Scott Walker: 30 Century Man

SCOTT WALKER 30 CENTURY MAN investigates the career of one of the most enigmatic musical icons of the last hundred years. Noel Scott Engel started his musical career as part of an American 'Mop Top' band which broke big in England, yet pretty much was ignored elsewhere. At one point, The Walker Brothers English fan base was larger than that of The Beatles. As the band's popularity waned, Scott became a solo artist, and seemed to channel his approach to popular music through the Social Realism Movement popularized by the works of English film director, Ken Loach, playwright, John Osborne, and even, Tennessee Williams. His sound is truly distinctive and extraordinary, and manages to straddle the line between Pop and Avant Garde. Yet, his musical influence is far-ranging, and can be heard in the work of such diverse contemporary artists as Brian Eno, David Bowie, Radiohead, Morrissey, Julian Cope, and dozens more. Throughout the documentary, Walker is very open and forthright about his music, but almost nothing is mentioned about his personal life. Obviously, this was his intention, yet the film left me wondering what the last forty years has been like for this idiosyncratic figure.


OMAR & PETE

OMAR & PETE examines how America's penal system treats the problem of Addiction. If substance abuse is a disease, let's treat ALL diseases the same way that we do with drug and alcohol dependency. If you are diabetic, and you sneak an ill advised piece of candy...JAIL TIME. If you suffer from emphysema, and you take a puff from a cigarette...JAIL TIME, and on down the line. In this way, we can consistently become the dumbest society on the face of the earth. Why is it that we continue to view people who turn to alcohol and drugs as somehow 'sinful'. If anything, they are only guilty of making ill-advised and ineffective Life Choices. They are looking for ways to make themselves feel better, and this seems to be their only 'sin'. To lock them up does nothing to benefit them, or society at large. When Omar's probation officer tells him that he is a danger to himself because of his third relapse, isn't this the same as telling an overweight person that he is a danger to himself if he continues to over-eat. Should the over-weight person be sentenced to prison as well? OMAR & PETE was a great documentary which casts a critical gaze on a prison system which is primarily concerned with Punishment, and nothing else.


Rob Roy

Tim Roth and John Hurt team up once again, over a decade after their stellar performances in Stephen Frears 'Gangster Noir' film, THE HIT. Tim Roth is mesmerizing as a swishy swordsman with a yen for robbery and rape. The sword fighting scenes in ROB ROY rank with the very best ever captured on film. Although certain Japanese Samurai films might display more frenzied technique, Michael Caton-Jones(the director)seems to allow the sword play to help define his characters' roles. Roth demonstrates a brazen, yet strategic approach-cruelly and intuitively seeking his adversary's weaknesses, while Neeson's character exhibits the ability to stoically absorb the hits, and continue to slug it out. Although, Liam Neeson seems a bit stiff as the noble Scottish clan leader, John Hurt hits the bull's eye as a very wry, British upper class fop. And, Jessica Lange puts a big romantic bow on the entire project. All in all, ROB ROY is a love story about honor and courage without a trace of sappiness.


My Dinner with Jimi

MY DINNER WITH JIMI is a glimpse at Howard Kaylan's giddy and vertiginous ride to fame with his 60's Folk-Rock band, The Turtles. The Turtles were kind of a 'second tier' act during the sixties, but the film clearly demonstrates that they could eat, drink, and party with the Titans of Hippie Culture. And, not only that, they had the musical chops to back it up. Many of the stellar acts of the era are seen as they interact with the band at work and at play. This provides my only complaint about the film. Almost from the beginning of the movie, one sees that it is nearly impossible to find actors who can convincingly impersonate such recognizable stars. Too often during the film, I felt that I was watching an engaging exhibition of phony wigs and mustaches. But, if you are a fan of the music of The Turtles, or The Swinging 60's, in general-this might be the film for you. And, don't forget to view The Extras. There is a very funny (and informative) bit by band members, Mark Volman and Howard Kaylan, about their disastrous experiences with managers and agents.


Saigon: Year of the Cat

SAIGON:YEAR OF THE CAT is clearly one of Stephen Frear's lesser efforts, but everything this director tackles is worth a look. Danny Boyle is the only other English director who embraces such a wide variety of styles and themes for both television and movies. SAIGON:YEAR OF THE CAT reminds me of Frear's made for TV film, THE DEAL. In that film, he gave the viewer a behind the scenes peek at the often volatile political relationship between Gordon Brown and Tony Blair, two titans within the British Labour Party during the 1990's. SAIGON:YEAR OF THE CAT examines the 'Fall of Saigon' through the lens of a sexual affair between a mid-level bank executive, played by Judy Dench, and an American CIA officer, played by Frederic Forrest. We witness, not only the loss of the war, but the loss of the country due to America's haphazard and poorly implemented foreign policy. History has shown that, although America's Vietnam strategy experts 'hearts' might be in the right place, their 'heads' couldn't seem to provide a workable procedure. This dichotomy provides the ineluctable backdrop to the film. The movie is a very small production, yet all the actors give fairly convincing performances, but certainly no new ground is broken. The overall 'Look' of the film is dreadful. Most of the production is awash in orange and yellow, and clearly was not intentional. Sometimes the movie is almost painful to watch due to the hideous nature of the film quality. However, the relationship between the two principle characters, and the singular importance of this historical event, was more than enough to engage the viewer. Two And A Half Stars.


Youth Without Youth

YOUTH WITHOUT YOUTH is without question one of the most visually stunning films of the last several years. The movie is a gorgeous concoction of light, shadow, and color-each and every frame is a treat for the eyes. Yet, there is one huge stumbling block-The Plot. The film is inspired by the written works of Romanian philosopher/novelist, Mircea Eliade, who specialised in the history of religious thought. YOUTH WITHOUT YOUTH attempts to ascertain the absolute beginning of human consciousness and the birth of myth. However, Francis Ford Coppola(the director)employs a literary construct which wouldn't work in a Green Lantern or Spiderman comic book. Tim Roth portrays Dominic, a professor whose area of expertise is the origin of language. In the winter of 1938, at the age of seventy, he is struck by lightning, and, instead of dying, becomes a healthy man in his thirties. After the accident, he can understand books just by looking at their covers, comprehend ancient and forgotten languages, and is able to use his mind to force others to bend to his will. And, if that isn't enough, he develops an omniscient alter-ego. Already, it is almost too ridiculous, yet he meets a beautiful woman who has also been struck by lightning, and she demonstrates miraculous powers as well. Even though the plot borders on the fantastic, I still found YOUTH WITHOUT YOUTH a remarkable film. I guess you could say it is THE CURIOUS CASE OF BENJAMIN BUTTONS for Mensa types with an extreme sense of the absurd.


Raising Jeffrey Dahmer

RAISING JEFFREY DAHMER is a poorly executed film, well below the level of Student Film, yet it does manage to touch on some provocative issues. RAISING JEFFREY DAHMER is not really concerned with the heinous murders and kidnappings that Dahmer committed, but seeks to examine his relationship with his family. The film forces the viewer to consider a few extremely difficult positions. Can a parent continue to love a child who is a convicted sexual predator, murderer, and cannibal? Also, Dahmer's behavior could be viewed as someone who was deeply repulsed, yet morbidly attracted to men. Dahmer has admitted that the reason he killed and dismembered was to reassemble the parts, and then, create sexual slaves for his personal gratification. I wonder if this psychotic sexual identity might have been caused by something in his upbringing, and had his family encouraged and accepted his latent
homosexual nature, could the killings have been avoided? These questions are not really answered in the film, however they are certainly areas worthy of inquiry. Two And A Half Stars.


POPaganda: The Art & Crimes of Ron English

POPAGANDA: THE ART & CRIMES OF RON ENGLISH casts a critical eye on one of America's celebrated freedoms. Although Americans do enjoy the Right Of Free Speech, in order to reach a mass audience, one needs vast personal riches, or the assistance of a corporate sponsor. And, corporations seem to only disseminate points of view which are in line with policies indigenous to the business sector. So, if what you want to say is 'Pro-Status Quo', and you are super rich, or corporately connected, you are free to say what you will. However, for most of us, this will never be the case. The film also calls into question the concept that a corporation is automatically entitled to the rights and privileges accorded to an individual American citizen, yet these corporate rights come with hardly any responsibilities whatsoever. Huge corporations can threaten the health and well-being of large segments of the population, and continue to generate profits seemingly without restraint. What makes POPAGANDA: THE ART & CRIMES OF RON ENGLISH such an enjoyable film, is that you are treated to a look at the verve and style of Ron English's beautiful artwork. Even if he were not so concerned about such important issues, his artistry would almost certainly be assured of a wide audience. Yet, the man insists on forcing viewers of his public art to consider issues of great political and social significance regardless of the questionable legal status of his intent. At the end of the film, you are left with the feeling that you have met a man who creates brave and beautiful works of Pop Art which also convey political and socially relevant insight and opinion of momentous importance.


Lying

LYING is a fey and contemplative film which attempts to examine the various levels and applications of deception. Megan, played by Chloe Sevigny, is a young woman who is obsessed with control. She honestly believes that if she is allowed to dominate and dictate events, everyone will benefit from her machinations. Her behavior is certainly neurotic, but her intent is not malevolent. The story is set on a beautiful country estate in upstate New York, and on an Indian Summer weekend,
Megan invites three friends to relax and work on a short film project. The entire weekend is predicated on several falsehoods which the girls must accept in order for the prevarication to become real. Megan's actual mission is to see if she can induce her guests to enter a hypothetical world of her construction. The film is paced very slowly, almost hypnotically, and information is divulged sparingly which tends to heighten the effect of never knowing exactly what to believe. This film is not for everyone, but gradually and by degrees, LYING does enable the viewer to contemplate the art of manipulation. If you liked the classic Australian art film, PICNIC AT HANGING ROCK, you will probably appreciate what M. Blash, the writer/director, has attempted in LYING. Three And A Half Stars.


