Much can be said in the realm of cinema for the undeniable attraction of masculinity for the sake of masculinity; observing men on the screen without the pretensions of heroics or unfathomable depth. Portraying men as these yearning, overly sympathetic balls of clay that can be molded into polite and admirable human beings with some ostentatious goal or task is a bit tired and unrealistic and done all too often. When you isolate the male, especially during the time that this film was made, you come out with primal displays of machismo that are oddly reassuring simply because they can be expected. Underneath the plot of this well-crafted, yet simple British film, is just that; men amongst men trying to downplay their competitive advances with each other using a speedometer, fights and a few witty remarks.
In the lead we find the handsome Stanley Baker (Zulu, The Guns of the Navarone) as Joe “Tom' Yately—an ex-con running from the past yet trying to get to a question mark of a future with haste. Through word of a dead friend he's learned about a company of truck drivers that operates in a bizarre way; should the speedometer for your vehicle drop to the speed limit (on a ballast top loader carrying tons of granite), you're fired. Men are expected to make above average drop offs to the granite yard and in return make a handsome salary.Continue Reading
Few would dare to say that the films of Vincent Gallo are romantic. Certainly not when it comes to the ghostly plot of The Brown Bunny, and perhaps is even a stretch with Buffalo '66. Supposing you've seen these films (and this is more the case with Buffalo '66), you will have one of two reactions that says a lot about your own romantic relationships and you as a person. This, among other things, is something that brings me to view them more than any other drama. In all seriousness, Gallo's character studies—while vain due to the fact that he plays the leading male—are absolute works of genius; where transgression finds forgiveness and those of us who pine about the seemingly impossible task of finding someone just as strange as you can find solace and, I dare say, hope.
In the film we find Billy (Vincent Gallo), a young man released from prison after a five year stretch and understandably numb due to this experience. He seems to be someone who is cursed with bad luck and for a moment you're under the impression that his angst will lead him back to prison within a day. His first order of business is to call his mother to bring closure to a grandiose lie. He's informed his parents throughout his stint that he's actually been away on a top secret government assignment. Being a compulsive liar, he's also told them that he's married and promises to visit with his new wife. Through a random circumstance he meets Layla (Christina Ricci) and kidnaps her, though his efforts are more desperate and childish than violent. Intrigued by his efforts, and perhaps a bit smitten, Layla puts up a modest fight before hearing out his plea to get her assistance. He wishes to see his parents, which would mean introducing them to his non-existent wife. She agrees to play the role, and here their bizarre romance begins.Continue Reading
“Goodness is only some kind of reflection upon evil...that's all it is.” --Anna, in Zulawski's Possession.
Possession, the feverish and mesmerizing masterpiece from Andrzej Zulawski, is a drama about a failed marriage that unexpectedly turns into a horror film; a bad trip that you sometimes wish would end only because you feel disturbed, or at the very least unbalanced, for enjoying it immensely.Continue Reading
Antichrist is one of the most misunderstood films that comes to mind. Lars von Trier is perhaps one of the most misunderstood directors; often written off as an auteur with enough support and gusto to start a film movement (Dogme 95), but not enough modesty to disregard pretensions. The notion to be moved by this argument is null at best if one allows themselves to be absorbed by Antichrist and to accept it as something to be critiqued, if not admired. To do this, admittedly, requires more than one viewing—the first being one that inspired audiences to flock from their seats. This was no doubt due to the disturbing sequences of violence, grizzly eroticism and a message about female nature that was, to most, anti-women. This review offers a proposal to revisit the film with a pair of fresh eyes for those who have seen it and a theorized way to introduce yourself to it for those who have not.
