Shadows in the Cave Digest #03 - March 2010

Newbie Wednesday - Bunny and the Bull

Bunny and the Bull (2009, Paul King)
Starring Edward Hogg, Simon Farnaby, Veronice Echegui, Richard Ayoade, Julian Barrett, Noel Fielding

Note: This film has no planned release date for either theaters or DVD in the US. So, your best bet is to torrent the sucker.

"Come with us now on a journey through time and space". If you are familiar with the immensely popular British series The Mighty Boosh then those are familiar words to you. The director of that series, Paul King, embarks on his feature film debut, bringing with him some familiar faces in supporting roles as well as the quirky aesthetic sensibilities of his television series.

The premise puts agoraphobic Stephen in the midst a year long hermit period. He is dealing with a trauma that occurred in Europe while he was on holiday with his friend Bunny. The two follow Stephen's idea of fun by touring the various museums of the continent, but once Bunny takes the wheel things become a lot crazier. They meet waitress Eloisa who is looking for a way back home to Spain, and Bunny decides that once they arrive there, he is going to fight a bull.

The strongest thing this picture has going for it are the inventive visuals. King is definitely a peer to a director like Michel Gondry, in the way he intentionally lets the audience in on the hacked together set pieces. A fast food delivery bag becomes the setting for a flashback in a restaurant. A snow globe becomes the Swiss mountain chateau the men stayed in. A photograph of their train becomes a chain of photos, set against a landscape made of similar snapshots. The Mighty Boosh did the same, and it caused the universe to feel like a timeless fantasy-scape.

The plot on the other hand is not very strong. There's no real depth to the two main characters, Stephen is a very stereotypical neurotic and Bunny is the typical crazy risk-taker. There's not attempt to give us more about these characters or attempt to explain their motivations. The rest of the film is populated with set piece characters, such as the dog-milking Polish man, an innkeeper overly fond of her stuffed bear, and a former matador who uses a shopping cart with horns for practice. The film is very pretty to look at, and showcases the cleverness of the director aesthetically, I just hope he can find a richer level of writing for his next film.

Director in Focus: John Sayles - Passion Fish

Passion Fish (1992, dir. John Sayles)
Starring Mary McDonnell, Alfre Woodard, David Strathairn, Vondie Curtis-Hall, Angela Bassett, Nora Dunn, Sheila Kelly

John Sayles makes films that are a bizarre phenomenon amidst Hollywood culture. His characters are all adults, usually in their late 30s, early 40s. They actually behave like adults. The conflict in these films is muted and commonly unresolved. It's no wonder he is forced to make films independently. This particular film features the "umarketable" combo of two women in their late 30s and a conflict that is never truly resolved.

May-Alice (McDonnell) is a soap actress paralyzed from the waist down after a car accident. This is the last in a series of disappointments that sends the obstinate woman back to her family home on the Gulf in Louisiana. She goes through a series of in-home caregivers that are driven away by her temper, until she meets Chantelle (Woodard). The two women bond after Chantelle shows May-Alice she's going to make her work to rehabilitate her body. Each woman learns about the other's past and through these revelations they grow closer and learn to put down their aggressive facades.

This could have been a very overwrought melodrama, but Sayles is able to make very fleshed out, three dimensional characters. The friends and uncle of May-Alice who come to visit feel very unique in this world. The love interests of both characters feel very real as well, despite not having all that much screen time. Each of these characters feels like they could support a feature, or at least a short, of their own. And May-Alice plays a different role with each person, revealing that the only time she isn't acting is when it is just she and Chantelle.

This is not a film for the CG driven and big explosion crowd. If you are looking for a thoughtful film about something, and a film that really highlights strong female acting, then I would definitely recommend you pick this up.

Some final thoughts about John Sayles: Sayles is most definitely an independent spirit. His films are not the kind Hollywood would ever think to make, and its a good thing he is there to make them. I can see how his style of muted filmmaking has influenced a lot of similar indie filmmakers today. He never felt a need to be too stylistic with his camera, preferring to make it clean and crisp, while focusing on fleshed out characters who are real people.

Films I watched by this director: Lone Star, Matewan, Men With Guns, Silver City, and Passion Fish

Director in Focus - New Director Poll Results

So the vote for my next Director in Focus is complete and the results are as follows:

Francois Ozon - 9%
Claire Denis - 18%
Pier Pasolini - 27%
Brian DePalma - 45%

So Brian DePalma it is! The April schedule looks as follows:
April 3rd - Carrie
April 10th - The Fury
April 17th - Sisters
April 24th - Dressed to Kill

DocuMondays - Examined Life

Examined Life (2009, dir. Astra Taylor)
Featuring Judith Butler, Cornel West, Slavoj Zizek, Kwame Anthony Appiah, Michael Hardt, Martha Nussbaum, Avitall Ronell, Peter Singer, Sunaura Taylor

Fans of Michael Bay's work will no doubt be rushing out to see this one. That was sarcasm. Canadian-American filmmaker Astra Taylor has assembled 8 philosophers and given them ten minutes a piece to muse on some aspect of existence. This could have been pretentious drivel, but Taylor is able to make herself the subject of the film early on in an effort to point out that such an endeavor is imperfect and we should simply sit back and enjoy the mistake. While walking through a park with NYU literature professor Avital Ronell, the subject becomes the interviewer, asking Taylor what the goal of all this is. Taylor responds that philosophy is such an oral exercise, yet it is communicated primarily in printed words, where there is time and space for it to be stretched out and examined. Taylor states she wanted to see if something similar might be accomplished on film, where the philosophers can speak.

The three standouts for me were Judith Butler, Slavoj Zizek, and Cornel West. Cornel West has had vast experience as a media personality so he has the charisma and verbage to make what could have been a dry seminar into a witty musing on the nature of democracy and authority. Judith Butler is also very interesting, with her segment involving a discussion between Taylor sister, Sunastra, who is a painter and disability advocate. Their talk hinges on the idea of "going for a walk", and what that means for a wheelchair bound person such as Sunastra. This evolves into the nature of being disabled in a contemporary context and then to an exploration of what the manner in which people walk tells us, and how human behavior is regulated by social expectations.

The best was Slavok Zizjek, a Croatian philosopher whose A Pervert's Guide to Cinema is a great documentary introduction to film criticism. Zizek delivers his dialogue from a landfill somewhere in New York. He talks about the conflict between humanity and nature, and the trend in some groups to desire a "return to nature". His argument against this is that Nature is simply an ongoing series of violent biological interactions. He cites oil being such a large part of contemporary life, and how we never contemplate the sheer level of violence that had to occur to destroy so much living matter to produce the oil in the earth. The conclusion of this talk is that it is in humanity's best interest to create further and further artificial environments that it can control, and that this will involve a redefining of beauty from a pastoral standard to one in which hills of garbage can be found to have a pleasing aesthetic.