Witch Hunt

America can only remain a free nation if the judicial process is fair, untainted, and subject to review. It seems that during the early 1980's, the residents of Bakersfield, CA sacrificed their judicial rights for the illusion of Law And Order. WITCH HUNT is a riveting documentary about a group of citizens who became the target of a joint task force of Law Enforcement and Social Services that illegally and immorally usurped their power. The State's position was that this police and social service unit provided an opportunity for sexually abused children to be heard, and allow the law to apprehend and punish their abusers. However, as the the film clearly demonstrates, Child And Family Services, with the aid of an overzealous police force, were able to orchestrate children's testimony, and allowed the local government to create a non-existing threat to the community. Bakersfield became a city under siege by pedophiles-perverted by "Sexual Weapons Of Mass Destruction". This 'Response To Evil' allowed city officials to parade before the media and appear to be 'Tough On Crime', when really they did nothing but railroad innocent citizens by using Child And Family Services to badger innocent children until they gave them the 'sexual horror' that they craved. In no way should this film be viewed as a fair and balanced treatment of child molesters, however, this documentary shows us that Law Enforcement and Social Service Agencies can foster a climate of hysteria which might allow citizens to give up an unbiased legal system for the illusion of Safety. What is truly alarming is that, given these conditions, this gross travesty of justice could happen to any of us.


Louder Than Bombs

LOUDER THAN BOMBS is a fresh look at how a young couple struggles to jump-start their future. The father of the boy dies, and nearly on the same day, he finds out that his girlfriend will soon leave rural Poland to study in Chicago. She feels that this might be her only chance for a better life, and he is convinced that once she sees a brighter alternative, she will never return. Since he has just inherited the family garage business, he feels a new sense of possibility, and a way to rewrite his destiny. He doesnt want to end up like his parents or like his friends and neighbors, and just maybe, his pop idols, James Dean and Morrissey, can provide the necessary inspiration. The film strikes the right balance between pathos, and outright farce, and each actor brings a natural and nuanced performance to this ensemble piece. The film won a Vision Award for Cinematography at the 2002 Slamdance Film Festival, and certainly captures the drab and dreary essence of the Polish heartland. LOUDER THAN BOMBS is a small film with a light touch, but well worth a look. It's most unfortunate that music by 'The Smiths' is not in the film.


Hounddog

HOUNDDOG is a film which ingenuously attempts to be 'heartfelt' and 'honest', but ends up foundering in cliché. The film is a Female Coming Of Age story set in the rural poverty of 1950's era American South. Dakota Fanning plays Lewellen, a scrappy preteen who grapples with her nascent sexual identity by mimicking the pop-swagger of Elvis Presley. She lives in a rundown shack which she shares with an ineffectual and alcoholic father. And, just down the holler lives her bible-thumping grandmother. Neither of these characters provide any realistic parental guidance or authority. The plot unfolds through a series of events which are not so much 'foreshadowed' as 'telegraphed'. In spite of her hardscrabble existence, Lewellen remains upbeat and optimistic, until she is raped by a local teenager. Then, she becomes withdrawn and comatose, discovers the healing nature of The Blues, and is saved by Stranger Lady. Along the way she encounters many snakes, idyllic swimming holes and halcyon copses, a wise and caring Black handyman, a puppy, and more and more snakes. The character of Stranger Lady (who is Lewellen's aunt) is played by Robin Wright Penn, and is one of the relative high points in the film. Dakota Fanning's performance comes off as a bit empty, however one can see that she is destined for far better roles than this one. In the end, HOUNDDOG is revealed as sepia tinged hokum which does nothing to advance the Southern Gothic Genre, or provide any new insight into the sexual awakening of adolescence. Two And A Half Stars.


Just Another Love Story

This film could have been based on a novel written by Harlan Coben or
Donald Westlake. In fact, Ole Bournedal (writer/director) has recently
been tapped to direct Dean Koontz's novel, "The Husband". JUST ANOTHER
LOVER STORY contains all the elements of classic noir fiction, and incorporates a fresh and modern cinematographic style. The film centers on a man who jettisons his humdrum existence for the love of a mysterious woman. Add amnesia, a murder-suicide, stolen diamonds, The Asian Mafia, and set the action in beautiful Denmark, and you have the essence of JUST ANOTHER LOVE STORY. This is not a great film, but it accomplishes every challenge, and is a very positive addition to Danish cinema, and the Film Noir Genre in general.


Vernon, Florida

The overwhelming majority of comedians could analyze and sharpen their technique for decades and not come anywhere close to the unintentional hilarity of these 'regular folks'. At only fifty-five minutes, VERNON,FORIDA is a side-splitting tour de force. Each and every 'interview' contains a nugget of cracked wisdom and haphazard idiocy that made me want to grab a pen and paper. There are so many favorites, that I am at a loss to declare the funniest moment in the film. However, the fishing incident involving the dead mule, the "expanding sand", and the prolix philosophy of The Turkey Hunt are all comedic gems. Rarely does a film which is merely a random collection of 'talking heads' leave you wishing for more.


Too Much Sleep

TOO MUCH SLEEP borrows a story idea from Kurosawa's, STRAY DOG, and a cinematic approach common to all of the films of Hal Hartley. David Maquiling's slacker opus is chiefly a repertory vehicle which highlights a variety of oddball soliloquies and character set-pieces which add little to advance the storyline, but do create a very watchable film. Jack Crawford, played with sleepy earnestness by Marc Palmieri, has his gun lifted on a crosstown bus trip after a long night working as a security guard. He knows that he can't go to the police because he shouldn't have had a gun in the first place, but he thinks that the father of one of his friends might be able to help. Eddie DeLuca, played by Pasquale Gaeta, is a local delicatessen owner and self-styled community leader. Imagine a more affable and less acerbic Joe Pesci, and you will have Gaeta's take on his character. The film meanders and shuffles along, and peaks at an absurd confrontation with a man who might have been the fence for the pistol. And, in the final scene, Eddie offers Jack more insight on the ways of the world, before Jack goes off to interview for a new job. I guess he lost the security guard gig, but it really doesn't matter. TOO MUCH SLEEP is not intended to communicate an elaborate plot or a riveting story, but it does manage to showcase a collection of peculiar characters who inhabit a very mild and suburban section of contemporary New Jersey.


Under the Bombs

In our modern and enlightened age there is no such thing as a 'Non-Combatant'. Whether we like it or not, each of us is on one side or the other. UNDER THE BOMBS tells the story of a young mother who is trying to find her sister and son during the ceasefire of the 2006 Israeli/Lebanon Conflict. She is a wealthy outsider from Dubai who enlists the aid of a sympathetic local cabbie who helps her track down
her missing family. The film focuses on their budding friendship against the backdrop of actual war zone footage. Many of the scenes are unscripted, and are shot as the real events unfold, and make for compelling cinema. The film drives home the message that wars are putatively fought and lost for valid reasons, but there are never any winners-only losers. A very thought provoking look at the true cost of a nation's foreign policies.


Graveyard of Honor

Don't be misled. GRAVEYARD OF HONOR is not your typical Japanese Yakuza film. This genre most often depicts a battle between Good and Evil, or at the very least, the awareness of this struggle. Kinji Fukasaku, director of GRAVEYARD OF HONOR, has created a portrait of a character who is not cognizant of a single redeemable quality. Tetsuya Watari plays Rikio Ishikawa who was a real figure within the Japanese underworld in the years immediately following WWII. This man was clearly psychotic and was not to be restrained or regulated either by the police or leaders within his Yakuza brotherhood. Fresh out of jail, and then banished for attacking his own clan leader, he is sent to Osaka where he acquires a heroin habit. And, all along this downward slide, it is nearly impossible to generate any sympathy whatsoever for this reprehensible character. Fukasaku seems to suggest that US occupying forces were in some ways complicit in the corruption of post WWII Japan. As the US attempted to bolster Japanese self rule, it allowed the Yakuza's fortunes to prosper in phony democratic elections. However, in no way does this allow the viewer to empathize with the sadistically violent outbursts of Rikio Ishikawa. Kinji Fukasaku has crafted a film in which we watch as a malevolent anti-hero voraciously embraces the forces of darkness without a backwards glance.


Dark Matter

No one can know what is in the mind of another-especially in the case of a mass murderer. Shi-Zheng Chen, director of DARK MATTER, has created a fresh vision of America from the point of view of a recent arrival. Liu Ying, masterfully played by Ye Liu, is a Chinese graduate student who has come to the US to study Cosmology at a prestigious American university. Ying's life seems to be filled with unlimited possibility, and the answers to all of his dreams and wishes seem just around the corner. DARK MATTER's forte is the portrayal of the energized spirit in this young graduate student. The film is shot in Big Sky country of Utah, and this location perfectly mirrors this limitless potential. Ying's area of study is the examination of dark and uncharted areas of the cosmos which seem to exert dramatic effects on the nature of life. These 'dark areas' are mirrored in the clandestine machinations of the politics of graduate school. It seems that the unfettered life of the mind only works if new ideas are able to fit within intellectual processes which have been well established over time. And this becomes the dilemma of the film. How can the free and uninhibited flow of ideas intersect with the rigidity of higher education? The sudden and shocking climax to the movie is a resolution to this issue, although certainly not fair or just. DARK MATTER shows how unspeakable violence can be the inescapable consequence of murdered hope.


Intoxicating

Bookended by two "B List" stars from the 80's, John Savage and Eric Roberts, the plot predictably lurches through the expected scrutiny of lines, pills and booze. This whole subject has been covered and recovered numerous times before-sometimes better, and sometimes worse. However, this film seems to forget one essential element of the genre. Where was the clamor to 'Get Treatment!'? In this film, good honest work is presented as a solution to the problem of addiction without even the suggestion of therapy. The entire medical profession seems to believe that it is entirely beyond the realm of possibility that an individual can overcome an addiction without help. Is this film suggesting a new avenue, or is it just
sloppy film-making? I think the latter.


