follow young Khaki scout Sam (Jared Gilman) and hapless Suzy (Kara Hayward) as they flee from their troubled lives in search of idyllic peace. They find love, adventure and finally peace with their lives.

Yes, that’s the short of it. A lot happens, but I’d rather you saw the film for yourselves, it’s not laziness on my part I assure you. I feel it’s the best live action film Wes Anderson has done since Rushmore, certainly the most heartfelt and untouched by the growing preciousness of his latter films. And after his experience on Fantastic Mr. Fox (which was most excellent), I can see even more animation technique slip into his live action work, to terrific storybook effect. Once again he has summoned a terrific cast to fill out the adult parts (Bill Murray, Frances McDormand, Bruce Willis, Ed Norton, Tilda Swinton), and his sure-handed direction of his child actors has not let up at all. Cinematographer Robert Yeomen does wonders with the Super 16 film format, it works so perfectly for the visual palette of this film. Composer Alexander Desplat once again provides enchanting music, he’s one of the best modern composers around period.

Go see it! It has real magic to it, and we need more fantasies in our lives.

Viewed on July 1st, 2012 at the Montgomery Cinemas in Skillman NJ

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Jul 01 2012
Film Review

Film Review: Blast of Silence

BLAST OF SILENCE (1961) really took me by surprise from the opening shot. It’s a very bleak thriller that takes you on a first-hand journey with Frankie Bono, a hired killer from Cleveland who is brought to New York City around Christmas time to make a hit on a gangster. We see how he sets about finding a weapon, tracking down the target and picking the perfect spot for the final act. He’s not one for company, and tries to do as little with anyone as possible. Of those we do see him interact with, notable standouts include Larry Tucker as Big Ralph, a fat and seedy gun dealer looking to make an extra buck (he’s great) and Peter Clune as Troiano, the gangster target. Lionel Stander does a superior job of narrating the tale in a hard-bitten grizzled voice, it really makes this film sing and gets the viewer into the mindset of the film and its protagonist.

Allen Baron wrote and directed the film, and also stars as Mr. Bono. In the included documentary Mr. Baron admits he wasn’t his first choice to star (Peter Falk was offered the part and nearly took it), but given their extremely limited budget ($20,000!) it was more of an economic decision than anything else. He looks right in the part, but as an actor he’s rather wooden. I can go only so far in saying this is appropriate for the part of a contract killer, existensialism doesn’t excuse a dull performance! However, Mr. Baron more than makes up for this with his wonderfully visual storytelling, utilizing many real life locations throughout New York and Long Island to great effect. Long shots, wide vistas, stark black and white imagery all contribute mightily to the overall feel of resignation and doom.

On its original release this film was considered to be a masterpiece by some critics, and Mr. Baron was even compared to Orson Welles. Sadly this was not enough to propel him into a long feature career, though he did make a notable name for himself in television production for several decades. The film was re-released in 2008 by Criterion, which brought it back on the map. It’s certainly a worthwhile film to watch for its visuals and excellent storytelling. It’s rough around the edges, but that only gives it more authenticity and grit. Recommended!

Viewed on June 26th, 2012 on DVD (Criterion) in Somerville NJ

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Jul 01 2012
Film Review

Film Review: Brief Encounter

David Lean directed BRIEF ENCOUNTER in 1945, adapted from a play by Noel Coward. It details the short-lived yet life changing affair that housewife Laura Jesson (Celia Johnson) has with Dr. Alec Harvey (Trevor Howard) when they run into one another at a railway station refreshment room. Told in flashbacks and flashforwards, Laura narrates throughout, troubled by her guilt yet enthralled by the passion she feels for Alec.

By today’s standards this romance is rather tame, confined to dining out, going to the movies and having a few furtive kisses in the darkness. It is quite verbal and often witty in spots, which is understandable given its roots as a stageplay, but Mr. Lean opens it up and gives the story lots of air to breathe in, moving through time and space expertly and effectively. Both actors are low key and not prone to histrionics, and one can see that quiet desperation mounting as they realize that their love cannot be consumated, giving a melancholy longing to the proceedings. Compared to latter works like DR. ZHIVAGO and LAWRENCE OF ARABIA, this is a small story told on an intimate and humane level, and I appreciate that very much.

For filmgoers going back in time, Brief Encounter is a stop worth making. All aboard!

Viewed on June 26th, 2012 on DVD (Criterion) in Somerville NJ

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Jul 01 2012
Film Review

Film Review: Rampart

RAMPART (2011) is the second pairing of Woody Harrelson and director Oren Moverman, who first collaborated on the very fine film THE MESSENGER back in 2009.

