No one has heard of Director Pino Amenta. The name John Waters has always brought to mind the Baltimore cult director instead of the English actor. Almost everyone has heard of Guy Pearce, who was introduced in Heaven Tonight—a dated melodrama circulating a strained relationship between a father and his son. The weight of their troubles doesn't have anything to do with your standard fare of family drama, like one of the members abusing substances to the point of domestic strife. The issues that Johnny Dysart (John Waters) and his teenage son, Paul (Guy Pearce), are having are based on talent. Johnny is a failing musician and a has-been after a short-lived but illustrious career 20 years prior. Like many bands from the '60s, his was one that was going to become the next Beach Boys or Beatles—hitting the top of the charts and soon to tour the world. All it took was for his best friend and bandmate to become a junkie and the band collapsed. Now young Paul is climbing to the top with his electro group and doing so without the help of his father. His determination and position as the leader of other young men who are keen on success is not only impressive, but the target of envy and resentment from his displaced father.
Still, things in the Dysart household have stayed relatively steady over the years. Everyone gets along for the most part and Johnny's wife, Annie (Rebecca Gilling), is waiting patiently, and with great understanding, for her husband to put away his guitar and settle down into middle age. Johnny, oblivious to the strain his nonexistent career is putting on his family, is waiting for his last chance to come through. He's finished another album and chases after an old colleague in the business to give him an answer in terms of releasing it. Annie has been the major breadwinner of the family, and with a new business opportunity on her hands she's ready to take a risk and wants her husband to be included. Meanwhile young Paul and his group starts to really become popular and he desperately wants his father's approval and attention. All of this is put to the side when Johnny's troubled old friend and former bandmate, Baz (Kim Gyngell), comes crawling back into their lives and leaves an impact that has the potential to destroy their progress as a family unit.Continue Reading
Children of Men
Can one really imagine a city underwater? A meteor penetrating the Earth's ozone layer after a team of rogues tries to stop it? Dormant aliens or complex thinking machines rising from the Earth's core? Zombies dressed like your neighbors who hunt down the fit and handsome last man on Earth? The answer is a resounding “no.” But infertility...inhumane policing of immigrants...turmoil and depravity...a civilized and desperate reach towards mankind's will to sustain and overcome—well, that's an apocalypse that is much more tangible. Alfonso Cuaron's slow burn to the end of mankind paints a poetic picture of biblical proportions. One that not only allows the viewer to sink into a mortifying suspense of disbelief, but also manages to exemplify a relevant and powerful social commentary; a science-fiction for realists.
Cuaron's name seems to be on a lot of people's tongues following the recent release and accolades of Gravity, but Children of Men is a masterpiece that, while commercially a success, fell short of the sort of interest and praise of his latest work. It's as though fans of the genre were still caught up in the thrill and evolution of robots and outdated imagination. Perhaps the grizzly immigration aspect struck a nerve or was regarded as too controversial.Continue Reading
Let the Right One In
Aside from being regarded as one of the best vampire movies to date, Tomas Alfredson's Let the Right One In is also one of the most apathetic and emotionally involving coming of age films. Its ability to paint a literally frozen portrait of Sweden post-Red Curtain while zoning in on the woes of childhood issues ranging from bullying to first love goes beyond the confines of a genre and allows the work to reach a rare platform of relatability that is truly a pleasure to behold.
Taking place in a small suburb of Sweden in the early '80s, the film is told through the experiences of Oskar (Kare Hedebrant)—a lonely pre-teen whose friendless existence and somewhat helpless position of a bullied youth has instilled in him a fascination with morbidness while simultaneously nurturing his eccentric personality. When a middle-aged man and his daughter move into the flat next door, Oskar takes a chance at befriending Eli (Lina Leandersson), the little girl.Continue Reading
Guilty of Romance
Whenever you find a film that is based on actual events or someone's life, with the exclusion of biopics, I highly recommend giving it your time. It's similar to the interest piqued from a movie based on a book you find yourself drawn to, but much more involving. This is perhaps due to - and heightened by - the interest from the director. To consider that there is someone's story out there that captivates a filmmaker to the point that they are willing to spend thousands, if not millions, of dollars funding a work that will tell this story the way they imagine it in their mind after (hopefully) researching the events leading to it is, in all seriousness, a wonderful thing. Of course, the director needs to be someone you trust to tell this story—and what better example than Shion Sono and the grizzly tale of a woman on the brink of sexual discovery in a repressed society that can and will eat the faint at heart for breakfast.
Opening with “On the eve of the 21st century...,” Guilty of Romance takes off at a hurried run as a detective (Miki Mitzuno) stumbles upon a bizarre crime that would rattle even the most experienced among her profession. The remains of a woman are found in various locations known for being the playground of anyone keen on prancing through the erotic underworld. The fact that a murder took place there isn't necessarily jarring. The fact that the remains were partial and attached to a mannequin dressed like a schoolgirl was.Continue Reading
Redemption is a complex thing. Our quest to find and observe it is even more multifaceted and often biased. We are drawn to stories where characters have redeeming qualities or, at the end of some relevant venture, find redemption in an act, thought, or belief. Usually this is something that your average person can relate to; a person coming into the dizzying territory of adopting a sense of selflessness or virtue—maybe making some wrong right. But who can relate to a story where someone who has done something as deplorable as molesting a child strives to find a way to redeem himself? Who even thinks they can sit through a film where this is obviously the end goal? Unfortunately the answer could very well be not many, but The Woodsman, should one feel comfortable enough with their own sense of self, is one of the finest stories about this quest that is not only overlooked, but avoided.
Kevin Bacon takes on the most dynamic role of his career thus far as Walter, a man just released from a 12-year prison sentence for molesting pre-teen girls. He finds work at a lumber yard run by Bob (David Alan Grier), who takes him on simply because he inherited the company and knows that Walter gave years of excellent service to his father. Though he has the jaded look of a man who has obviously come from prison, his coworkers are unaware of his crimes and don't care to pry except for Mary-Kay (played by singer-songwriter Eve), the office secretary who wants to know everyone's business and makes false friends in order to do so. In the midst of his daily routine Walter meets Vicki (Kyra Sedgwick), a spunky blonde struggling to hold her own in a male-dominated field. Her seen-it-all demeanor and harmlessly invasive conversation leads her to be his only confident and, in time, lover.Continue Reading
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