Marie Antoinette

'Energetic', 'Bright', and 'Lively' are adjectives which best describe Sofia Coppola's film, MARIE ANTOIENETTE. Many historical films are pedantic in that they seem to labor in an attempt to accentuate the difference between a certain historical period and how it contrasts the present. This film is very impressionistic in that Marie's perspective is almost that of a modern teenage girl. She is portrayed as a kind hearted soul who is thrust into an arranged marriage designed only to strengthen relations between two super-powers. Her personal feelings are not even addressed, and much to her dismay, the marriage is not consummated for over seven years. Her attempts to adapt are rebuffed, so she employs the flamboyant and eccentric court life of Versailles as a distraction. The political drama and iintrigue of the French monarchy is infused with the whimsy of youth as Marie tries to find her place. The screen is drenched in pastels and scenes sprout inexplicably like an MTV video while the soundtrack blasts the songs of 1980's New Romantics. This music, although wildly out of historical context, embraces the spirit of a young girl who is trying to have the best possible time in troubling circumstances. Whether or not this is an historical accurate picture of the real Marie Antoinette (which is really beside the point), Sofia Coppola's characterization beautifully encapsulates the lightheartedness of a young female in a daunting situation.


The Staircase

THE STAIRCASE is protracted and meticulous, yet a fascinating study of how a 'Dream Team' legal defense is organized and executed. In December of 2001 acclaimed author, Michael Peterson, was accused in the death of his wife, Kathleen. It was his contention that Kathleen slipped and fell on a staircase in their home after an evening of wine and relaxation, while the prosecution maintained that Mr. Peterson had bludgeoned his wife, and positioned the body to appear as an accident. Jean-Xavier de Lestrade, the writer/director, has culled this account from more than six-hundred hours of taped documentation. Every aspect of the case is dissected and examined in great detail, and the viewer watches as each piece is crafted into the best possible case for the defense. The film demonstrates how expert witnesses are selected and coached so that the presentation to the jury becomes a calculated performance. The facts of a case are seen as nothing more than elements in a construction to portray the defendant in the most positive light. Truth is of secondary importance, and it is clear that in the American justice system, only the wealthy can receive anything approaching fairness. If you are a fan of The Courtroom Procedural, THE STAIRCASE is well worth your attention. Superb soundtrack by Jocelyn Pook.


Chuck & Buck

For me, it is beyond comprehension that people find this film humorous, however, CHUCK&BUCK does make a peculiar and striking impression. Mike White, the writer/star, is to be applauded for confronting such an unusual subject. I guess you could say that the film observes a more or less innocuous childhood friendship which has curdled under the pressure of time and testosterone. White's facial mannerisms are an unquestionable mimicry of male preadolescence, and extremely disconcerting on the face of an almost thirty year old male. Just his physical presence alone is enough to make one cringe. The wardrobe department did an outstanding job locating clothing to create the look of a man who, for all intents and purposes, is eleven years old. Much of the set and production design has been contrived to reinforce the idea of Buck's pathological arrested development. As the film continues, and it seems that there can be no possible resolution, a foreshadowing of violence or menace is introduced. This is largely a red herring since, in a way, Buck finds a possible chance for fulfillment with a character who is also at a challenged state of development. However, in no way can this be seen as a 'Happy' state of affairs since one comes away from the film with an overall sense of creepiness and unease. CHUCK&BUCK demonstrates that childhood is a singular human experience and can only happen once. The movie is a penetrating look at the misinterpretation of normal psycho- sexual development, and is truly a distinctive cinematic experience.


Quitting

Films concerning the problems addiction are as cliched as cowboy movies or the American propaganda films put out during WWII. But, Zuotian is a standout with a fresh perspective. The primary focus is not about the lead character's addiction, but how his family comes to terms with it. In China, the family is valued above all else, and the father and mother go to unbelievable lengths to help their son. Not that they give him everything he asks for, and they certainly give him more than one would expect, but they do give him everything that they think he needs. I thought that the father's floundering attempts to understand his son though the boy's music was very touching. It's unfortunate that this film did not come with a commentary, because a film concerning issues this painful and personal must have created some strange situations with the characters playing themselves.


H.H. Holmes: America's First Serial Killer

If you are a fan of True Crime, H.H.HOLMES:America's First Serial Killer, is a short, but informative biography of one of America's lesser known, yet spectacular, mass murderers. The fact that Dr. Holmes was able to construct a 'Murder Mansion' in the center of Chicago, and then freely troll the 1893 Worlds Columbian Expositon for victims is nothing short of astonishing. This structure, which took up an entire city block, and included living quarters, shops, and rooms for rent, was honeycombed with numerous torture chambers, execution rooms, and secret passages. Many graves and burial sites were linked to H.H. Holmes, yet rarely was there enough evidence to positively connect him to the bodies. In the late 19th century The Bertillon Method was employed to identify victims. This was a system which used physical comparisons of body parts, and for the most part, was based on conjecture and guess work. The Bertillon Method was the cornerstone of forensic science at the time, and fingerprint technology was still several years in the future. This huge deficit in investigative procedure allowed Holmes to get away with many of his crimes, and it makes one wonder how many of his sinister and horrific killings remain undetected to this day. Everyone is familiar with Jack The Ripper, however H.H. Holmes is, by far, a more terrifying and baleful figure. The film employs a fairly effective use of 'voice over, and archival photos to examine this most gruesome individual. This entire documentary can be streamed at You Tube.


Shuttle

On the whole, SHUTTLE is a perverse and mean-spirited motion picture, yet the powerful final moments of the film are truly sensational but diabolical none the less. The movie begins with two weary young women who have just ended their Mexican vacation, and need a ride back to town. They board the airport shuttle bus, and are taken hostage along with the other passengers. How will this divergent group free themselves from their psychotic abductor? The plot is straight-forward to the point of banality, yet here is where the story begins to lose plausibility. The fiendish driver takes them on a late night journey that seems endless and lasts most of the night. It really stretches credulity that no one would notice this out-of-control bus, and it would seem that they would have encountered more traffic if the airport had been located in the wilderness of Alaska. Their malevolent driver is menacing to the extreme, and a maximum of physical and psychological torture is dispatched. It is only in the final few minutes that the true motive for the kidnapping is revealed, and this electrifying final impression of abject loss makes the suspension of believe just about worth it.


Tokyo Zombie

TOKYO ZOMBIE is an oddball 'Buddy Flic' within 'The Genre Of The Undead". Director, Sakichi Sato, who is probably best known for playing Charlie Brown in Quentin Tarantino's 2003 film KILL BILL:VOL. I, has crafted a horror film of equal parts buffoonery and blood. Whatever ironic elements that were inherent to classic Horror are ramped up and played as belly laughs. SHAWN OF THE DEAD is certainly a prime example of this trend. Tadanobu Asano is a highly regarded Japanese model and film star, and plays Fujio,the fright-wig wearing half of the dimwitted duo. Asano is better known for his more serious roles, yet is able to deliver the laughs as required. However, both lead roles remain sketchy, and the film strives for more character development in the second half of the movie, but doesn't go far enough. TOKYO ZOMBIE will probably best be appreciated by aficionados of contemporary Japanese art films, while the majority of viewers will be left in the dark.


Exiled

If you like your gun play elegantly crafted and choreographed-EXILED is the film for you. This Asian action pix could have worked just as easily as a western for Sergio Leone had it been set in the American old West. And, Hong Kong cult director, John Woo has covered this same ground in many of his films. EXILED is set on the territory of Macao just before the Communist takeover in late 1999. Two groups of hit-men meet up again for a few bloodthirsty and challenging capers, yet we more than suspect that no one will get out alive. Johnny To, the director, has consciously placed the action in the forefront at the expense of the storyline. However, in these types of action/adventure yarns it is not the tale, but the execution which is of prime concern. The narrative is leisurely paced, rather than suspenseful, yet the 'pink mist' of the stylishly orchestrated gunfights more than make up for it. In the case of EXILED, 'Style' trumps 'Substance', and it seems to work.


The Fall

THE FALL is a 'magical mystery tour' of a picture that is a joy to behold. Shot on 26 locations over 18 countries, it is as if Tarsem Singh, the director, channeled the spirits of Salvador Dali and Federico Fellini to bring forth a visual hallucination of the best children's bedtime story ever conceived. The story begins in a Los Angeles hospital in the 1920's where an injured and suicidal stuntman relates a fantastical epic story to a very young patient. Reality shifts and blurs as his vivid imagination soars, and the tale weaves throughout time and history. Catinca Untaru is a young Romanian actress who plays Alexandria with a delightful attractiveness and charm not usually seen on film. The look and tone of the film owes a lot to MTV, but the scope and depth of the execution is truly awe inspiring.


RocknRolla

ROCKNROLLA is the most enjoyable and entertaining of all of Guy Ritchie's films. I have usually found his films to be almost impenetrable due to extreme British accents and slang. Because of a lack of understanding, they tend to come off as elaborate and intricate capers for 'Insiders Only'. However, in this film the lines are well articulated, and the narrative doesn't soar beyond comprehension as seems to be the case in some of his projects. ROCKNROLLA is a true collaborative ensemble effort, and the cast seems to revel in the crackling dialog of this droll, black-hearted gangster film. Tom Wilkerson was especially convincing as the harried kingpin, Lennie Cole.


Adaptation

Nicholas Cage seems to involve himself in almost as many bad films as good ones. However, ADAPTATION, is much more than good- it is brilliant! Charlie Kaufman (SYNECHDOCE,NEW YORK/ETERNAL SUNSHINE OF THE SPOTLESS MIND) wrote the movie, and he elicits a unique almost playful autobiographical tone. The narrative concerns a screen writer who struggles to adapt a book about flowers into a feature length Hollywood feature. And, the film becomes a movie about the making of this movie. ADAPTATION features twin brothers (surrealistically portrayed by Cage), a man with no front teeth, and Meryl Streep. Dazzling in scope and reach. This film is hilarious, insightful, and thought provoking simultaneously. ADAPTATION creates a magical realism of the highest order, and is A Must See.


Tell No One

TELL NO ONE is a sensational thriller directed by Guillaume Canet, a European film star who adapted this film from a novel by Master Of Suspense, Harlan Coben. TELL NO ONE is decidedly not Film Noir, but channels classic 1960's Hitchcock. Plot twists multiply, but events propel inexorably toward a reasonable, yet electrifying conclusion. A pediatrician and his wife are attacked at a secluded
lake, and his wife is brutally murdered-or so it appears. Dr. Alexandre Beck is suspected of the killing, but a tainted crime scene implicates
the work of a serial killer. Now, it is eight years later, and the doctor has received an email video of his wife who seems very much alive. Beck will stop at nothing to uncover the truth. The cinematography is vibrant, and jam-packed with inventive camera angles and tracking shots. The movie won the Lumiere (French Golden Globe) for best picture and was nominated for nine Cesars (French Oscar) and won four, including best actor, best director and best music. A definite Must See.