The documentary is obviously not for someone needing an escapist film, yet it is not a film for someone who has attained a degree in philosophy. I found it fairly apparent that Taylor is trying to reach out to the contemporary individual who has an interest in continuing their education and not moving through life drone-like. The film is full of idea candy, some interesting questions to contemplate and savor after seeing the picture.

Maybe Sundays - Blind Date (2007)

Blind Date (2007, dir. Stanley Tucci)
Starring Stanley Tucci, Patricia Clarkson

Navigating the waters of a relationship, especially one that has gone on for decades is a dangerous and fragile thing. It is almost instinctual on many people's part to use the vulnerabilities of their mates in verbal combat, attempting to make painful digs. External circumstances can also damage both parties in a way that makes their relationship irreparable. This very quiet, simple film examines those moments of conflict by combining emotional realism but aesthetic surreality.

Don (Tucci) works in a bar/theater where he performs an intentionally bad magic act. He will regularly place and respond to singles ads in the newspaper, placed by he and his wife Janna (Clarkson) as part of a strange game they play. They always meet at the theater, where their ads have determined what roles they will play. In a few strange episodes, they play psychiatrist to each other. These meetings are revealed as ritual torture around the half way point when a tragedy is revealed as the reason why they do this back-and-forth routine. The rendezvous typically end in frustration on the part of Janna, unable to forget the pain that birthed this dance.

Despite the complex ideas and concept the film is very rough. The surreality of the setting the repetition, which on one hand is crucial to telling this story, feels tedious and the momentum of the film suffers. The acting is amazing, I wouldn't expect less from these performers though. The film is part of a series which works to release English language remakes of Dutch filmmaker Theo van Gogh's work. Van Gogh was murdered by an Islamic extremist in 2004 after releasing a film highly critical of the Islamic community's treatment of women. Despite the flaws in this remake, it does have me interested in seeing the original and the rest of van Gogh's work.

Cinematic Television - Science Fiction & Fantasy

One of the television genres to really rise to the level of cinematic programming are those based around science fiction and fantasy. Television is full of shows that either go the hard sci-fi route (Stargate, Battlestar Galactica) or incorporate their elements more subtly (Lost).

Twin Peaks (1990 -1991, created by David Lynch and Mark Frost)
Starring Kyle MacLachlan, Michael Ontkean, Sherilyn Fenn, Madchen Amick, Sheryl Lee, Lara Flynn Boyle, Jack Nance, Grace Zabriskie, Ray Wise

There had never been a show like, and probably never will be another show like, Twin Peaks. The series was a perfect combination of the avant-garde sensibilities of filmmaker David Lynch and primetime soap producer Mark Frost. The show is at moment high camp and melodrama, then switching to tense neo-noir thriller, and over to creep-infused cinematic horror. The premise is incredibly simple: Young girl's body washes up on the shores of her small Washington state town, FBI eventually called in to investigate. Out of this premise rises one of the most eclectic casts ever assembled on the small screen. Kyle MacLachlan plays Special Agent Dale Cooper, an investigator the likes of which you have never seen. He doesn't put much stock in typical detective work, but rather relies on Eastern philosophy and his enigmatic dreams to guide the case. The series will introduce you to the wonders of the Log Lady, the Backwards Talking and Dancing Midget, The One-Armed Shoe Salesman, and a coffee percolator with a trout inside. You'll never have coffee and pie the same way again. Though the series lacks horribly in the middle of its second season (Lynch was away from the series to work on a film), it is still light years better than anything you've ever seen on TV.

Battlestar Galactica (2004 - 2009, created by Glen A. Larson, Ronald Moore, and David Eick)
Starring James Edward Olmos, Mary McDonnell, Katie Sackhoff, Jamie Bamber, James Callis, Tricia Helfer, Grace Park, Michael Hogan, Tamoh Penikett, Aaron Douglas

When I first heard they were doing a remake of the cheesy Star Wars knock-off Battlestar Galactica I was a bit suspect. It wasn't till 2006 that I actually sat down and began to work my way through the first two seasons of the series and was amazingly surprised. The names were the same, and original premise was fairly intact (Cylons destroy the Twelve Colonies, forcing a small fleet of ships to begin searching for a new home), but the themes and tone of the remake was startlingly fresh. What was done so well in BSG was that is stayed true to the great science fiction trope of being more about our present society and context, much more than any future environs. The series manages to capture a lot of tension in post-9/11 America, with characters finding it easy to dehumanize their enemies, debating if authority has the right to seize power in the midst of crisis, and approaching issues of religious conflict. Despite the first half of the third season being one of the most brilliant things ever, the show begins to crumble in the second half and never recovers during the final season. The show's focus began to get tied up in trying to explain its overly dense mythology and characters behaved in erratic ways. The series is definitely one of the best science fiction series ever aired and spawned a spin-off prequel series, Caprica.

Lost (2004 - 2010, created by Jeffery Lieber, JJ Abrams, Damon Lindeloff, and Carleton Cuse)
Starring Matthew Fox, Terry O'Quinn, Michael Emerson, Josh Holloway, Evangeline Lilly, Jorge Garcia, Daniel Dae-Kim, Yunjin Kim, Naveen Andrews, Henry Ian Cusick

I must admit my bias. Lost is one of my favorite things ever. EVER! I was less than interested when I watched the premiere during its original airing, but returned to the series when my roommate 's obsession pulled me back in at the start of the 2nd season. I have been hooked ever since. What makes Lost great is that it took its time to get to its big mysteries. The entire first season is all character based, with slight touches of mystery sprinkled throughout. Because we have an emotional investment in these people when the trouble goes down, we feel it more. The production values of the series are astonishing. Every episode features beautiful cinematography, gorgeous music, and writing that is very clever and knows how to dole out pieces of a mystery perfectly. The show has a dragging point in the first half of season three, but quickly recovers and hasn't let up since. The current and final season has been carefully pulling the layers of the onion back before the full reveal is made. The creators of the series have an apparent love of classic crazy sci-fi TV, particularly the shows of Irwin Allen (Land of the Giants, Lost in Space, Time Tunnel). That is mixed with some fascinating spiritual themes and literary references, that make the show enjoyable if you want to simply watch for fun or mine it for all its thematic richness.