There are many ways to reinterpret the film or to approach it with a more critical eye. The easiest would be to view it as a fairy tale with overtly religious overtones. Comparatively it's in the style of a German fable—which is always direct and quite bleak, and appropriate here since the majority of the film was shot there. Like a storybook, the film is separated into four chapters with a prologue and an epilogue. Title cards with primitive etchings set the precedent for something to be absorbed in pieces, later to be given deep thought. The prologue and epilogue are in black and white and set to Georg Friedrich Händel's Lascia ch'io pianga. In the prologue we find a slow-motion and dreamlike erotic portrait of a husband (Willem Dafoe) and wife (Charlotte Gainsbourg) in the throes of passion. Meanwhile, their infant son wanders from his crib and nursery to an open window and plummets to his death—dying during his parents' climax.Continue Reading
You're Next is a near-perfect little film that plays on two very exhausted genre points and still manages to be fresh and an all-around good time. Most everyone has seen John Hughes' much-loved holiday movie, Home Alone, which, if pondered on, shadows a pretty horrifying concept. Lesser-known but still popular home invasion films include Haneke's Funny Games, Peckinpah's Straw Dogs, and even Them and The Strangers. These latter examples have the unfortunate place card as being “game changers” within the thriller genre and several can hardly be considered horror films due to the lack of an impenetrable bogeyman. Some were also taken a little too seriously at the time of release. A perfect example is Straw Dogs—made and released during wartime when paranoia and sensitivity to violence were exceedingly high. So how, one might ask, can you revitalize the theme? The answer is quite simple; add the ghoulishness of a mask and give tons of nods to both slashers and home invasion films and you've got yourself a refreshing oddball that is actually a parody to all the above.
Following a supposedly agonizing two-year wait for a theatrical release, filmmakers Adam Wingard and Simon Barrett recently attended a Q&A for the film and spoke about said wait, the inspiration behind the plot, and casting choices. The plot, they admit, is not necessarily anything to harp on. A well-to-do family comprised of mom (Barbara Crampton), dad (Rob Moran), three sons and a daughter have agreed—after a supposed estrangement—to gather for mom and dad's anniversary in a recently purchased massive house in the middle of nowhere. Dad's new “retirement project,” as it were.Continue Reading
The Exploding Girl
Almost everyone has or has had that friend who feels like a soulmate; the one you think about daily and encourage--with some effort--in relationships, who just so happens to be the person that you cannot imagine life without. The Exploding Girl is a tender and offbeat little film about two friends whose love is too fragile to go beyond that title.
In her debut performance Zoe Kazan plays Ivy, a girl with epilepsy returning to her New York hometown for Spring break accompanied her best friend, Al (Mark Rendall). They've known each other since they were kids and each is more or less in a fickle college relationship that takes a surpsring amount of effort to keep afloat. Al discovers that his parents have rented out his room to for the summer and ends up spending his entire vacation living with Ivy and her mother (Maryann Urbano). The films spans the entirety of their summer vacation, taking the viewer through all their old haunts and small moments that leave an impression of timelessness within their friendship. The only interruption in their time together is Zoe's summer job as a youth counselor and her visits to the doctor to monitor her epilepsy.Continue Reading
The Snowtown Murders
There is something quite terrifying about cult mentalities or any person—peaceful or otherwise—who can catch the attention, loyalty and obedience of another person or group of people. But where icons like Manson and Jim Jones had the ability to control large masses, real-life mastermind John Bunting closed in on a desperate and disadvantaged family. It could be argued that the group mentality gave Mason and Jones some assistance in the brainwashing process, but to destroy a family without any real dogma is miraculous and, to me, far more tragic.
The rights to make the film were released shortly before the film was made in 2011 and, most likely, were difficult to come by. It surrounds the true story of a family in the run-down suburb of Adelaide in Sailsbury North, Australia. Elizabeth (Louise Harris) is the mother of four sons, several of whom are being sexually abused by her boyfriend. The oldest, Jamie (Lucas Pittaway), is exposed to countess accounts of depravity and violence in the house and desperately needs an outlet. In comes John (Daniel Henshall), the handsome and outspoken lad who hates pedophiles and homosexuals and urges the family to stand up and lash out at her former boyfriend.Continue Reading
Deep Cover is one of those underrated films with a bold social commentary that is often swept under the carpet because it's from the '90s—that time in America that everyone loves to hate (but I love unabashedly.) When I first saw the film as an adolescent there was something about it that begged a very adult question; is mankind good in nature but drawn to necessary evils, or are we evil drawn to the predisposition of trying to be good? Living in Los Angeles, where the film is set, I still find myself asking that question.
