This one is going to be ALL movie reviews, some in verse and some not.
First here's a prose review by our friend Erik S.
Red Chapel
In Red Chapel, Danish journalist Mads Brügger takes on the challenge of making a documentary highly critical of the world’s most secretive, repressive and paranoid regime while an exceptionally paranoid agent of that regime reviews and censors the film footage daily to ensure that none of it is remotely critical. Brügger meets this challenge by enlisting Jacob Nossell, a self-described spastic and absurdist comedian whose speech impediment renders his Danish impossible for his North Korean overseer, the positively creepy Mrs. Pak, to understand, let alone censor. Under the guise of participating in a cultural exchange, Brügger, Nossell and Nossell’s porcine sidekick, Simon Jorgensen, are chaperoned around Pyongyang and treated to a highly staged and still utterly disturbing tour of schools, the Ministry of Culture, the Demilitarized Zone and other hotspots.
Almost as bizarre as Pyongyang itself is the culture that the Danes seek to exchange or, more precisely, inflict on the North Koreans. Nossell and Jorgensen’s absurdist comedy routine is a cacophony of prop gags, bad sketch comedy, kazoos and, inexplicably, a rendition of Oasis’ “Wonderwall.” The Ministry of Culture apparatchiks have no idea what to make of the routine except that it’s somehow subversive and therefore must be altered. The altered North Korean product, however, is even more bizarre than the Danish original. Watching Red Chapel (named after a communist cell operating in Nazi Germany), one gets the feeling that North Korea has fallen so out of touch with reality that even its attempts to manufacture run-of-the-mill propaganda yield unending weirdness. As the movie progresses from rehearsals to the ultimate performance of Nossell and Jorgensen’s routine before a large audience, Nossell becomes unhinged, railing against the repressiveness and lunacy of Pyongyang and the smothering attentiveness of Mrs. Pak. Meanwhile, Brügger, whose stated goal is to expose the evil at the heart of North Korea, begins to take on the autocratic nature of his surroundings. In one pivotal scene, Brügger and Nossell are carted (Nossell spends half his time in a wheelchair) into a military parade. When Nossell refuses to salute along with the hundreds of thousands of North Koreans marching alongside, Brügger pleads and then orders him to do so. To his credit, Nossell disobeys.
If Brügger’s goal is to expose Kim Jong Il’s heart of darkness, he falls a little short. While the insanity of the North Korean regime is apparent, how it got that way is not. What is apparent is that both the North Koreans and Brügger are exploiting Nossell for distinct propagandistic purposes. But Nossell is aware of this and, moreover, aware that he is the only person in the movie – and in North Korea – who can speak his mind. As trite as it may sound, his disability confers an ability shared by no one in the film. (He showed the same candor at the Q & A at Sundance as he did in Pyongyang.) Given how brainwashed, paranoid and downright frightened the North Koreans in the movie appear, it’s surprising that they allowed the Danes into, and Red Chapel out of, the country. But I’m glad they did.
Of Metropolitan
Whit Stillman bounds on stage before the packed house to re-introduce the movie that jumpstarted his career in the exact spot where it started. "We played for three screenings," he recalls, "One here, in the Egyptian, where it did quite well. And one over at the Library, where nobody laughed at all. Then one more back here, but that was when this theater was quite threadbare..." He pauses and looks around at the lush curtains and fabulously chintzy Egyptian motifs on the walls. Stillman speaks with his head down and his hands folded, crumpling his classy suit slightly and making his pocket square poke out insolently. It's 3 in the afternoon, and everyone else is wearing soggy parkas.
"Now that they've tarted this place up, I'm not sure it will play as well. Perhaps it needs a run-down and crumbling environment to seem to shine? Anyway, I hope you like it."
Then the movie played and it was as warm and as innocent and as brilliant as it was 20 years ago when I first saw it as a teenager. On a big screen some of the low budgetness is more evident, but the performances which on video seemed restrained are instead rendered massively emotional. Audrey's little smile when Tom and Charlie come to rescue her, Rick's lost melodramatic squint as he waves himself out of the movie onto a train--so many moments that seemed cute or underplayed become hugely tragic when huge. And the jokes are so much funnier when 300+ people from all walks of life are roaring along with you at witticisms about obscure french political philosophers.