True Blood (2008 - present, created by Charlaine Harris and Alan Ball)
Starring Anna Paquin, Stephen Moyer, Sam Trammel, Ryan Kwanten, Rutina Wesley, Chris Bauer, Nelsan Ellis, Todd Lowe, Carrie Preston

If Tennessee Williams wrote a vampire novel, this would be what was produced. The accents are garish, the acting sickeningly melodramatic, and the plots are over the top. But I can't stop watching it! Set in the fictional hamlet of Bon Temps, Lousiana, True Blood focuses on Sookie Stackhouse, a dive bar waitress with psychic powers and in love with a Civil War era vampire, Bill. In the world of the series, vampires have "come out of the coffin" and are attempting to become integrated into modern society. The impetus behind this is that scientists have managed to synthesize blood, meaning vampires can crack open a cold one rather than gnawing on a warm one. However, there are certain vampires who see this as selling out to the establishment, and there are humans who have fetishized being the playthings of the living dead. The heart of the show are not the leading romantic pair, but all the supporting citizens of Bon Temps. The short order cook is secretly dealing "V", vampire blood used to trip like acid but better. His replacement is an Iraq War veteran suffering from PTSD. The bar's owner vanishes on certain nights, showing up naked in the middle of nowhere. A voodoo priestess lives in a trailer just outside of town performing exorcisms. This is not for people looking for Mad Men, though you can enjoy both shows. If you like some supernatural insanity then definitely check this one out.

I'd like to know what dramas, comedies, and sci-fi/fantasy series YOU are watching that I haven't included and you believe should be. Reply to the comments here or e-mail me at huckabees@gmail.com

The Burton/Depp Collaborations - The 2000s

Director Tim Burton's style of filmmaking began to change in a not so wonderful way in the new millennium. His work became much more adaptation and remake based, rather than producing original ideas and scripts. Stylistically he fell into a major rut, reusing the same aesthetics over and over again, which felt much more bland now that we had been consuming them for a decade already. However, he did have films that rose above the repetition of his tropes.

Charlie and the Chocolate Factory (2005)
Starring Johnny Depp, Freddie Highmore, Helena Bonham Carter

This remake had been in production limbo for around a decade. At one point, Marilyn Manson had been attached for the Wonka. Now that would have been an interesting pic. The studio decided on Burton, who brought along his old collaborator Depp and new wife Helena Bonham Carter. Despite earlier shakiness with the Planet of the Apes remake, I was still fairly confident in Burton. Big Fish had been a huge departure from his typical style of filmmaking. However, upon seeing this picture I found that the visual flourishes that had once captivated me caused me to literally fall asleep. The first time I saw this film, it was the middle of the day and I actually fell asleep in my chair, something that never happens to me when I am watching a film. Afterwards, I realized that Burton seemed to using his aesthetics as a crutch, providing us no real meat to the film. Oh yes, there was some half-assed attempt at giving Wonka an origin story (such a terrible idea), but if you had seen the first film there was nothing here that added to it except updated CG graphics.

The Corpse Bride (2005)
Starring Johnny Depp, Helena Bonham Carter, Emily Watson, Tracey Ullman, Albert Finney, Christopher Lee

The Nightmare Before Christmas is one of the most beautiful and perfectly made stop-motion films in history. Its an art style of animation that is rarely attempted, compared to its CG brethern, but when done right it stands above all else (Also remember, Burton only produced and did design work for that film, not direct). I was very excited to see Burton returning to that method of filmmaking and interested to see the story he told this time. For the second time in a year I was utterly bored. The film's look was basically Victorian Nightmare Before Xmas, the shape of characters and the way ghosts were designed. I don't remember much of the plot of this film, because I found my mind wandering and uninterested. It's definitely a beautiful film. Let it never be said Burton doesn't know how to fill a frame. However, like with Charlie, it lacked substance underneath the surface. The humor and characters were both ultimately forgettable.

Sweeney Todd (2007)
Starring Johnny Depp, Helena Bonham Carter, Jeremy Irons, Sacha Beren Cohen

This was a semi-return to form for Burton. The key this time wasn't his aesthetics (they were as bland and repetitive as usual), but the writing of Stephen Sondheim that caused this picture to rise above the rut. Because this film was an operatic tragedy, the bleak landscapes of Burton felt perfectly at home. London came across the dirty, grime-covered hellhole Sondheim originally tried to get across on stage. The casting for the film was wonderful, though Depp wouldn't have been my first choice for the lead. He does a good job, but its the supporters who really carry the film here. For me, this was the single true highlight of Burton's in the 2000s. It kept my interesting throughout every frame and has a truly devastating and heartbreaking finale. It's my hope that Burton is able to reproduce this sort of emotional resonance in his coming work.

Seventies Saturdays - Little Big Man

Little Big Man (1970, dir. Arthur Penn)
Starring Dustin Hoffman, Faye Dunaway, Chief Dan George, Martin Balsam, Richard Mulligan

At the height of the conflict in Vietnam, American filmmakers were ensconced in counter-cultural material. The 1970s were also a renaissance period in American cinema as well, influenced particularly by the French New Wave of the 1960s. Both social and aesthetic revisionism is at the heart of Arthur Penn's adaptation of this novel, which results in a film that is both clever and funny, and at other times muddy and unsure of itself.

As a young boy, Jack Crabb's family are massacred by Indians, however he and his sister are rescued by the friendly Cheyenne. Jack grows up amongst the Indians and eventually is pulled into the white man's world, where is to be properly educated in good Christian morals. For the rest of Crabb's life he goes back and forth, between being a "civilized white man' and a "savage Cheynne". A sort of Western Expansionism Forrest Gump, Crabb runs across historical figures like Wild Bill Hickok and General Custer, the latter of whom he serves under three separate times.

Penn allows the Cheyenne to speak in plain English, but within the rules of the film, its their native tongue translated so that we may hear. This was a big change in film at the time, as Indians had been portrayed as speaking in broken English and using tired, clichéd phrases. However, the film does fall into some common cliches of another kind when dealing with the tribe's single homosexual member, who's portrayed as a limp-wristed effeminate dandy. It would have been more interesting to have a common brave amongst the tribe end up being attracted to his fellow warriors.

The film is infused with a biting sense of humor, and definitely plays up the common myths of the frontier for laughs. General Custer, historically known for being pompous and grandiose, is played wonderfully by Richard Mulligan. Dustin Hoffman does a very convincing job as Jack Crabb, and shines particularly in the physical comedy gags. At one point he operates as a gunslinger (The Soda Pop Kid), and has a nervous encounter with Wild Bill, which highlights the small stature of Crabb. It's a very fun film, that rushes over so much, and that it keeps it from becoming a true classic.

Import Fridays - Un prophete

Un prophete (2009, dir. Jacques Audiard)
Starring Tahar Rahim, Niels Arestrup, Adel Bencherif, Hichem Yacoubi

Un prophete is playing at the Belcourt Theater starting today.

Everyone loves a story of "boy makes good". Nothing better than a young man pulling himself up by his bootstraps and making a name. The only downside is the body count. That story is what French film Un prophete seeks to tell, and colors its story with issues of racial identity, particularly how it can influence other's perceptions of us. And the film also manages to not miss the simple moments amongst all the crime and violence. It's in those moments that the picture shines.