Moving Midway

MOVING MIDWAY is the saga of 'Midway Plantation', ancestral home to the family of Godfrey Cheshire, the director of the film. In the winter of 2003 Cheshire learned that his cousin, Charlie, caretaker and owner of the mansion and huge estate is going to move the antebellum home to a new location a few miles away due to intense commercial development in the area. During the preparation for the move, the director is contacted by a black man, Robert Hinton, Associate Director of African-American studies at New York University who turns out to be a blood relative, and this development allows Cheshire to show how the specter of slavery impacted the family legacy. The film examines how family members of both races exchange details of their heritage, and come to terms with the relocation. Cheshire makes the case that much of what is considered 'historical fact' is based on biased opinion and myths which have been deeply influenced by popular culture, and especially Hollywood. The issue of Race is handled with great tact and gentility, however the fundamental component of Class is largely ignored. Although by the close of the film, we are introduced to many of the Black relatives, it is the White family members who have retained ownership of the land, and this is the source of the the family's substantial wealth. I wonder how the tone and content of the film would have changed if somebody had whispered the word, "REPARATION".


Wilbur Wants to Kill Himself

WILBUR WANTS TO KILL HIMSELF is an honest and unflinching look at death and suicide, yet it manages to evoke overwhelming feelings of compassion and tenderness. Lone Scherfig, the director, has crafted a moving characterization of how individuals respond to the loss of love. Wilbur, played by Jamie Sives, is despondent over the the death of his parents, and has attempted suicide numerous times. He and his older brother manage the family business, a ramshackle used bookstore. And, when his brother becomes romantically involved with a woman, it seems Wilbur has inadvertently stumbled upon a reason to live. At first, it seems that he is animated by his brother's good fortune, but soon he finds himself romantically drawn to, Alice, his brother's lover and wife-to-be. Shirley Henderson is resplendent as Alice. She authentically expresses the irresistible yet forbidden attraction to Wilbur, while simultaneously displaying deep affection for Harbour, Wilbur's brother. As the narrative becomes even more tangled, yet never contrived, we are drawn to the true heart of the film-Lone Scherfig's deft and loving examination of the characters' interactions. And throughout all of the melancholy, the film always manages a light and playful tone. Do not let the downbeat subject of this film put you off, WILBUR WANTS TO KILL HIMSELF is truly a heartwarming experience.


Time Code

TIMECODE is a groundbreaking film by director, Mike Figgis. The movie consists of four interrelated stories which are viewed simultaneously on four different quadrants of the screen. What is surprising is that it is much easier to absorb and understand than you might think. The focal point of this wry, black comedy centers on the offices of a film studio on Sunset Boulevard. A film is being cast, an executive meeting is underway, a limo is waiting just outside, and a montage of street activity is observed. Watching the film is similar to viewing a live performance of a string quartet. As with a musical performance, your attention shifts from one player to another without ever losing the feel or direction of the piece. The actors improvised characters and story lines, evolving and building as they went along, and Figgis's role was more of a conductor than a film director. Each of the four stories was shot in a single take beginning at 11am each day, and lasting for ninety minutes. All four stories contain interesting performances from a stellar cast, and the soundtrack was especially inventive and supportive. TIMECODE is not a great film, but it succeeds in that it demonstrates the viability of an off-beat and creative presentation.


Maelstrom

MAELSTROM labored far too hard be unconventional, yet Denis Villeneuve(director) did demonstrate the possibility for a very interesting film. Guilt due to an abortion which is exacerbated by a hit and run incident communicates a compelling narrative, but why introduce...a talking fish??? Sure, one could make a case for a 'talking fish', but how about a 'laughing typewriter', or an 'all knowing piece of cheese'. You just can't introduce something so outre without explanation, or you cross the line into extreme pretension. Of course, the 'talking fish' might represent Fertility, yet 'a laughing typewriter' could also indicate a playful creator, or 'an all knowing piece of cheese' could represent all of the above. If you want to get weird, the weird can turn pro. MAELSTROM had a fine cast, but the script failed to blend the ham-fisted element of 'the fishy fable' with the story's inherent dramatic subject matter, and in the end, the film aborted.


Into the Arms of Strangers: Stories of the Kindertransport

INTO THE ARMS OF STRANGERS is the standard PBS approach to documentary film-making. A series of 'talking head' interviews propels the narrative with lots of archival footage. This is a stimulating topic, yet only a mediocre film documentary. Fascinating subject-lackluster execution.


Let the Right One In

LET THE RIGHT ONE IN is a beguiling horror film which cannot be easily categorized. Although the movie has some of the savage and bloody elements of the Gothic genre, for the most part, it is a smart and endearing love story between two twelve year old kids. And, one of them happens to be a vampire. The young boy, played by KÃ¥re Hedebrant, is bullied by his classmates, and he ineffectually tries to stand up for himself. New neighbors move into his apartment building, and he meets, Eli, played by Lina Leandersson. She befriends Oskar, and offers advice for his intimidationn problem at school. She is decidedly cryptic, and oddly claims to be, "Twelve years old, more or less". As the tale unfolds, Oskar guesses that the reason for Eli's unusual manner might lie outside the natural world. LET THE RIGHT ONE IN is a modest film, but succeeds admirably.


River of Grass

RIVER OF GRASS is a quintessential example of Slacker film making. The script is sharp and well written with a most effective use of 'voice over'. The narrative is portrayed by a rag-bag cast of characters who could have have fit right in on any 1980's Jim Jarmusch film. Kelly Reichardt, the writer/director, has a sure feel for existential dialog and plot. The story involves a handgun which is lost by a detective, and inadvertently winds up in the possession of his aimless '30 something' daughter, Cozy. She and a barroom pickup participate in an absurd and incongruous shooting, and, in a panic, decide to hit the highway. Devoid of direction or purpose, the protagonists stumble and fumble in a car chase movie where they can't seem to get out of PARK. When they finally make it to the interstate, they are turned around by a trooper because they lack a quarter to pay the toll. Instead of a sensational interaction with the cops, they are more or less ignored. The film was shot on seemingly Third World locations near the Florida Everglades, and even the colors seem washed out and weary which adds to the cheerless experience of the movie. RIVER OF GRASS is an incisive bit of Independent film-making which might be described as 'THELMA AND LOUISE for abject losers'. This is truly a gem in the rough.


Wolf Creek

WOLF CREEK employs lavish cinematography to create a most alarming and wondrous horror film. At the beginning of the movie we are informed that it is based on true events, and anyone who takes the time to read about the Ivan Milat serial murders would have to agree that this film could be about those killings. As the camera lingers and caresses the beautiful desert landscape, the first third of the film is almost a travelogue for Australian tourism. Gorgeous shots of sky and sand leave you unmindful of the abject horror that lies ahead. I think that it is bold and almost refreshing to see extreme violence portrayed as genuinely random and senseless. Many directors present audiences with the false impression that at some deeper level a psychotic killer must comprehend the depths of his moral corruption. But, in this film, the Evil Doer hasn't the slightest thought or regret of any wrong doing. He is completely devoid of any form of moral compass-it isn't even acknowledged. I realize that this is abhorrent, but it is probably a truer reflection of sociopathic behavior, so why not portray it in film? Rob Zombie has made two excellent fictional films about extreme violence, but this film examines a factual event handled in a fictional manner. This film is an outstanding addition to the horror genre, and I will be looking for more films by Greg McLean.


Lake City

Lucinda Williams croaks forlornly about a world without tears while sunlight radiantly burnishes the Autumnal hills. Enter Sissy Spacek who portrays a Hallmark matriarch- stoic and strong. Add a son with booze problems, a bratty kid, Dave Mathews (of The Dave Mathews Band) as a menacing drug dealer, and combine it all with an ominous family history. In an attempt to inject a degree of suspense into the narrative, a character in this film asks, "What's in that room?", and the answer is, "We don't go in there". Thus, viewers are guaranteed that a dark and mysterious family secret is about to be dredged up. Seriously, if you want to see how family secrets can be dealt with intelligently, check out, I HAVE LOVED YOU FOR SO LONG. In that film, they do it right. Even if you are a fan of melodrama, LAKE CITY strains too hard for just a few meager emotional revelations.


4 Months, 3 Weeks and 2 Days

FOUR MONTHS, THREE WEEKS, TWO DAYS vividly depicts the nightmare of an illegal abortion in late 80s Communist Romania. Each step, from procuring the hotel room, to the final plea, that 'we never speak of this again', is grimly recounted with an exacting precision. Cristian Mungius's film is a breathtaking drama which blends nearly supernatural horror with bleak social realism. Anamaria Marinca, who plays Otilia, delivers a brilliant and uncompromising performance as the roommate of the pregnant girl. Suppressing both rage and revulsion, we observe as she handles the arrangements, and deals with the sanctimonious and pompous characters who facilitate this surreal and horrendous event. This is probably one of the more oppressively appalling movies of recent decades, yet is truly a magnificent achievement.


First Snow

FIRST SNOW involves a trade off. The action is slow, but there is a fairly compelling narrative. The story involves a brash young salesman who engages the services of a truck stop fortune teller, and finds that his life is nearly over. He's safe only until the first snow. Jimmy, played by Guy Pearce, must plan a course of action to determine the veracity of the prediction, and then act on his finding. FIRST SNOW creates a visual mood, and takes its' own sweet time to unfold. The film is a psychological thriller with the feel of a noirish foreign film. The two writers on this project collaborated on the far superior film, CHILDREN OF MEN, but FIRST SNOW makes a clever attempt to resolve the following conundrum; "Our fate lies on whatever road we decide to take, yet nothing makes the gods laugh harder than when Man attempts to control his destiny". Guy Pearce's MEMENTO is a more skilled examination of the effect of predetermined events, but FIRST SNOW is worth a look.