We applaud forever when it's over. Some of us are teary-eyed briefly. Whit and his two go-to actors, Chris Eigeman and Taylor Nichols, come onstage for more cheering. Whit bows regretfully to the microphone, shading his eyes with his hand. "Well I guess the new luxuriousness of the theater didn't help the film at all, it sounded from the lobby like you didn't enjoy it. I'm sorry." There is an audible "awwwwww" from the crowd. Later while discussing some of the tricks they used to save money (filming in church on a tuesday, shooting every indoor scene in the same apartment building) he says, "We decided to make our lack of professionalism and ability a style. So when people criticized us for how flawed it looked, we could just say..." and here he points at Chris and Chris nods and murmurs into the microphone, "That's just our style." Whit grimaces.
Watching this I just wanted to give him a hug. Dude, it's OK, everyone who knows anything already worships your shit, from Roger Ebert who was at that first showing in 90 and babbled endlessly to everyone about how much he loved the films poise and cleverness, to Douglas Coapland and a hundred other cultural critics who used it to illustrate the secret conservative heart of Generation X--our longing for stability, class, and moral certitude. Whit seems like the kind of guy who would shriek and stab at your eyes if you tried to hug him though, so I refrained. In fact when I saw him a few days later at the airport, I didn't even say Hi despite how important all of his films are to me, I just snapped a picture and ducked into the Hardees.
No-one at the Q&A asks him why he hasn't made a film since Bush took office (I assume the two are connected, how can someone make delicately romantic films about characters struggling with faith and social conservatism when the nation was being savaged by the worst examples of both? Bush II has plenty to answer for but surely this is the last straw: BEGIN WAR CRIMES TRIALS TODAY) and the last I heard he's still in talks about a movie set in 1960s Jamaica (MTV agrees) and you could certainly sense the hysteria among the questioners for more details. One guy asks if there was a classic, almost instinctual prejudice against wordy intellectuals in Hollywood (and everywhere else) that he's encountered, possibly accounting for the long silence. Stillman doesn't notice the attempt at camaraderie--we're the same! we're his ideal audience! we're the nerds and polite former youth of disparate classes who would rather deride Jane Austen than run a train on sluts! mon frere &c!-- but he can't see past the lights on the stage, he feels cornered, so he hands the mic to Chris. Chris shrugs, he's from Montana he says. Whit takes the mic back..."Perhaps we'll make a Western with these same characters. It would be a lot easier to shoot because the character could face the same direction, sitting on ponies." For god's sake someone give this man Avatar money and let him rescue films and our whole society from total downward mobility, again! SFRP FTW ASAP.
Jeff's good friend Shaun H. was also around all week and saw way more movies than we did. Here are his insights about what he saw:
Happy Thank You More Please
For those of you who love How I Met Your Mother, you’ll be happy to know Ted (Josh Radnor) offered up his first feature film to the festival. Written, directed, and acted by Radnor, this movie is filled with some of the standard indie film elements: NYC, good looking 20 year olds, members of the Creative Class, indie soundtrack that includes newish, sensitively romantic band (in this case, Blind Pilot filled the bill).
Here’s how the story goes. Three separate hetero relationships are struggling to find a successful love story. All relationships begin to look hopeless. All relationships are repaired with rainbows splashing over the Grid.
Even though the arch was pretty predictable, the writing was not completely terrible. Best moment for me was a quick nod to the french toast scene in Kramer vs. Kramer. If you haven’t seen K v K and you like Dusty Hoffman, please go watch. It’s really superb and won five Oscars, most notably best actor and picture.
In the end, I love How I Met Your Mother and have yet to write a hit play, movie, short, or song...so I really am in no place to moan about this movie’s shortcomings. See it. It’s easy.