Malik has just entered prison after an undisclosed crime. He's a very young Frenchman of Arabic descent, who is incredibly nervous and introverted now confronted with years in prison. After a chance encounter with Arab inmate Reyeb, he's recruited by the Corsican mob on the inside to kill this rival. That murder colors Mailk's existence, Reyeb appearing in his bed in the middle of the night, his garish throat wound still present. The haunting happen in such a subtle way, Reyeb just suddenly there, Malik never jumping but living with this ghost in his mind.

Malik begins taking on more responsibilities with the Corsicans, who still view him as a "filthy Arab", while the Arabic in prison see him as a "Corsican dog". It's evident that this labeling has a strong effect on Malik. Despite this internal conflict, he soldiers on, running errands while on day leave for Cesar, the head of the Corsican prisoners. What Malik doesn't tell Cesar is that he is starting his own low level operations on the outside, particularly running drugs.

Every thing Malik does is out of an innate sense of survival. He knows he won't make it long on the inside so he takes the murder job from the Corsicans, spending hours trying to hold a razorblade on the inside of his cheek for preparation. The film lingers on those moment of prep time, letting Malik fester in the anxiousness of what he has to do. As terrible as you know his actions will be, you still root for him, want him to get away with it because of his relative innocence compared to the weathered inmates around him.

One of the highlights of the film comes when Malik flies a plane to meet with Arabs in Italy. This is his first plane ride and, instead of skipping over it to get to the action with the Arab mob, the film pauses and lets us see Malik's wonder at riding in a plane. He peers over his seat mate for a glance out the window and is surprised when a flight attendant brings him cookies and glass of water. Scenes like this are what make Un prophete stand out from other "rise to power" mob stories. Malik's tale ends in the way the audience will probably expect, but its not his position as the new boss that is important, its the journey that brought him to it and the person he was that he left behind.

Jolly Good Thursdays - Son of Rambow

Son of Rambow (2007, dir.Garth Jennings)
Starring Bil Milner, Will Poulter, Jessica Hynes, Jules Sitruk

I can remember watching Ghostbusters (not the first time, probably the tenth) when I was seven, and afterwards taking an old backpack, a paper towel cardboard tube, and attaching the two with a long piece of a yarn. A shoebox with another piece of yarn attached served as my "ghost trap". I was always doing these things as a kid. Not having the latest action figures of my favorite comic book or Saturday morning cartoon characters, I would draw and cut out figurines on paper to play with. My desire to tell stories was stronger than the limitations of economy. This is the same love of stories, and being forced to go low tech that informs Garth Jennings' Son of Rambow.

Living in the 1980s, young Wil Proudfoot is the son of a woman involved in a Mennonite-like religious sect. As a result, he is not allowed to view films or television, but has a strong sense of creativity, drawing intricate worlds on the pages of his Bible. Lee is the son of an absent mother, growing up in a nursing home owned by his step-dad, and has an older brother who forces Lee to bootleg movies for him to sell on the street. Lee and Wil meet each other during an incident at school and Wil follows Lee home and glimpses his first film ever: First Blood (the first Rambo film). Wil is smitten with the film and immediately sets about storyboarding his own sequel, Son of Rambow, which he and Lee decide to film together.

Jennings is a well known music video director (he's worked with Blur and Radiohead) and is best known in film for his adaptation of The Hitchhiker's Guide to the Galaxy. That less-than-stellar flick bears some similarities in its quality to Son of Rambow. Rambow starts out with a crackling sense of excitement and possibility. Wil's fantasy sequence right after seeing the film is brilliance; done in line drawings on paper and with the slashing speed lines that accompanies such artwork. There's some great meta-textual commentary on filmmaking as well. As more kids find out about the production, and particularity with the involvement of hip French exchange student, Lee's vision as director is co-oped. A brilliant scene where Wil is admitted into the upper upperclassmen's lounge, which parodies the sort of upscaled celeb parties one would encounter in Hollywood (Coke and pop rocks are used to substitute alcohol and cocaine).

The flick is definitely worth a view, but wans near the end as it tries to make a "lesson" of the story. I would have enjoyed the sense of playfulness at the beginning to continue throughout. It was also wonderful to see Jessica Hynes, best known for co-starring with Simon Pegg in Spaced. If you get the chance, and were a kid who loved to imagine, check this one out.

Newbie Wednesday - Brothers

Brothers (2009, dir. Jim Sheridan)
Starring Tobey Maguire, Natalie Portman, Jake Gyllenhaal, Sam Shepherd, Mare Winningham, Bailee Madison

"Support the troops". Its a slogan we hear time and time again. Yet, no matter how many yellow ribbons we put up or bumper stickers we slap on our cars, there is a severe situation involving soldiers coming home with Post-Traumatic Stress Syndrome. While Brothers addresses this, it fails to create compelling characters and ultimately comes off as preachy, rather than significant.

Capt. Sam Cahill (Maguire) is preparing to ship off to Iraq, and the day before his little brother Tommy (Gyllenhaal) is being released from prison. Cahill leaves Grace (Portman), his wife and two daughters behind and ends up being declared KIA. While, Grace deals with the loss with the help of Tommy, Sam is actually alive and well, being held by Sunni extremists along with a private in his unit. Sam is put under severe torture and starvation and made to commit horrible acts. Tommy finds himself drawn closer to Grace but the two fight their urges to give in. Eventually, Sam is coming home and there will be a falling out.

The film is slow, but that is not a bad thing. The plot involving Sam is very interesting and were the moments of the film I paid attention to the most. The Grace/Tommy story is where the film drags. There is really no chemistry between the two so the hints that they might end up together feels incredibly forced. The relationship is so muted to the point of feeling like a way to kill time till Sam returns home. The most compelling interactions are between Tommy and his father (Sam Shepherd). It seems their father dealt with PTSD upon returning from Vietnam and drowned it alcohol, eventually taking it out on the kids. Tommy ends up being the black sheep of the family, and Sam enlists in the Marines because of his idolization of his father.

The picture ends on a very melodramatic note, though its last 20 minutes are its best. The top performance comes from 11 year old Bailee Madison, who plays Isabella, Sam and Grace's daughter. She very natural and composed for her age, and is a key part of the conflict in the film. Overall, a decent picture but this director has made much much better films.

Hypothetical Film Festival #10 - Gary Oldman Forever!

If you don't know who Gary Oldman is upon seeing the name, then I weep for your soul. He's one of the best, most versatile actors in the biz right now. Very few actors disappear the way he can. So without further ado, the film festival!

Sid and Nancy (1986, dir. Alex Cox)

Starring Gary Oldman, Chloe Web

This was the one that helped Oldman breakout. His portrayal of seriously messed up Sex Pistol Sid Vicious is shocking, heartbreaking, and exhilarating all at once. Chloe Webb is equally fascinating as the crass Nancy Spungeon. Its completely evident why these two are in love. They are both so deep in the chaos of their lives, they cling to each other to keep from drowning. The tragedy of these two will tear your heart out. The final scene between them is one of the most emotionally painful performances I have seen on film. It was evident from early on that Oldman was an actor to watch.