Happy-Go-Lucky

HAPPY GO LUCKY is the story of a North London elementary school teacher who has her bike stolen, and decides that it is time to take driving lessons. The wildly divergent personalities of Poppy and her driving instructor,Scott, propels the narrative of this wonderful movie. Sally Hawkins portrayal of Poppy is magnificent. At first, it doesn't appear that her character lives in the real world, but after a while we see that beneath the eccentric persona, she is actually a focused young woman. She has an unflappable sense of humor, and it doesn't bother her in the least when it occasionally falls on deaf ears. Poppy is incredibly curious about people, and uses laughter and amusement to highlight the very uniqueness of life. While Poppy possesses the attributes of openness, compassion, and joy, Mark (played with penetrating insight by Eddie Marsan), is the antithesis of her character. He is angry, confused, and irritated. In nearly every scene he displays no sense of humor, and is nearly paralytic with rage, yet because of his intensity, sometimes his performance is hysterically funny. This tangled interplay between two very complex characters is what makes this film so pleasurable. Poppy's zany cheerfulness provides a delightful foil to the grim and unyielding driving instructor. Mike Leigh, the director, has written many challenging and compelling films, and this just might be his best yet.


The Art of Travel

THE ART OF TRAVEL is a fresh Independent film which grabs our attention with a show-stopping opening gambit. A young groom reveals his bride's infidelity as they exchange their wedding vows, presents photographic evidence to the assembled guests, and then takes off on the honeymoon-alone! Arriving at LAX, he takes the next flight out, and winds up in Managua, Nicaragua. Within one long and confusing day, he has partied with some 'hotties', been robbed of his cash, and is forced to place an urgent telephone call to Mom and Dad. In a more ordinary film, the call home would elicit the usual responses: "Here's the money for the next flight out", or "Don't bother us again". However, in this film his Dad counsels him to hang on, have another beer, and see what develops. And, what follows is the chronicle of his laid-back, yet enlightening gambol through the jungles and villages of Central and South America. This is not a great film, but it certainly captures the the quest for risk and adventure in a life where the ultimate belief in middle class values has yet to kick in.


Electric Shadows

ELECTRIC SHADOWS is the delightfully charming debut from the Chinese director, Xiao Jiang. Her film asserts that there is a wondrous and remarkable connection between the mystery of dreaming and film appreciation. In Chinese, 'electric shadows' is the literal translation for the word 'cinema'. The characters in this film have an intense emotional attachment to motion pictures, and their lives have been shaped and guided by the movies they love. The rather strange storyline concerns a bicycle delivery driver who crashes his bike and is assaulted by a mysterious young woman. She is apprehended, and allows him to stay in her apartment to feed her fish. Within her apartment is a shrine to the Golden Age of Chinese motion pictures. During his stay, he discovers the girl's diary, and then the film becomes a flashback about how she came under the spell of the cinema. ELECTRIC SHADOWS is a marvelous mix of drama, comedy and tragedy with several young children in leading roles who effectively portray the innocence and delight of childhood. ELECTRIC SHADOWS is an alluring and enthralling melodrama which interprets the irresistible power of film.


Santa Fe

Was it the film maker's intent to single-handedly undermine the entire 'Chic Flic Genre'? If so, this movie is more effective than SPRINGTIME FOR HITLER. There's such a fine line between 'clever' and 'stupid', but SANTA FE plumbs the chasm of difference between 'fluffy' and 'cute'. Conjure the cloying sweetness of The Hallmark Channel, and then toss in a Tequila Sunrise or three. The narrative concerns the survivor of a cult massacre who returns to Santa Fe, New Mexico, and finds love and sexual healing with a sultry, self-help author/New Age priestess. And, in the process, Midnight Basketball is resurrected, Jean Paul Sartre is referenced, and shots are fired. How this pastel colored turkey made it to the screen is beyond me. According to IMDb this film was nominated for the Grand Jury Prize at The Sundance Film Festival, a truly astonishing occurrence! This wins my, one and only, Single Star Rating.


The Ice Storm

THE ICE STORM is a deft observation of a period in the early 1970's when the social awakening of the 60's actually began to infiltrate and subvert the decorous sexual sensibility of mainstream America. As the grim fiasco of Watergate unfolds, we watch Dad self medicate with booze, Mom jump-start a makeover by way of the newly emerging self-help industry, and the kids run riot. When it appears that the steadfast dependability of the past has been reduced to a quaint fabrication, The Ice Storm Of The Century blows through this upscale Connecticut neighborhood, and things really change forever. Kevin Kline takes the bemused character of Ben Hood and makes him absolutely believable. And, Joan Allen's stoic personification of his wife, Elena, matches his stellar performance note for note. Rick Moody wrote the fine novel upon which the film is based, and Ang Lee is one of the few who could have so successfully brought it to the screen.


The Killing of a Chinese Bookie: Director's Cut

THE KILLING OF A Chinese BOOKIE is John Cassavetes fascinating look into the world of Cosmo Vitelli, owner of the Crazy Horse West, a California strip club. Cosmo, played by Ben Gazzara, owes a fortune in gambling debts, and agrees to commit a murder to payoff the loan. It's a set-up from the get go because the mob never believed he could pull it off, and was hoping that he would be killed, and then they would inherit his club. Cassavetes creates an homage to The French New Wave by employing surreal settings and improvisational dialog to create a Dadaist framework for the tale. Many scenes begin in near blackness, and abruptly, LA sunlight streams into the murky darkness while actors lines ricochet and overlap. The entertainment at the club is not the standard "Bump and Grind", but a strange 'Theater of The Absurd' where Cosmo orchestrates the action. Where Martin Scorsese used high energy rock'n'roll to highlight this same gangster demimonde, Cassavetes employs a more idiosyncratic soundtrack to heighten the psychological dimensions of the piece. Ben Gazzara provides an unforgettable portrait of a man grappling with a life that is beyond his ability to control. Also, Seymour Cassel puts in a wonderful performance as a mobbed up club owner. All of Cassavetes's films are noteworthy, and THE KILLING OF A Chinese BOOKIE is one of his finest.


Mad Men: Season 1

MAD MEN is an offensive piece of work. Imagine the characters on VH1's, 'Tool Academy' brainstorming and hustling for sex and money at a Madison Avenue advertising agency fifty years ago. The series boasts a plethora of stylized sets, incessant smoking and drinking, and the most backward thinking this side of a gorilla cage. And, there-in lies the charm. This wry narrative forces you to explore the world of 1960 USA without the social and political correctness of 21st century America. Civil Rights was an unfocused dream, and White Men in suits called the shots with God given authority, and ladies(girls) knew their place. This series is certainly not for everyone, but if you might enjoy an ironic and faintly amusing look at the tail end of Eisenhower's America, this could be the series for you.


Troublesome Creek: A Midwestern

TROUBLESOME CREEK:A MIDWESTERN is a forlorn look at an American household who just happen to practice the venerable business of cultivating the soil and raising livestock for love and profit. Jeanne Jordan, and her husband Steven, present an intimate and heartwarming portrait of her family who for generations have farmed in Iowa, but now must face dramatic change. The value of farmland soared during the 1960's and farmers were able to borrow seemingly without limit. By the 80's value had stagnated, and financial institutions were forced to get tough. Although the film touches on the bank's new obsession with 'the bottom line', one can certainly understand their reasoning. Any business venture can be kept afloat if there is an unending line of credit, and the payoff is postponed indefinitely. For the most part, the film focuses on the The Jordan's plight as a result of this new policy on credit. Her parents decide that the only way out is to sell all of their possessions, pay off their loans, and thus regain ownership of the land. Then, they will move to a small rental home in town, and Jeanne's brother and his family will work the farm minus the debt. We witness the sad and cold (the auction takes place on a snowy January afternoon) disposal of the family's livestock, farm machinery, and household furnishings. They seem to be surrounded by a supportive and caring community, and the viewer is left with the feeling that The Jordans will be able to weather the storm of change that has nearly erased their old way of life. The film ends as together they watch the final scene in HIGH NOON where Gary Cooper throws down his badge, and strikes out on a new life-just like The Jordans.


The War Tapes

THE WAR TAPES is one of the finest films to come out of Operation Iraqi Freedom. What sets this film apart is that it is the first war movie filmed by soldiers themselves. Sergeant Steve Pink, a college English major before joining The National Guard, and several of his buddies filmed their experiences in the spring of 2004. The arc of the film encompasses the full range of their story; Training, Deployment, Combat, and finally, The Homecoming. Condensing hundreds of hours of unscripted footage, Director Deborah Scranton, and Producer/Editor Steve James (HOOP DREAMS) create ninety-seven minutes of enthralling Film Verite. This is far superior to the weak, and usually partisan, 'embedded' approach to this war. The soldiers very convincingly expound on a wide variety of political opinions and their differences on the enforcement of our country's foreign policy. One of the men tells of the pervasive influence of Houston, Texas based Halliburton Corporation which operates seemingly without oversight. He says, "Everybody stands to make money the longer that we are there". He goes on to depict and detail a few of these limitless cost over-runs. Could this be one factor in our slow departure from Iraqi? After watching this section of the film it caused me to see, "Support The Troops", in a less than noble light. However, you come away from THE WAR TAPES not with a new vision of how America's geopolitical policy is formed, but rather how this endeavor changed the men who strove to establish it.


Flash of Genius


In 1963 in his basement workshop, Dr. Robert Kearns invented the intermittent windshield wiper system. He attempted to make a deal to license his invention with Ford Motor Company, but they stole his design, and later claimed that they had created it years earlier. FLASH OF GENIUS is The Kearns family's agonizing attempt to get one of the
largest and most powerful corporations in the world to not only compensate them for Dr. Kearn's invention, but admit the theft of his idea. The film showcases the sleazy and tiresome legal tricks which Ford's army of lawyers brought to bear to discredit this mild-mannered family man. It is clear that had Ford been honest at their initial encounter with Kearns, a ton of bad publicity and legal expense could have been easily avoided. At the end of the film I couldn't help but reflect on the inherent error of an unbridled Free Market. The film clearly shows that without a strong framework of checks and balances, a mighty corporate entity will act with arrogance and impunity. FLASH OF GENIUS is the heroic saga of one individual who triumphed against a stacked Capitalistic deck.