Runaways
Ok, this biopic of the girl band, Runaways, was the hottest ticket at the festival and by some miracle I was able to pinch a ticket off a last minute attendee. The cast included Kristen Stewart (Joan Jett), a mature Dakota Fanning (Cherie Currie) and Michael Shannon (famed producer, Kim Fowley). The short of it is, great music,…Fanning flexed her chops…. I’m crushing on Stewart despite her weak acting… and Shannon seemed to enjoy performing as much as the audience enjoyed watching him. All actors used their own singing voices, which seems to be a trend now. I’m thinking of another recent discovery, Jeff Bridges and Colin Farrell in Crazy Heart. When the movie comes out in May, see it. You’ll like the music, the rattle of Rock n Roll, and the way Stewart wears leather. You might be uncomfortable watching a 15 year old Fanning sex it up in S&M gear, but by the time the movie comes out, she might be 16 and legal in MD.
Welcome to the Rileys
Jake Scott directed this pic and most attention was directed to Kristen Stewart playing a troubled stripper who gets saved by Tony Soprano, also known as that guy who annoyingly pushes out heavy exhales through the nose.
Gandolfini and Melissa Leo play grieving parents who lost their daughter a few years ago. Gandolfini goes to a strip bar and is introduced to Stewart’s character. As a New Orleans stripper you’d think you’d get some nudity, but I think Stewart’s contract forbid too much reveal…most skin was limited to quick ass shots in a g-string. I also think Stewart’s a bit young to know how to use her body all that well, so the stripper scenes didn’t really work…hence the limited footage of her dancing.
The story moves along with Gandolfini trying to fulfill a sergeant-like “father” role for the struggling stripper. It was kind of like a spin on An Officer and a Gentleman but with more lines about burning cooters and gobbler kickbacks. [ed. We don’t want to know what that is…]
Overall this movie was entertaining. I really didn’t see Gandolfini as Tony Soprano and Stewart did a fine job of playing the rebellious teenager with a foul mouth and guarded heart. I didn’t mention her much, but the star of the film was by far Melissa Leo. Her screen time was a fraction of the other two, but her presence and chops were in another class.
Not sure if this will get picked up or not, but if it does, check it out.
Get Low
A depression era film starring king-kong bad-ass Robert Duvall as the lead role, as a crotchety and creepy old man named Felix. The supporting cast is equally strong with giants like Bill Murray, Sissy Spacek, and that little kid who acted next to Billy Bob in Sling Blade
The film is loosely based on a true story of a guy (Felix) who failed to save the love of his life from a burning fire. As a form of self-punishment and acknowledgement of shame, Felix owns the role of social pariah and spends the next 40 years as a guilt-ridden recluse.
Like a classic western, this movie carries us through the journey of a man looking to untangle the demons of the past. In this story, Felix decides he wants to host his own funeral. He invites people from all over to come and share any story they’ve ever heard about him.
Bill Murray plays an opportunistic newsman who’s short on compelling stories to write about, so he jumps at the chance to promote and cover Felix’s funeral. To fund the event, Felix creates a raffle. 5 bucks and you get a chance to win his entire estate of land.
The acting throughout this movie was really terrific. Duvall plays that tough old guy role like Clint Eastwood: quiet, controlled, and Tonka tough. Spacek enters to inject some romantic confusion, but doesn’t add much to the total picture. As for Murray, even though he’s playing a serious role, he manages to introduce the right dose of comedy. After watching Murray take control of the Q&A that followed the screening, it is only confirmed that no matter what that guy does, it’s just funny. As comedians like Woody Allen and Dave Chappell have mentioned, sometimes people are just born funny. No matter what they say people laugh…Murray is clearly in the club and without choice.
This movie ended up being one of my early viewings and ultimate favorites. Duvall doesn’t usually impress me, but his talent was well noticed in his latest effort.
Countdown to Zero
I’d say once this film gets released it will come up in my Netflix section of “Local Favorites for Washington DC”. It’s basically about the issue of nuclear weapons and how we as a society need to push world leaders to get rid of all nuclear weapons. The doc was filled with lots of facts going on and interviews with experts and physicist. I think this movie was my fourth of the day so my eyelids were feeling heavy. Valerie Plame was featured in the doc and actually came to the Q&A.