Bram Stoker's Dracula (1992, dir. Francis Ford Coppola)

Starring Gary Oldman, Winona Ryder, Keanu Reeves, Anthony Hopkins, Cary Elwes, Billy Campbell, Richard E. Grant

This is not a good movie. It suffers from a lot of indulgence on the part of Coppola, and a lot of poor acting from Ryder and Reeves. What makes the film tolerable is a completely unrecognizable Oldman as the dastardly count himself! Oldman definitely ranks amongst Lugosi and Lee with his take on Dracula. His best performance comes as the decrepit older Dracula that Reeves encounters at the beginning of the film. The film proves that Oldman can make a self-indulgent piece of crap watchable just because of his awesomeness.

Leon/The Professional (1994, dir. Luc Besson)

Starring Jean Reno, Gary Oldman, Natalie Portman

Here Oldman takes on the role of Stansfield, a drugged out cop so crooked he murders an entire poor family. It seems the man of the house had gotten involved with Stansfield's DEA unit and was hiding cocaine for them. Things go bad a little Matlilda is left an orphan, getting help and training from her neighbor/hitman, Leon. Oldman is the perfect villain for the film, at once charismatic and second later exploding and completely off his hinges. A scene. A scene where Stansfield and Matilda encounter each other in a public restroom is particularly unnerving.

The Fifth Element (1997, dir. Luc Besson)

Starring Bruce Willis, Milla Jovovich, Gary Oldman, Ian Holm

There were a lot of garish sci-fi films in the 1990s. But The Fifth Element is the only one that got that over the top sense just right. Oldman is industrialist Zorg, a schizophrenic Southerner who is obsessed with communicating with a cosmic force of evil and becoming one with it. To do this he must intercept a mysterious Fifth Element. Also on the search are Korben Dallas and Leeloo, the heroes of the film. This is a loud, obnoxious, insane film and it couldn't be more fun.

Hannibal (2001, dir. Ridley Scott)

Starring Anthony Hopkins, Julianne Moore, Gary Oldman, Ray Liotta, Giancarlo Gianni

I don't like this movie. It's too long. It's too dull. The one gem within it for me is Gary Oldman as the utterly disgusting Mason Verger. Verger had his face gnawed apart years ago by Hannibal Lecter, and is using his vast resources to capture Lecter and feed him to some hogs. Oldman delivers a gruesome, gurgling performance and amps the creep level up to 11. A film ONLY worth watching because of what Oldman brings to it.

Wild Card Tuesday - Mean Girls

Mean Girls (2004, dir. Mark Waters)
Starring Lindsay Lohan, Rachel McAdams, Lacey Chabert, Amanda Seyfried, Lizzie Caplan, Daniel Franseze, Tina Fey, Tim Meadows, Ana Gastneyer, Neil Flynn

I know what you are thinking, "Why? Why would you watch this?" My excuse is that the screenplay was worked on by Tina Fey, who also plays the main character's Math teacher, and I gave it a chance based on her pedigree. Well Tina, you didn't completely disappoint me.

Cady Heron (Lohan) was raised by her parents in Africa, and subsequently homeschooled because of the experience. Now back in the States, Cady is going to a public school for the first time and completely unaware of the highly structured clique system in place. She befriends two of the art kids, Janis and Damian, who encourage her to infiltrate the Plastics (read: popular girls) and ruin the status of queen bee Regina (McAdams). The rest of the film plays out as a mix of typical high school comedy with moments that rise slightly above that.

The female cast was definitely a strong one. Every single one of the key actresses has done a lot of notable work before and since this film. I don't think I had actually ever seen a Lindsay Lohan film (save A Prairie Home Companion where she played a very small role), but she is (was?) a very good actress. Her performance as Cady feels very genuine and I never saw the acting going on, which happens a lot with younger actors and actresses. For example, Lacy Chabert was very transparently acting and it showed. Rachel McAdams was also very good, especially knowing her from other such different roles. But the stand out, and you had to be watching closely to catch it, was Amanda Seyfried. Her role appears simple: the ditz, but the girl has some great comic timing. Pair that with her recent role in Jennifer's Body, and I am excited about seeing her in upcoming films (particularly the soon to be released Atom Egoyan picture Chloe).

As good as these actresses were, it didn't save the film. The parts I laughed the hardest at were the moments centered around the teachers. Tina Fey, Tim Meadows, and the rest of the cast in those teacher roles were awesome, and I found myself wishing the movie was about the faculty. We have so many teen comedies on the market, but a clever flick, scripted by Fey, about high school teachers would be a treat. The film will definitely make you laugh, but its nothing worth more than a single view. And I couldn't help but wonder that instead of using director Mark Waters (Freaky Friday, Just Like Heaven) they had hired JOHN Waters to helm the picture. Now that would have been a skewering of high school hierarchies.

Director in Focus: John Sayles - Silver City

Silver City (2004, dir. John Sayles)
Starring Chris Cooper, Richard Dreyfus, Danny Huston, Mary Kay Place, Tim Roth, Thora Birch, Maria Bello, Miguel Ferrer, Billy Zane, Michael Murphy, Kris Kristofferson, Daryl Hannah

John Sayles is not shy about his politics, and this film is definitely the work of a bleeding heart liberal. I myself am a fellow bleeding heart so I sympathize with the sentiments of the picture. However, it is a piece of cinema made out of anger and frustration and, while those elements have helped make great art, they cause Silver City to feel overly bitter and despondent, and way too didactic.

The movie opens on the filming a campaign commercial for gubernatorial hopeful Dickie Pilager (Cooper), the dim-witted son of a former governor of Colorado now believing he can win the seat. Sound familiar? Cooper's performance, obviously modeled on President George W. Bush was very well done and, as much as I like Josh Brolin, made me wish we could have seen Cooper in Oliver Stone's W.  During the filming of this commercial, as Pilager casts a rod into the crystalline lake in the frame, he pulls up a hand belonging to a body left in the water. Immediately, Pilager's campaign manager (Dreyfus) thinks someone is setting Pilager up and hires a detective agency to investigate. The investigator is Danny O'Brien (Huston), a former news reporter who is less than enthusiastic at first. As he journeys deeper he becomes obsessed with Pilager's connection to a multi-corporate mogul Wes Benteen (Kristoffersen).

On paper, this sounds like a great concept. But it fails, and it fails badly. Huston is completely unnatural in the leading role, proving to me he needs to keep to the supporting ones. I can't figure out if it was the dialogue or actor, but he comes incredibly stiff and forced in his performance. And with Danny O'Brien as the character we are following, it makes the film that much more painful to get through. Cooper and Dreyfus deliver great performances, but aren't in enough of the movie to make it work. I would have preferred that it had focused on the Pilager character's campaign more and been a satire of President Bush. Instead, we get a poorly made activist film where metaphors are incredibly shallow.