My Son the Fanatic

MY SON THE FANATIC examines the varying degrees to which members of a Muslim family view the magnitude of their religion. The twist to this tale is that it is not the parents who proclaim a more traditional approach, but it is their only son who becomes 'Born Again' in Allah. This young college student falls under the influence of a Pakistani religious figure, and begs his parents to sponsor this man and bring him to their English home. Soon, Farid has discarded his English girlfriend who is the daughter of a prominent town official, and adopts a life of prayer and study. Parvez, the boy's father, has lived happily, but not all that successfully, in Britain for over twenty five years by putting in long hours behind the wheel of a cab. He has, if not embraced, but most certainly accepted many of the decadent ways of the west, and in his tiny basement study, he relaxes with American Jazz and nips at a bottle of scotch. He is basically estranged from his wife, and strikes up a friendship with a local prostitute, and helps organize her clients. Soon, he finds himself falling in love with her. The whole dysfunctional social-familial network collapses when the fundamentalist Muslim group, energized by the new leader, tries to rid the town of the 'Ladies of the Night'. Many parts of this film are moving and affecting, but never sentimental. Both the relationship between the cab driver and the young prostitute, and the strained, yet engaging love that Parvez has for his son, are deeply touching. One of my favorite parts of this film deals with a novel way that the end of the movie is structured. Although the movie has ended, and the credits have begun to roll, the action continues and we watch as the forlorn cab driver turns on every light in his empty house, and sips whiskey on the stairway while listening to Jazz. I thought this was an extremely clever way to end the film which created a kind of 'emotional after-image'.


Heavenly Creatures

HEAVENLY CREATURES is Peter Jackson's award winning film which investigates The Parker-Hulme Murder Case that occurred in Christchurch, New Zealand in 1954. The director downplays the court case to concentrate on the lurid relationship between the two young girls. Whether or not Pauline Parker or Juliet Hulme were lesbians is not resolved, however in New Zealand at the time, homosexual behavior was considered a symptom of madness and all but illegal. The film begins with stock footage depicting the idyllic nature of life in Christchurch in the mid 1950's, and then jump-cuts to a brief scene immediately following the grisly and horrific murder. By conjuring an elaborate fantasy life unrestricted by reality, the two girls are able to engage in acts which would have been ordinarily unthinkable. The intense nature of this process is strikingly similar to the modern cult obsession with the game, Dungeons & Dragons. By employing Weta Digital, a graphic effects company, Jackson demonstrates how this fantastic alternate universe could have pushed Pauline and Juliet to kill Pauline's mother at a popular hillside recreation area. This digital technique richly and sharply enhances the fantasy sequences of the girl's, "Kingdom of Borovnia" and "The Fourth World". Both young women received light jail sentences, and as a condition of their release, they were not allowed to contact each other. At the close of the film, one is left with the feeling that you have been shown graphic psychological reasons which led to the commission of a violent act, yet many questions remain unanswered. Overall, this is a very thought provoking film.


I've Loved You So Long

Philippe Claudel who wrote and directed, I'VE LOVED YOU SO LONG, is foremost a novelist, and his film communicates like fine literature. In Real Life, secrets are kept and not referred to, especially when those secrets occur within a family. However, in most movies characters' secrets are quickly introduced, and the audience merely watches the reactions. In this film, Claudel's story unwinds as in Real Life-secrets are left unspoken. In fact, they are barely alluded to. Because so much of the tale is withheld, the storyline moves at a slow and deliberate pace, but never drags. Kristin Scott Thomas is wonderful in the lead role because her face reveals almost nothing, but only mirrors the painful enigma of the story. This is one of the few films where it is a definite asset to view the movie with no foreknowledge of what is about to occur. Allow the fragments of detail to reveal themselves just as they are made known to the characters in the film, and you will enjoy a top-flight movie experience. This film is a Character Study of the highest order, but I think that it is best seen as a Mystery, and for that reason,'the less you know, the better'.


9 Songs

9 SONGS was the first film featuring explicit sex scenes to receive a certificate in the Republic of Ireland. Michael Winterbottom's provocative work attempts to blend two film genres: art house porn and rock documentary. The rather thin storyline examines a few months in the sexual affair of a young couple. In between intense and explicit sexual encounters, they attend nine different concert dates. The tale is told as an erotic flashback as the man, a British glaciologist, remembers how he was left by his American-student lover. Neither one was particularly in love, but closer to 'in lust', and it was the girl who initiates the breakup which adds a feminist twist. I find it refreshing that Winterbottom has made a serious attempt to introduce this kind of sexual storytelling into mainstream cinema. Why can the average teenager witness and consider all forms of murder and mayhem, and yet have only the slightest inkling of what goes on within the context of a sexual relationship? The movie does not elevate the mechanics of the sexual encounters to any degree, but employs them to demonstrate the couple's excessive desire. After viewing the film, I don't think that one comes away with any intense romantic or sexual feeling, in fact, the film is more of a mundane chronicle of a passionate affair. And, the director incorporates many of the cultural accouterments common to people in this age group; cutting edge rock'n'roll, casual drug and alcohol use, and fierce, vehement sexual couplings. If you are easily offended by graphic sexuality, this is not the film for you. But, 9 SONGS succeeds in providing an accurate and realistic portrait of a highly intense, yet rather insignificant sexual encounter in the lives of two individuals.


Quid Pro Quo

QUID PRO QUO shows us that no matter how entrenched we are in our world view, there are always people who feel, with equal intensity, the exact opposite. Who would trade mobility for a wheelchair? Meet the characters in this film. QUID PRO QUO examines a psycho-sexual subgroup who feel that they are normal, but "trapped in a walking person's body". We are introduced to a paraplegic radio talk show host who meets a young woman who yearns to be disabled. This part is played by the radiantly crazy Vera Farmiga who rolls over Nick Stahl's staid NPR persona with willful glee. Farmiga injects a recklessly erotic element to this otherwise plodding script. She throws down a little MURDERBALL into this decidedly odd and weird universe, and as to why she is up to all of this? It becomes the strange trick-ending to this odd bit of fantasy.


Ivan's Childhood

IVAN'S CHILDHOOD is a masterful black and white work in which Andrei Tarkovsky demonstrates a complete command of stylistic improvisation, visual experimentation and complex use of symbolism. It is no less than astonishing that this is his first film. The story is a fairly simple tale of a young boy who wants to continue as a dangerous scout on the Russian front during the last days of WWII much to the dismay of the Soviet staff. The director employs an elliptical narrative which oscillates between an inner, dream-like vision, and actual events. Segments of the film are often introduced with extreme closeups which, at first, are difficult to recognize or understand. However, each scene is composed with the utmost attention to detail, and I don't think many paintings are created with this degree of clinical precision. Compositions begin stark and finely etched, and then seem to explode with meaning after the introduction of light and shadow. Although the film is set within the War Genre, the movie examines how war destroys the innocence of childhood. This masterwork contrasts the difference between an idyllic past where childhood should exist, and the brutal, warlike landscape of the front-lines. IVAN'S CHILDHOOD is a triumph of complex mood and nuanced style, and is truly one of the greats.


The Fire Within

THE FIRE WITHIN chronicles the last chapter in the life of a failed writer who is locked in a struggle with existential despair. Alain Leroy is presently in a hospice undergoing treatment for alcoholism, and he is clearly hung-up on the same dilemma that perplexed Shakespeare's Hamlet-should he continue with his lackluster existence, or end it all? Always the ladies man, he now feels that he was never able to touch or connect with any of the passions of his nature, and alcohol allowed him a safe haven while he awaited his real life to commence. But, it never did. He spends his last few days visiting with old friends trying to uncover an answer to his problem, but finds no solace in their warmth and encouragement. The film follows the premise to the logical conclusion, but whether we were watching the buildup to a suicide was really not the prime concern of the movie. Malle's film succeeds in that he is able to present a three dimensional character at a significant crossroads in his life. Also, the film contains many wonderful scenes of Paris street life from the early 1960's which further increases the richness of this movie.


Breaking Bad: Season 1

BREAKING BAD:Season One explodes like a sucker punch to the gut, and is nothing short of mind-blowing. The pilot for this series is a definite "Must See", and stands with the greats of Action/Adventure Television and Cinema. This segment begins at such a giddy peak, that you think the only way forward would be to tell the tale as a long flashback. However, through a marvelous piece of editing and writing, the plot miraculously moves forward from that point. Bryon Cranston's idiosyncratic performance is a joy to behold. He embodies a man who is against a rock, and an even harder place, who has no other option but to throttle his higher aspirations and grimly carry on. His solace and validation in middle-class morality and virtuous conduct is long gone. I eagerly look forward to more of this ambitious, entertaining series.


Funny Ha Ha

FUNNY HA HA is a meandering, whimsical look at Echo Boomers. Adult Life hasn't taken hold, direction seems clear, yet where is the forward momentum? I doubt very seriously if people within this age group would identify with this representation. I think that the film works better for people who are much younger, or decades and decades older. Teenagers might envy the leisure time and absence of adult responsibility depicted in the film, and older folks might view it through the lens of rosy nostalgia. The film has a very Independent look, and is not without a certain elemental charm. However, it is certainly not a definitive statement, but maybe that was the point.


What Just Happened?

WHAT JUST HAPPENED? is a Mild and Mellow work without the over-used device of Satire. If you are looking for a trenchant commentary on the movie industry-look elsewhere. For that kind of incisive, satirical approach you might want to check out Robert Altman's, THE PLAYER. WHAT JUST HAPPENED? accurately, yet amusingly, documents two weeks in the life of a highly successful Hollywood producer. And, the film accomplishes this task quite well. We are treated to a 'behind the scenes' look at a producer's nearly insane difficulties in bringing two film projects to fruition. Robert DeNiro's performance is all about 'restraint'. As the producer, his role is to make all of these wildly divergent elements function with synchronicity. And, since nearly all of the goals of these factions are diametrically opposed, it is a nearly impossible task. Throughout the film, DeNiro only 'reacts', because-above all-he must placate ALL of the players in the process, and the viewer easily empathizes with his character. In addition, the rest of the stellar cast turned in memorable characterizations as denizens of this high-pressure universe. WHAT JUST HAPPENED? is a wry and entertaining look at how Hollywood films are made, yet was not designed to 'blow the lid' off of the film industry.