Here, Mr. Harrelson plays tough cop David Brown who is based in the Rampart division of Los Angelos, a tough and especially volatile place back in 1999. Officer Brown prides himself in his police work, despite his unorthodox tendencies and the ability to raise hackles with his PR minded superiors. He is caught on camera assaulting a driver who accidentally runs into his squad car, and is put on suspension until the brouhaha is sorted out. Things are little better on the home front. Married and divorced twice, with a daughter from each marriage, he continues to assert his paternal position and thinks he is still vital to their existence even as all four women want him out of their lives. The few people who still let him into their lives grow tired of him and his self-destructive tendencies and his need to dominate all around him. He loses his grip on his job, his family, his health and sanity as the film progresses, and in the end his well manicured vernacular and easy charm do not save him.

I have seen Woody Harrelson in a lot of films by now, and the more I see the more I love him as a performer, actor, and gentleman. The part of Officer Brown is quite tough given his unsympathetic and often clueless nature, and Mr. Harrelson doesn’t let that stop him from digging deep into the psychology and character flaws. When Brown finally does crack, one can actually feel sorry for him even as we see how he sunk so low.

There is a great supporting cast, notably Cynthia Nixon and Anne Heche as his estranged wives, Sigourney Weaver as his tough minded boss, Ice Cube as an Internal Affairs agent who hounds Brown, Ben Foster as a homeless veteran, Ned Beatty as his older fatherly police confidant and Robin Wright as a bar-fling who is the mirror image of Brown’s own character. All were attracted to the project by the script and the Messenger film’s accomplishments.

Mr. Moverman allows everyone to inhabit their characters in an organic way, and moves the story along so fluidly and gracefully even given its dark nature. James Ellroy, the great noir author who wrote LA Confidential and White Jazz, co-wrote the script with Moverman and brings a hard edge and knowing to the scenes. Cinematographer Bobby Bukowski brings the digitally shot film to great life using the Alexa camera system (God I love that camera, so many good films are being shot on it now), and editor Jay Rabinowitz keeps things moving at just the right pace all throughout.

I really recommend this film, it’s outstanding. And I hope to see more collaborations between Moverman and Harrelson, they make a great team and are committed to telling complex adult stories, which we need many more of these days.

Watched on June 21st, 2012 on Bluray in Fort Wayne IN (thank you Blockbuster!)

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Jul 01 2012
Film Review

Film Review: Brave

BRAVE is the latest animation from Pixar, and sad to say I was not particularly excited by it. It didn’t help that the theatre I went to see it in decided to save some electricity and project it on the dim side, grr. But compared to most any Pixar film I have seen, and I’ve seen nearly all of them save for Monsters Inc. and the Cars films, it was rather flat and felt more like a mid-2000 Disney product contentwise. It did not help that the original director and story creator Brenda Chapman had been replaced partway through the production with not one but two other directors. Four writers are credited. It’s basically an overabundance of cooks in the kitchen scenario.

In brief, Princess Merida (Kelly MacDonald) is a willful tomboy sort who cannot stand to be ladylike. She gets into constant run-ins with her prim and proper mother Queen Elinor (Emma Thompson), who cannot understand that her daughter wishes to run her own life unfettered by rules, propriety and other such nonsense. Merida goes so far as to commission a forest witch (Julie Walters) to create a spell that will make Elinor get off her back. What she did not expect was that it would transform her into a large bear, and one doomed to remain as such unless their broken relationship is mended. But all is righted in the end, so there you have it.

The mother-daughter relationship was the only really novel aspect to the film, as it was inspired by Ms. Chapman’s real life experiences with her own daughter. Unfortunately, the film has a rather poor combination of feeling overloaded and underfulfilling all at once. Lots of madcap humor and frenetic slapstick take the place of any more nuanced story or character study, it’s so busy-busy-busy I felt like I was watching something from Blue Sky. There are additional plot add-ons that do nothing for the main story, and only bog down the pace. I will admit there are some nice effects, I like the will-of-the-wisps that inhabit the forest and overall the animation is fluid and pleasant when it slows down long enough to breathe.

Ugh. I was bored while watching it, and have little to say now that it’s been over a week since I saw it. I can’t recommend it.

Viewed on June 22nd, 2012 at the Carmike Theatre in Fort Wayne IN (where I saw PROMETHEUS the week prior, also with dim projection. Wake up, Carmike, or next time I’m out there I’ll go to the Rave instead! *harumphs*)

 

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Jul 01 2012
Film Review

Film Review: The Lathe of Heaven

I remember hearing about LATHE OF HEAVEN many years ago. It was broadcast on PBS back in 1980, and was actually the first production effort for WNET/Channel 13. It was alleged to be very tough to find until it was released on DVD several years ago, and I’ve finally gotten the chance to see it.