The film made me feel very conflicted, as every political note it touches I am right there in support of. But it proves that when views are expressed too overtly they bog a film down. The film takes it self too seriously for the majority of the time, and when it does attempt to go light, such as when Daryl Hannah's tough hippie character is introduced, the humor feels hollow and tainted by Sayles bitterness. Not the best work of this director; he CAN make great films about his political views (Matewan for example).

Next up: Sunshine State and my final thoughts on John Sayles.

DocuMondays - Young @ Heart

Young @ Heart (2007, dir.Stephen Walker)

The film opens with a jarring scene: a music video featuring a group of senior citizens performing The Ramones' "I Wanna Be Sedated". The first reaction is one of amusement, it is "adorable" that these "little old people" are singing a punk rock song. However, once the lyrics sink in, the simple "aw, how cute" fades away and there is a profound expression that is created when these words come from those mouths:

"Twenty-twenty-twenty four hours to go....
Just put me in a wheelchair, get me on a plane
Hurry hurry hurry before I go insane
I can't control my fingers I can't control my brain"

There's something very honest and appropriate about a group of aged faces yelling out these lyrics. It seems more appropriate for them, than a group of young buck musicians. This is what the 2007 documentary Young @ Heart does so well, it balances the "cute, old people" moments with a rich and meaningful exploration of aging and confronting our mortality. 

The heart behind the Young @ Heart Chorus is Bob Cilman, a truly extraordinary person. Bob had dedicated hours of work to help organize and put on performances with the elderly, and he doesn't coddle them. When his two featured performers have trouble with James Brown's "I Feel Good", Bob doesn't speak to them in hushed tones. He shouts at them, he gets angry and frustrated, and eventually decides to just work on another song. It can appear mean, but Bob has such a high level of respect and such lofty expectations for this group he can't help but be intense about it. And those expectations pay off a hundredfold.

The performers bring a lot of love into their performances, and the film captures a very tumultuous year for them. Long-time and dedicated performer Bob Salvini takes ill and eventually dies in the middle of the group's performance season. A profound moment occurs when, during their concert, Fred Knittle performs Coldplay's "Fix You", a song he was meant to share with Salvini. The lyrics reflect the feelings of the the performers and Joe's family who watch in the audience:

"And the tears come streaming down your face
When you lose something you can't replace
When you love someone, but it goes to waste
Could it be worse?

Lights will guide you home
And ignite your bones
And I will try to fix you"

The documentary is deeply moving. In another scene the group performers for prisoners at a correctional facility. The way the camera shoots the faces of the chorus singing "Forever Young", then cutting to the faces of criminals having to look down or cover their faces because of the tears welling in their eyes makes it impossible for the audience to not experience the same sense of compassion. Don't discount this film as made for the old, or purely an attempt to exploit the elderly. This is a film made for the young to discover the depth and wisdom of their elders. This is one to be hunted down as soon as possible.

Fred Knittle performs Coldplay's "Fix You"

The Young @ Heart Chorus performs "Forever Young"

Maybe Sundays - I'm Here

I'm Here (2010, dir. Spike Jonze)
Starring Andrew Garfield, Sienna Guillory

I'm Here is available to watch at http://www.imheremovie.com/
I would recommend you go here instead: http://www.youtube.com/watch?v=_TQuzRCbpsY

Brief note on the presentation of the film, before I get into my review: The film is sponsored by Absolut Vodka, who decided to offer the film to online audiences in one of the stupidest ways possible. The film has scheduled showings, forcing you to wait in a queue to watch it. There's no reason why this should be, as plenty of other video media is offered on demand. This seems to have been a move on the marketing department, and who knows how many countless viewers they will lose because of this nonsensical wait time. Onto the review:

Spike Jonze knows how to work with very little, and create a lot. Here he employs his trademark marriage of low-tech and high tech to create a very fleshed out world in just about 30 minutes. The story is a science fiction one, but a sort of retro-futuristic Los Angeles. Humans and robots live together, the robots appear to be built of those unattractive beige computer cases from the 90s. The only CG employed are in the eyes and mouths of the characters, and that is done in a subtle way.

The story follows Sheldon, a librarian robot who is introverted and nervous, returning to his apartment every evening, plugging into the wall recharger and sitting alone. One day he happens to meet Francesca, a female robot who is driving a car, something robots are not allowed in this world. The two hit it off and a romance develops. During a concert, the crowd gets a little rough and Francesca loses her arm. In an act of love, Sheldon unscrews his own and gives it to her. As their relationship continues, it becomes apparent a larger sacrifice will be made. The film is an interesting mix of heartbreaking and unsettling. A lot of the choices made in this relationship appear to be one sided, and it can be read as an act of unconditional love or of a selfishness. Definitely worth a watch and a beautiful looking film from director Jonze.

Cinematic Television - The Dramas

While I have not yet seen The Wire, I know that so many people view it as the epitome of great television drama. I plan on watching it one day, and I see it as one of those great works of literature that I want to find the perfect time for fully absorbing it. That said, these are some other great dramas on the tube right now.

Mad Men (2007 - present, created by Matthew Weiner)
Starring Jon Hamm, Elizabeth Mitchell, January Jones, John Slattery, Christina Hendricks, Vincent Kartheiser, Bryan Batt, Aaron Staton, Michael Gladis, Rich Sommer, Robert Morse, Kiernan Shipka

Mad Men is a series that hinges completely on a contemporary audiences knowledge of their society, so that they may contrast it with irony of early 1960s American culture. The focal point of the show is Madison Avenue ad exec Don Draper, played with calm and cool ease by Jon Hamm. Draper is man with a very distinct set of personal moral beliefs. Sleeping around on his wife isn't a huge deal, and when she seeks psychiatric help, making regular calls to the shrink for a report on what his wife has said is never a violation of her privacy, its his right as a husband. The male-dominated culture around him doesn't work to convince him otherwise though. But Draper is an imposter in this world, through out all of the three seasons which have aired he comes up against a fear of his past being exposed.

As foils to Don, we're given three other characters: Peggy Olson, Betty Draper, and Pete Campbell. Each is in a place where they are unsure of their identity. Peggy is girl from Brooklyn who starts out as Don's secretary, but finds herself moving up the ladder of power in the office incredibly quickly. Betty, Don's wife, is not content at playing house after living as a model in Europe before she met Don. Her transformation over the three season has been the most dramatic and it is hard to predict where her character will go.