Performance

PERFORMANCE is a legendary British gangster film which showcases a classic Stones single that very few have ever heard. And if for nothing else, this provides an excellent reason to view this film. "Memo From Turner" rocks like the very finest of the Stones repertoire, yet features the deft guitar work of Ry Cooder, not Keith Richards-the band's guitarist. Because Richards was upset with Jagger during the making of this film on account of his steamy love scenes with co-star, Anita Pallenberg, he refused to play on this quintessential track. To fully understand this film, it helps to examine the internal dynamics of The Rolling Stones during this period of their history. In the beginning, Brian Jones was the undisputed leader of The Stones, however after years of infighting, drug and alcohol abuse, and madness, Jones lost his influence within the group. Initially, Brian Jones was involved with Anita Pallenburg, and she left him for Keith Richards shortly before starting work on PERFORMANCE. Jagger's character in the film is closely modeled after the personality of Brian Jones. The inability to 'trust yer mates' is an important theme in the film, and was played out in the internal drama of The Rolling Stones. The subtext of the film seems to be a search for sanctuary where one can relinquish control and find acceptance. Although the staging of the song "Memo From Turner" predates MTV by many years, it serves almost as a blueprint for the future of music videos. Also, the brutal depictions of violence and London's criminal element is mirrored, years later, in the work of film director, Guy Ritchie. This film is garish, crude, and perversely sexual, and is a forerunner of an entire genre of film which would not emerge for many years. In this way, it is a visionary piece of film-making.


The King of Kong

"THIS IS SPINAL TAP" for Gameophiliacs. I understand that this is a 'real' documentary, but I think that with one or two degrees of difference, this would make a tremendous satire. The concept that grown men would be so obsessed with something so inane is, in itself, one for the record books.. And, the clothing styles and haircuts on the cast- not in the scenes from decades ago- but in 2006 are beyond description. This truly seemed to be 'A Mighty Wind' for 80's video-game addicts. And, the 'villain' of the piece, Billy Mitchell, acted like a character in a Kurasowa film. I loved the film, but many times because of the inherent absurdity of the material, I thought that "all the volume control numbers went to eleven". However, this in no way prevented me from enjoying the movie--just had me kinda shaking my head.


La Moustache

LA MOUSTACHE forces the viewer to grapple with a conundrum; "What is real, and what is not?". Carrere (who wrote the novel and directed the film) is a writer and fan of the late, great science fiction author, Philip K. Dick. In fact, Carrere's, I AM ALIVE AND YOU ARE DEAD:A JOURNEY INTO THE LIFE OF PHILIP K. DICK is an excellent biography of this gifted author. Nearly all of Dick's work concerned the shifting nature of Identity and the ontological basis for Reality. This movie examines the possibility of "Change"-shaving a moustache, and the impact on a life. In a sense, the film is kind of a Black Comedy, in that such a minor adjustment would not seem to lead to such dislocation. But, that is not the case in La Moustache. The movie begs all kinds of bizarre interpretations, so don't expect an easy ride from this French 'Chinese Puzzle' of a film.


Parallel Lines

PARALLEL LINES is a remarkable documentary. For me, the best documentaries are ones in which truths are uncovered as the film is being made which are a surprise to the film-maker and the audience simultaneously. In other words, a director starts out an examination in one particular way, and ends up with a whole range of unexpected conclusions. In this case, the director was looking for responses to the attack on 9/11, but what she got was jaw-dropping commentary and uncanny insight. The fact that these strangers were able to open up and allow the viewer to share their heart-felt beliefs was no less than astonishing. These were never the knee-jerk responses that one might have expected, but much more nuanced and interesting. At the end of the film, one realizes that human life is of value, and all of us, regardless of our social situation or political orientation, have hidden dreams and histories worthy of explanation. This is truly an 'overlooked' film, and is worth checking out.


The Wild Parrots of Telegraph Hill

This film is a true delight from beginning to end. THE WILD PARROTS OF TELEGRAPH HILL is the kind of movie that you can fall in love with. Mark Bittner comes across as a sincere, responsible individual who has taken care to construct a principled existence. And, his flock of birds were the cornerstone of this life. Much has been written about this film (and the film maker), and I think that it is extremely unfortunate that many have taken him to task for not adhering to a more traditional lifestyle. I found it refreshing that Mark has made the effort to create a life which truly exemplifies his ideals. I think that this would be a much richer world if more people took the time to live their lives guided by values which reflect heartfelt beliefs. And, this is why I feel that THE WILD PARROTS OF TELEGRAPH HILL has such tremendous value.


Religulous

Can Belief withstand the slightest degree of criticism? How does, "I believe that two plus two equals four", differ from, "I believe that God created the world in seven days"? Regardless of your personal beliefs, Bill Maher's RELIGULOUS forces the viewer to entertain an element of critical thinking, and a healthy dose of skepticism. I think that, in the end, Maher and company clearly make the point that as citizens of the world we are all at risk by the dangerous thinking of True Believers. And, it all seems to boil down to a simple matter of opinion. One man's 'Jack and The Beanstalk' might be no more true than 'Jonah and The Whale'. And, would you want to stake your life and the life of the planet on it?


Aberdeen

The Horrors of Addiction as a genre of film is jam-packed with predictable content, but ABERDEEN is a cut above the rest. Stellan Skarsgards boozy downward spiral is a home-video into the real world of alcoholism. Too often the alcoholic is portrayed as if locked in some sort of heroic struggle, however, real drunks stumble, fall down, puke, and create emotional havoc in their own lives and everyone around them. This film also adds a fresh look at The Alcoholic Intervention Model. In this movie, the one who is spearheading the intervention is arguably in worse shape than the beneficiary. ABERDEEN is an unflinching look at the nature of addiction with a bold, well written abrasive script.


I'll Sleep When I'm Dead

I think this film was unfairly treated by most critics. Admittedly, the film is slow to unfold, but the trade off is a marvelous look at contemporary London with many beautifully designed sets. In addition, the film is full of believable, quirky mobster types. This film is not altogether successful, but, if you stick with it, you will agree that your time has not been wasted.


Hunger

If you love beautiful, Black and White films, HUNGER is one for you to enjoy. The film captures the look and feel of 1890 Oslo to perfection. According to the commentary, in 1966 this picturesque area of the city still existed, and the film was shot on location. Another compelling aspect of this film is the depiction of 'madness'. Per Oscarsson's portrayal really allows the viewer to inhabit his skewed paranoid world. Dozens of films have demonstrated insanity caused by drugs, alcohol, and sexual obsession. However, in this movie the protagonist is pushed over the edge by sheer force of will. His unyielding and rigid moral code will not allow him to take even the most reasonable course of action. The movie is bleak and somber, yet one is able to empathize with the character. In fact, the last scene in the film-the last expression on Pontus's face-leaves the viewer with a wide range of possible interpretations. Is the character embracing a new and hopeful turn of events, or is he under the spell of a new obsession?


The Hunger

THE HUNGER is probably a lot more 'sizzle' than 'steak', but it still is a sumptuous, sexy piece of 80's Horror. Tony Scott's background is in TV commercials, and in Advertising, the modus operandi is Substance Over Style. And, this film is chock full of narcotic eye candy The foreground of the film is usually vivid and glistening while the background is muted and hazy; diaphanous curtains billow and pigeons lazily circle-this is the heart of the movie. It really is like a dynamite MTV video from their glorious early days. I think of the film as more of a video for Whitley Strieber's novel on which the movie is more or less based. So, as 'Frankie Goes to Hollywood' used to say, RELAX.


100 Days Before the Command

Obviously,this piece is not meant to be a realistic portrayal of life in the armed forces. It is meant as a loose, artistic 'film-poem' designed to show experience in an imaginative way. Although it doesn't succeed 100%, it still creates a valid aesthetic feeling. You will only be frustrated if you try to view it as something that might turn up on '60 Minutes'.


My Summer of Love

MY SUMMER OF LOVE is a brief meander through the lives of two directionless, morally adrift teens in rural England. I don't think the prime focus of the film is the girls' growing awareness of a new sexual orientation, but more a longing for some kind of connection...and, anything at all will do. 'Born Again' Christianity is portrayed as one more desperate venue to fill that empty space within. The film is artistically shot, and the acting is fresh, but at the end of the film, I wasn't that moved. A 'Coming of Age' film, which would have worked better as A 'Coming of Rage' film.


Patti Smith: Dream of Life

PATTI SMITH: DREAM OF LIFE is a free-floating ramble through the life
of one of America's premiere poets. The time sequences are hazy, her
children appear and reappear at dramatically different ages, and this
only adds to the visionary quality of the film. This is the farthest
one could imagine from the standard Rock Bio that one might see on VH1.
The Patti Smith of today seems just as interesting and dynamic as the
artist who created HORSES many years ago. She is among the few
contemporary artists who manage to connect the Beatnik sensibility of
the late 50's and the rock and roll music of today's social and
political activists. Hopefully, this film will spread her musical and
poetic influence to people who may not be aware of her compelling
aesthetic vision.


Water Drops On Burning Rocks

WATER DROPS ON BURNING ROCKS is a scathing satire on the serendipity of Desire. Ozon filters his observations through the prism of Time and Sexual Genre. Act I begins with two inappropriately aged men who grapple with an almost laughable seduction. Later, there are references to their earlier lives, and projections to their future. By the end of the play, Women are introduced. Sexual identity takes a backseat to the object of their collective longings and passions. Not a single frame of the film leaves the confines of this trendy 70s bachelor pad, and the costumes are a real trip. And, the short dance number near the middle of the film is worth the price of admission. If you like a dialog driven film which examines the unpredictable nature of Eros, this might be the film for you.