Taking the still-relevant racial tension of an era and focusing on its organized crime and judicial system, the film opens with a young boy witnessing his father holding up a store on Christmas Eve. He is shot and killed, leaving the boy with a determination to never have such a pitiful existence. Russell (Lawrence Fishburne), now a man, is a rookie police officer trying to make a difference in the world. He doesn't drink or do drugs, however, when called into an interview for an assignment, he is told that he has the psychological profile of a criminal. In undercover work, he is assured, all of his flaws will become virtues.Continue Reading
It's an unfortunate fact that the vast majority of actors who, in their prime, filled roles that were at once progressive and invigorating, turned to ones that were lackluster, if not depressing, once they reached their peak of marketability within a genre. Usually this career transition leans towards comedy--and while viewers strain to recognize adept versatility on the screen, they often find themselves quite underwhelmed. Some notable examples of such actors are Robert De Niro and Dustin Hoffman. That being stated, in Killer Joe one can find a rare opposite in transitions. Here we find the harmless and perhaps awkward Emile Hirsch (Speed Racer, Into the Wild) and the go-to charmer of chick-flicks, Mathew McConaughey, playing two morally reprehensible characters that are not only believable but unnerving.
The plot more or less surrounds the woes of Chris (Emile Hirsch), a somewhat desperate young man of poor character who owes a Texan drug lord 6K for “misplaced dope.” To blame for the drugs going missing is Chris’s mother Adele, a woman whom he, and the rest of the family, hate. He goes to his father Ansel (Thomas Haden Church) for help. Ansel lives in a trailer park with his new wife Sharla (Gina Gershon) and his daughter Dottie (Juno Temple) from the previous marriage. When it becomes clear that Ansel doesn’t have the money to lend him Chris tells him of a half-brained scheme involving Joe Cooper, a detective who is self-employed as a hitman. The obvious target is Adele, who has a $50,000 life insurance policy. The money could not only pay off Chris’s debts and the $25,000 fee for Joe’s services, but the remainder could send Dottie, the sole beneficiary, to college.Continue Reading
The Farewell is an account of the final days of the poet, playwright, and theater director, Bertolt Brecht (played by Josef Bierbichler). It recounts a single day of his vacation miles outside of Berlin where he prepared, alongside his reviser, wife, daughter, and mistresses, for the new theater season. The interests of everyone present clash on several matters, most importantly Brecht's health, which was in rapid decline. His wife Helene/Helli (Monica Bleibtreu) stands by as others dote on him. Many, including Kathe (Jeanette Hain), a young actress who seems to be his latest muse and mistress, take priority over his own wife and daughter, Barbara, in terms of attention. Also present on the estate for the vacation is Wolfgang Harich and his wife Isot. Harich is a political reformer who openly shares his wife with Brecht. To complete the picture is Elizabeth, his reviser, and Ruth, an old mistress past middle age who is now an alcoholic and an emotional wreck over the fact that Brecht no longer takes interest in her.
On the morning of their last day of vacation a Stasi officer comes calling and wishes to speak with Brecht's wife in private. He asks if the Harichs are present in their company, and once this has been confirmed, he informs Helli that by sundown they plan to arrest their friends for high treason, no doubt due to Wolfgang's radical activities. The officer asks that everyone on the estate clear out by six o’clock that evening and gives her a number to call and a signal to recite when it's safe for them to take action. He also asks her to not inform the Harichs of the arrest or their conversation, and in doing so, she will keep herself and Brecht out of danger.