Pete is the most direct parallel to Don, a salesman at the Sterling/Cooper ad agency, he is from a family that expected more "respectable" work out of him and are completely opposed to supporting his life. Pete is newly married and seems at times disinterested in his bride, and other completely devoted to her. While Don seems representative of the Old Way, Pete is our manifestation of new ideas coming into society. Pete is confused when, after crunching the numbers and discovering the black community is buying a client's brand of television more than the white, the client rejects his ideas to directly market to that minority. He sees it as both socially and economically ignorant.

The series is respectful of its adult audience. There's little chance adolescents will enjoy the series, and the writers believe that the grown ups watching don't need every emotion and thought telegraphed through blunt dialogue. There are long moments of silence in the series, where the only information we receive is through a simple look of Don's, or the frustrated body language of Betty. This complete rejection of dumbed down television is an oasis in the desert. It makes each and every episode come across as highly cinematic and important.

Breaking Bad (2007 - present, created by Vince Gilligan)
Starring Bryan Cranston, Aaron Paul, Anna Gunn, Dean Norris, Betsy Brandt, RJ Mitte, Bob Odenkirk

If you are only familiar with Bryan Cranston through his work as the befuddled father on Malcolm in the Middle you will be in for a shock. The same frenetic energy that informed Hal on the Fox sitcom, if filtered through a simmering boil in Breaking Bad. Cranston plays Walter White, a high school chemistry teacher who works part-time at a car wash to pay the bills. He has a teenaged son with cerebral palsy and a baby daughter on the way. One day, he collapses at work and learns he has terminal lung cancer. Walter keeps this a secret from his family and decides on a whim to join his DEA brother in law as a ride along on a meth lab raid. One of his students ends up being the meth cook who escapes from the raid and Walter tracks him down with a proposition: they work together to make and sell as much meth as possible. Walter reasons this will get him enough money for some experimental cancer treatment and, if he does die, provide his wife with a major financial cushion. Thus begins Walter White's descent into Hell.

For the first half of the first season, Walter is unsure of himself. He is confident in the lab and he knows how to cook meth of a quality his partner, Jesse, and the DEA have never seen before. It's not till the second half of the first season that Walter explodes. A mix of chemo therapy and the impending concept of his own death pounding in his skull forces the meek man to become a force of violence. This doesn't come without a cost though, as strong as his newly found fury may be, he is also ignorant of the inner workings of the big money trade. Walter inevitably draws the attention of the wrong people and ends up in multiple circumstances where he is close to being murdered.

While Walter is descending, his young partner, Jesse is trying to emerge from the drug fueled mire he has sunken into. At one point, he tries to reconnect with his family, whom roundly reject him. Jesse has a brief foray into a rehabilitated life, but is pulled back down by Walter. A palpable sense of tragedy surrounds the young man and its becoming apparent the weight that won't let him live his life is our protagonist. The place the second season ends leaves both characters in an unknown place. They are burdened by a massive loss of life that is the result of their actions; Walter has come out on top though, and Jesse, once again is left with the bloodied hands. Where these characters go to next is going to be a fascinating journey.

Damages (2007 - present, created by Daniel Zelman, Glenn Kessler, Todd A. Kessler)
Starring Rose Byrne, Glenn Close, Tate Donovan
Featuring Ted Danson, Zeljko Ivanek, William Hurt, Marcia Gay Harden, Timothy Olyphant, Campbell Scott, Martin Short, Lily Tomlin, Keith Carradine

Damages starts with the typical prime time drama setting, a law office. But that is where the similarities with your typical law drama end. Borrowing a device from Lost, flash-forwards, Damages allows us to glimpse pieces of the end of season while going back to the beginning and moving forward from there. The series follows law school graduate Ellen Parsons, who is hired at Hewes & Associates, to work underneath infamous lawyer Patty Hewes. Hewes' focus is primarily in cases against large corporations, on the part of citizens harmed by them. While her goals are admirable, Patty has a "by any means necessary" approaching to getting her way. She lies, cheats, steals, and even hires people to kill those who are getting in her way.

Each season focuses on a single case, allowing it to be played out in great detail and devoting an equal amount of time to the defense. Much like Law & Order, the cases draw on real life events, but because they are for such larger stakes it only makes sense that it take 13 episodes for them to play out. Season One featured an Enron type case, wherein billionaire Arthur Frobisher convinced his employees to invest in company stock, only to defraud them and abscond with their life savings. Season Two is a more generic environmental case, where an energy company is knowingly withholding data that proves their practices have caused harm to the population. And in the current season, the series is tackling a Bernie Madoff parallel with an incredibly stellar guest cast. If you enjoy typical law dramas, but want something with more continuity and depth then definitely give Damages a shot.

Next: Science Fiction & Fantasy

Seventies Saturdays - The Great White Hope

The Great White Hope (1970, dir. Martin Ritt)
Starring James Earl Jones, Jane Alexander, Lou Gilbert, Joey Fluellen

Based on the Pulitzer Prize winning play, The Great White Hope is a "names changed" version of the career of Jack Johnson, an African-American boxer during the early 20th century. Johnson was the first black heavyweight boxing champion and was known for patiently waiting for his opponent to slip up, then barraging him with a series of incapacitating blows. Johnson was a figure of great controversy, not just because he was a threat to the white male ego in the boxing ring, but because all of the women he became seriously involved with were white. Johnson showed little sense of humility about his dealings and was one of the first public figures to really use controversy as a way to promote his own celebrity.

In the film, Jack Jefferson (Jones) has just defeated the heavyweight champion and is celebrating this achievement with much bravado. The African-American community is divided about Jefferson though. While those around him immediately after the fight revel with him and dance in the streets, there are others who see Jefferson has creating negative image for their people because of his brazeness. Another group see Jefferson as being nothing but an "uncle tom" by consorting with white women and embracing what they see as a white way of life. Jefferson has an interesting take on all of this. In a scene early on, after he is weighed in before the big bout, an older black gentleman mentions that the young men will be inspired and "proud to be colored" when Jefferson wins. The boxer replies that they should already be proud and his winning or losing should have nothing to do with it. An interesting idea when thinking about the role of athletes as "role models" in contemporary society.

Jefferson and his fiancee, Eleanor's relationship is played very well, but we don't get enough background to understand how they came together. They are very much in love, but we're never shown how, despite the social stigma of their relationship, they would defy it and stay together. The film also has some problems with how broadly a lot of characters are played. The white establishment villains literally "bwahahaha" at one point in the final scenes, and it would have been interesting to see them played with more internal conflict. Jane Alexander's performance as Eleanor is also ruined by the pointless turn her character is forced to take, mainly to serve as momentum to move Jefferson forward to the finale. The one standout performance is James Earl Jones as Jefferson; he plays the character as incredibly multi-layered. Jefferson is charming and intelligent, but also selfish and arrogant. He loves Eleanor deeply but is resentful when he realizes she'll never understand the limitations put on him.