Velvet Goldmine

VELVET GOLDMINE does a superb job in capturing the essence of The Glam Rock Period. The music of Roxy Music, Slade, T-Rex, The Stooges, and many more showcase the anarchism of that fantastic scene. However, the eight hundred pound gorilla in the room is completely ignored! I think it would be hilarious and exceedingly interesting if David Bowie contributed a commentary track. Although you could make the case that Glam Rock would have occurred without Bowie, and this film certainly makes the case, his direction and artistic vision had an imprint on nearly every aspect of the genre. It would almost be like presenting the victory of The American North in the Civil War without mentioning Abraham Lincoln. VELVET GOLDMINE is a wonderful, fabulous vision of a sexually confusing and nihilistic social movement which enjoyed surprising mainstream success. This film does almost everything to explain the mystery and power of this fleeting musical fad and stylistic fashion by employing a curious metaphorical technique.


Fratricide

FRATRICIDE is an interesting exploration of The Revenge Genre filtered though the primordial animosity between The Kurds and The Turks. I would have liked a different resolution. Maybe the protagonist could have followed through on his realization that the difficulties of The Kurds are really no different than any other immigrant population down through the ages. The default revenge killing seemed to run contrary to his new-found insight. However, this was a very good film.


August

A very slender, bare-bones affair, but it packs the lightweight punch as intended.
If the topic of 'The Importance of A Free Market In A Successful Economy' comes up in your life, show this film! 'Free Market' is a bunch of highly verbal, fast talking guys guaranteeing pie in the sky if you can loan them a few million.
In the end, Rip Torn's character had the best insight of all..."Oreos and Kids Hanging Out". The film had a nice, trendy, urban-grit look, but no new insight whatsoever.


Transsiberian

High quality mainstream Hollywood effort. Well shot, beautiful scenery, and excellent characters. Doesn't really stretch the parameters of the Thriller Genre, but delivers none the less. You have to surrender a certain degree of belief, yet it is worth the ride. Emily Mortimer's performance was the heart of this film, and, if you haven't seen it, be sure to check her out in DEAR FRANKIE.


The Talent Given Us

An engaging film about a family that I could not empathize with in the slightest. Each and every member of this household came across as shallow, superficial, and selfish. With an abundance of Social Position, Education, Money, and Education, this is the best that they could do? I doubt if Andrew Wagner was attempting to establish this point of view, but that was my overriding final impression of the film. And, to me, he hammered it home with crystal clarity.


4

If you have ever heard the phrase, "And now for something entirely different"..., this fits 4 to an absolute T. You will get nowhere if you try to over-analyse, or try to figure what is meant by it. It works best if you let it wash over you. In its own perverse way, it really has a lasting effect. It begins bright and shining, and ends wet, muddy, drunken, and haggard. Is it a metaphor for the New Russia, a critique on the possibility of secret cloning experiments, or a celebration of drunken crones? I dont know, but I do know that this is truly like none other. If you are in a mood for A Walk On The Wild Side of Independent Cinema, give this film a look. The only films that are even remotely close to this, are the movies of Chicago director, James Fotopoulos.


Persepolis

PERSEPOLIS is an intense animated film which views Revolution, War, and Social Change through the eyes of a teenager. MAUS is the only other animated film which, in my opinion, comes close to the deft handling of ethical and political issues which are examined in PERSEPOLIS. Generally speaking, I find that animated features seem to be just 'outlines' of normal film. They provide the bare bones which require characterization provided by 'real' actors. However, in the case of PERSEPOLIS, I think the reverse is true. By staying within the genre of anime, the action and plot seem even hyper-real. Since the subject matter of the film is so sweeping, real actors in real sets might lessen the overall impact of the film. And, this is a real achievement. I think that this is nearly a perfect film.


The Edge of Heaven

This is a film that succeeds on nearly every level. It is a dream to watch because the cinemaphotography is beautiful, the dialog is tremendous, and, most of all, it has one of the most convoluted plots, yet always is comprehensible. There are three story lines which, although dependent, could really exist as three separate films. I think that the editing on this film is really second to none. Usually in films with this many story lines and plots, you almost need to make notes to keep up with the narrative. However, this film flows effortlessly. And, finally, when I have finished watching a brilliant film, I dread the end of the movie because I have developed an emotional investment in the characters. And, with this film, I really truly did not want it to end.


Crossing the Line

In my experience, the best bio-pics are those in which I identify, or at the very least, sympathise with the subject of the film. CROSSING THE LINE is the very opposite of this. James Dresnok is a most reprehensible character. His decision to defect has little or nothing to do with the large moral defects in his character. He comes across as a thug and a bully. I suppose one could overlook some of this due to his unfortunate background, however many have had personal histories such as this, and not sunk to his tragic fate. The excessive smoking and drinking almost seem like a personal vendetta by his 'better' self against the 'evil' that is in him. He is really in the process of self-destruction, and rightly so. In spite of this, however, I think that CROSSING THE LINE is an excellent movie. After viewing the film, I could not empathise with Dresnok, or even make a case as to why he took the path that he did. But, Daniel Gordon did a superior job illuminating this disreputable individual. We are allowed to see this man 'warts and all', and the film-maker goes out of his way to be evenhanded. It would have been so easy, and probably tempting, to just cast Dresnok as a two-bit villain.


The Hoax

THE HOAX is an altogether engaging film about one of the most notorious thefts in literary history. This is one of Richard Geres best performances, and the supporting cast is great as well. At the end of the film, it says that Iriving is still trying to have his fictitious book published. And, after seeing the film, I would love to read it. I bet it would really blur the line between, 'Based On', and 'Actual Fact'. Howard Hughes was such an idiosyncratic figure that even if he wrote an autobiography, it probably would have been riddled with inaccuracies. And the fact that Mcgraw-Hill, and most of the leading publishing outfits of the day, were so anxious to secure the rights for this work proves that there was a lot of interest in this topic. And, I dont think that the interest has abated. Two talented, larger than life figures of questionable ethical standards-Hughes and Irving were made for each other.


Cloverfield

CLOVERFIELD absolutely trumps the Golden Age of Monster Films of the early 60's..forget RODAN and MOTHRA. This film is superior because it turns on the fact that the whole thing was recorded on a personal digital camera by a character in the film. The technique injects an immediacy that plunges the viewer smack dab into the action like nothing else. The special effects were awe-inspiring, and I still am mystified by many of the action scenes. If GODZILLA was a metaphor for the nuking of Japan, and CLOVERFIELD is a metaphor for 9/11, that's great. But, regardless of what it means, this is a film that really grabs ya...


Blood Car

It is like The Smartest Guys In The Room decided to make a very funny, sick, mordant satire. This film is well done, and it must be The Darling of the film festival circuit. I thought the Bonus Features were a hoot. To do the entire commentary in some kind of idiotic professorial character took real 'something'. The making of the film showed some really bright and funny people crafting a film. The short film about 'Lawns' was hysterical, and almost as good as the feature. The whole experience was a Georgia Peach!!


Salesman

This is a superior documentary. A snapshot into the lives of men going about their daily work-lives. The fact that they are selling bibles is secondary to the fact that they are "selling". And, they will do anything to close that deal. When the men come back to the motel at night, it is almost as if the guys that have 'sold' don't want to listen to the guys who haven't. It's as if they see them as 'tainted', and they don't want them to make them unlucky. The entire concept of 'Going Door to Door', almost seems quaint today. With TeleMarketing and The Internet, nobody would market a product in this fashion. In fact, in most modern neighborhoods, these guys would be banned. However, I loved the ancient Men's hairstyles and all the incessant smoking. The film was set in 1966, and these guys were pretty much behind the curve even then. If you liked this film, you should really check out GREAT WORLD OF SOUND. This is a more contemporary look at how The World Of Sales is headed.


Zero

ZERO is a definite standout. Crude, perverse, yet strangely captivating. This might be the first love story between a man and an inanimate object which makes sense on a very basic level. I felt that it steered clear of downright pornography and examined the character's real love for the 'object' of his desires. I also wondered about the long, and almost inane 'nature' shots. These might be an attempt to demonstrate the character's desolation without the Love of his life. This is one of the few films that I have seen in a long time which seems to resonate long after you have finished watching the movie. Certainly it owes a lot to the early work of David Lynch, but I think that Fotopoulos takes the freakishness to a higher and more pure level. I would definitely recommend this film to someone who appreciates non-mainstream film making.


Transfixed

This was a slightly above average thriller.
I think the thing that sets this one apart from the pack is the treatment of the sexuality of the characters. In an American film, the focus would be on the reasons for their transgendered behavior and how the murders forced them to examine their sexuality. Since this is a French vehicle, their sexuality is not so much examined, but just presented. You are allowed to see how a sexual killer impacted the lives of a sexual sub-group. Nobody was 'dealing with their sexuality', they were just living their lives. I found this quite refreshing. American films tend to 'hammer home' the sexual bias.


Dear Frankie

Generally, when I hear of a film that is called "heart-warming" or "uplifting", I run for the hills. However, in the case of DEAR FRANKIE, the concept actually works. Although the plot is driven by a lie, you can easily see that the mother has only the best intentions for her son. Every single member of the cast did a convincing job, and when the film ended, I couldn't help wondering how their lives would change. Also, the director really tapped into the raw beauty of the port of Glasgow. I don't think I have seen a film that highlights the beauty of this region since LOCAL HERO. A tremendous directorial debut, and I will keep my eyes peeled for more by Shona Auerbach.

A damp and raw Saturday, filled with great films. I rolled out of bed early, and watched a wonderful documentary by Werner Herzog, LITTLE DIETER NEEDS TO FLY. This guy might be a neighbor of Werner's, they both live in norther California, and they are both from small towns in Bavaria. Just a wonderful film. Then, after a workout. I got on the Shadow, and attended the 130pm showing of FOUR BROTHERS at The White Oaks Mall. John Singleton's violent update of a John Wayne/Dean Martin cowboy film from 1965. It worked. Then, down to the library and I was able to loot the CD section for a bunch of stuff. I got THREE FEET HIGH AND RISING by De La Soul. I think I had that on vinyl, and maybe on tape. Also, a JAYHAWKS CD that looks promising. While I was burning the tunes, I watched a film that I have already rented several months ago. I didn't realize it, but it was worth seeing again. A magical film, dealing with 'un-magical' subjects, called ME AND YOU AND EVERYONE WE KNOW. It touches many controversial subjects with a new, and fresh light. This one is most definitely uplifting.