Based on a novel by noted science fiction author Ursula K. Le Guin, it focuses on George Orr (Bruce Davison), a man plagued by his dreams in a somewhat dystopian future. For when he dreams something it often turns out to come true, a very powerful and potentially dangerous gift. He goes to see a dream specialist named Dr. William Haber (Kevin Conway), who realizes how lucrative and limitless the possibilities are. In the guise of helping to “cure” George of his “problem”, Dr. Haber turns him into his slave, making him will up grandiose solutions to the world’s problems, only to find that these solutions cause even more crises. Dr. Haber isn’t a bad man, but he is certainly misguided! Attorney Heather LeLache (Margaret Avery) is drawn into this inner circle when she comes to observe the increasingly higher stakes therapies, and falls in love with (or at least grows sympathetic towards) George.

Despite the limited budget of this production, it looks quite good as photographed by Robbie Greenberg, with clever use of futuristic looking buildings in Dallas TX. The special effects range from trippy to silly, but as someone who’s grown weary of slick CGI I do appreciate the optical and in-camera effects shown here, especially during a climactic laser lit showdown between George and Haber.

And I must mention the aliens. Yes, at one point aliens, no doubt drawn to Earth after witnessing several radical and frightening dream-scapings, arrive on the scene. And as featured in the last shot of the film they were the best source of comedy by far! I’ll never forget seeing George and Heather going to get a hot dog from an alien vendor, it was so cute and ridiculous I couldn’t stop laughing with joy! Ah, science fiction. The possibilities!

Viewed on June 13th 2012 on DVD in Fort Wayne IN

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Jul 01 2012
Film Review

Film Review: Prometheus IMAX

So I went to see PROMETHEUS  again in IMAX 3D.  Well, a quasi-IMAX, but it was larger and brighter than the first theatre I saw it in, and the sound was quite loud and enveloping.

Some films need to be seen writ large and loud and bright, and Prometheus is certainly one of them. Ridley Scott packs the frame with all sorts of details, and the effects are quite brilliant and feel organic to the film vs. being tacked on. Lots of seamless integration, notably with the Engineers and the android David’s latter decapitated state towards the end. The CGI enhances the prosthetic effects in both cases. The landscapes and spacescapes are rather bleak yet awe inspiring in their scale.

On my first viewing I had issues with the script, thinking it was rather sophomoric and underdeveloped. On second viewing, and given humanity’s demotion to mere laboratory experiment, I feel that the characters and their often trite or even risible dialogue was more fitting. We deserve no better, and the lack of sentimentality is quite refreshing, the matter-of-factness of our origins barely noteworthy. The editing felt more crisp and precise given my reinterpretation, not seeming so arbitrary or oddly cadenced as I first experienced. I still cannot stand the geologist and the biologist, two clowns masquerading as scientists. They were begging for death! At least they meet rather nasty ends (tee hee) so I’m alright with that, and the geologist gets killed in a way reminiscent of the Thing, that scene was quite brutal and intense. When faced with sickness one must kill it and burn it as much as possible!

David the android as essayed by Michael Fassbender is still the best character hands down. His mix of perfect professionalism and oddly childlike wonder (and lack of trustworthiness) always keeps one guessing. I could have watched half an hour of his activities whilst the crew was still in cryosleep, who knows what other secrets and fantasies he had in his mind! I’m very pleased that he shall continue onto new adventures with Elizabeth Shaw (Noomi Rapace), the Christian faithed scientist who is driven by an interesting blend of scientific curiosity and religious belief. They make for complementary travelling companions, not fueled by greed, ambition or love. Yes, I am rooting for a sequel as the concept alone would seriously blow my mind.

I must say that after I saw this film, and several others that will be reviewed shortly, I was once again faced with my own questions about our existence. I’ve been in a very existensialist mood for some time, which can open gateways to creativity and understanding so long as it doesn’t grow mired in massive depression and desperation. Very few think about why we are here, how we got here, how anything existed beforehand. When I hear the saying, “God always was”, even before the creation of the universe (and perhaps many before this one), it sends me into a massive tizzy. It puts us all in perspective though, which is what brings me back to reality. I mean, what is there to complain about when you take the very broad picture. It means nothing. It means everything. My head is imploding upon itself now, time to take a cold shower!

Viewed on June 20th, 2012 at the Rave Cinemas in Fort Wayne IN

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