It did seem a little out of touch with the idea of how easy it would be to just have everyone stop acquiring or producing nuclear weapons. It’s like a Tarantino standoff where no one’s willing to drop their gun. And I guess the point of the doc is that the world is headed towards a Tarantino ending as well. My personal contribution is becoming a fan of Global Zero on Facebook. I know, pathetic. So what?
Jean Michele Basquiat: The Radiant Child
Jean Michele Basquiat: Great documentary by filmmaker and friend of the legendary artist, Tamra Davis. Not much added to the story of what most people already know. JM was enormously charming, talented, naive, innocent, intelligent and pure in all intentions. The significance of this competition entry was the unveiling of never before seen footage from a series of interviews conducted over 20 years ago. I’d say the movie Basquiat directed by artistic genius (and puckered anus) Julian Schnabel, is much better storytelling. Not to mention how awesome it is to see David Bowie play Andy Warhol. However, the vintage footage of this film offers a much better representation of Jean Michele’s charm. He speaks more through his eyes and often reinforces the factors that made him such a darling among the Downtown 500 crowd of the early 80s.
The Q&A was equally stimulating as Davis explained why she held onto the footage for 20 years. She shared that Jean Michele would often express great sorrow when friends sold his paintings. So, when Jean Michele died, Davis felt weird about using her footage for personal gain or recognition- felt it would be somewhat disappointing to her late friend. It wasn’t until she shared her archive with curators at the Museum of Contemporary Art in Los Angeles that she was convinced to produce her deeply personal tribute.
One other interesting note was that in Schnabel’s movie Basquiat, he didn’t have rights to the estate of Jean Michele, so he had to reproduce all Basquiat paintings for his move. Sometimes someone’s talent can be so unbelievable annoying. Schnabel, for being such boner, has some pretty impressive skills. Resentfully yours…
and finally some more
POEMS INSTEAD OF MOVIE REVIEWS
by Me
SKATELAND
"Gotta make a move to a town that's
right for meee" Town in question:
Funky, Louisiana. In 1983
the roller rink is closing down.
The teenage hero, Hamleting hardcore,
his best friend in love with him,
everyone in love with him,
but will he go to college?
Here I praise the performance
of the actors biceps, and James Le Gros's
uproarious mustache. Alice Cullen
has the perfect mousey nose.
Dedicate this one to John Hughes, deliciously
unsurprising. Gotta Move On. Gotta Move On.
ODDSAC
Animal Collective made an album that is a film
which pulses cryptic scenarios to the beats
composed to the flashing images of insanity.
Danny Perez, visual director for Black Dice,
spent four years locked in a dark room to help
Animal Collective make an album that is a film.
Geologist, Panda Bear, and all the brothers,
whenever free, would write and rewrite music
composed to the flesh and image of the insanity.
Sporting all the latest eyeglasses
The premier is stuffed with gawkers at the news
that Animal Collective make an experimental film.
The results are disturbing and beautiful.
But are the dark and fiery electronic songscapes
composed to the flashing image's insanity?
Or did the vampires in Blue Monday makeup,
swinging torches and the evil marshmallows
inspire Animal Collective to make this album? The film's
images compose flashes of pure insanity.
THE KIDS ARE ALL RIGHT
Ripped from the backlines of LA's canyons
and organic gardens, this story of yuppie
lesbians whose comfy life is disrupted
by their sperm donor's reappearance,
redeems its pretentious subjects--
their self-regard or loathing,
violent skatepunks and smug cheaters--
with open-hearted comedy.
Mark Ruffalo is disgustingly charming.
Annette Benning and Julianne Moore
buck and employ gay women archetypes,
and all the kids are better than the title deems,
standing by dumbfounded as their family
crumbles, rebuilds, ready for what, not who, is next.
Final report coming on Monday, along with an interview of the great and frightening Louis CK.
God loves a cheerful giver.
COMMENTS (0)