The Burton/Depp Collaborations - The 1990s

Tim Burton and Johnny Depp are a cinematic pair that will probably be working together, till both of them are in their old age. The duo have made seven pictures together of varying success. We'll be looking at these films by decade and see of their collaborations are gaining value or zero-ing out.


Edward Scissorhands (1990)
It was quite a surprise to see teen heartthrob and star of 21 Jump Street working in a film by the director of Batman. Even though I was only eight at the time, I remember thinking it was weird that the Johnny Depp guy would be in this movie. I was also deeply obsessed with Burton at the time because of Pee-Wee's Big Adventure, Beetlejuice, and aforementioned Batman. Scissorhands didn't appeal to me at that age though, its a deeper film, meant for an older audience. Yes, it has elements of a fairy tale, but its satiric take on Southern California suburbia, its bittersweet love story, and its affection for the wonderful Vincent Price is sort of lost of a 3rd grader. This is the film Depp broke out with, and I feel he's always felt a strong closeness to Burton because of it. Deep delivers a wonderfully muted performance, I can't say I've seen him deliver anything like this since. While Jack Sparrow has flowery dialogue and free reign to go over the top. That's a style of acting that can be a sort of cakewalk. Edward doesn't get to speak much, but has those wonderful props on his hands, that give a truly unique form of expression. Burton is also at the top of his game, delivering the gothic landscapes as well as a neon suburbia. I hope that with Burton's upcoming Frankenweenie feature film we can see some more of this.

Ed Wood (1994)
A lot of Burton/Depp fans have missed this one, and I personally think it is the best film Burton has ever made. There are references to his deep love of classic horror films and a darkly wicked sense of humor. The performances here are spectacular as well. Depp, who is such an adept chameleon, takes on the wackiness of Ed Wood completely. In addition, Martin Landau as Bela Lugosi is one of the best pieces of acting there has ever been in a Burton picture. Lugosi comes across as sympathetic, yet constantly acerbic and unlikable. It's the only film Burton has done which was based on real events, and makes me curious to see what other visual flair he could add to another famous figure. Wouldn't it be amazing to see a Burton directed film about Vincent Price? Or Edgar Allen Poe? Bill Murray also has a perfect performance as Wood's homosexual producer and has one of the best scenes in the film during a mandatory baptism by financial backers from a church. Burton and Depp have come close only once to the level of perfection this film achieved.

Sleepy Hollow (1999)
Burton and Depp finished out the decade with the first of many adaptations. I am not a fan of the majority of Burton's adapted works, the scripts are never written by him and bear a lot of the clichéd story beats of typical Hollywood work. Here we have Ichabod Crane turned from a schoolteacher to a pre-forensics crime investigator. That character tweak has always come off as insulting to me. The studio believed Crane had to be "sexier" and so he had to be a detective. It would have been simple to have Crane's intellectual curiosity spurring him on to investigate the goings on in Sleepy Hollow. Depp felt very blank in this film as well, I never felt a true sense of personality in him. Yes, there are some wonderful visuals, but it is at about this point things begin to feel stale in Burton's aesthetic. He draws on the classic Corman horror flicks of his youth but seems to recycle a lot of visuals from Nightmare Before Christmas. This staleness would continue into the next decade.

Next: The Corpse Bride, Charlie and the Chocolate Factory, and Sweeney Todd.

Import Fridays - Ricky

Ricky (2009, dir. Francois Ozon)

Starring Alexandra Lamy, Sergi Lopez, Melusine Mayance, Arthur Peyret

Ricky would be just another sappy, sentimental film if it weren't for that opening scene. Where in the film's chronology does it fall? The middle? The end? Both are completely plausible. The scene in question is one in which working class Katie (Lamy) is speaking to an off camera social worker about being unable to pay rent and care for her two children. Only when the end of the film is reached does the ambiguity of these scene truly surface.

The plot follows Katie who is raising a daughter and working in a chemical factory to make ends meet. One day, she meets new employee Paco (Lopez) and two begin a relationship and Katie ends up pregnant. Katie gives birth to a little boy, Ricky, and slowly but surely Paco makes a run for it when he gets scared. In the meantime, Katie and her daughter discover Ricky growing strange appendages out of his shoulders and finding ways out of his crib and onto the top of an unreachable dresser. Things develop in an odd way from there, ending with paparazzi chasing Katie and her miracle child around. The film has a touch of the bittersweet in its finale and, as I mentioned before about the film's opening sequence, it can be seen as a downbeat film.

Ozon is balancing realism in his first half with fantasy in the second. It almost feels like two films, yet never loses a consistent style; an admirable achievement. The explanation behind Ricky's special abilities is never explained and Ozon never shows an interest in explaining it. There are some hints: Paco's unknown origins or the chemical factory where Katie works. But it doesn't really matter WHY Ricky is the way he is, but that there is an unquestioning love between he and Katie. Sadly, the film doesn't delve into this as deeply as it should and fails to earn its finale scene between Katie and Ricky. Overall, an intriguing film from a French director who is doing some stunning work in contemporary cinema.

Director in Focus - New Director Poll

This month will be my last covering the films of director John Sayles. For my next director, I'd like the readers to choose. The poll will be open till the end of the month. Below are the choices and brief description of them:

Francois Ozon - French director specializing in films focused on female characters, sexuality plays a key role as well as the surreal. I have seen Swimming Pool and Ricky.

Pier Paolo Pasoloni - Italian poet and author whose films adapted great works of literature such as The Canterbury Tales and Oedipus Rex. I have never seen any of his films.

Claire Denis - French director who positions her actors in carefully intricate poses and shots, focus on sexuality in her work. I have seen Trouble Every Day.

Brian DePalma - American director who makes slightly surreal and highly stylized noir and thriller films. I have seen Phantom of the Paradise, Raising Cain, Mission: Impossible, and Mission to Mars.


Vote in the poll on the left side of the page. Excited to see who everyone picks.

Cinematic Television - The Comedies

In the last decade the ante has been upped on both network and cable television. While channels go the cheap route of "reality" tv, they have also worked to develop higher quality scripted series. These higher quality series have a lot more in common with film, than previous television programs. They employ complex cinematography, a higher caliber of acting, and a devotion on the part of viewers to following longform story arcs, not "done in one" stand alone episodes. We'll be looking at some of these series that have really stood out for me, starting with

The Comedies


Freaks and Geeks (1999-2000, created by Judd Apatow and Paul Feig)
Starring Linda Cardellini, Jason Segal, James Franco, Seth Rogen, Busy Phillips, John Francis Daley, Samm Levine, Martin Starr, Joe Flaherty, Becky Ann Baker

This can be marked as the beginning of the Apatow movement in contemporary comedy. The series was broadcast by a less than enthused NBC, who seemed to go out of their way to air episodes out of order and move the series around the schedule without letting viewers know. The series gained a following when it was reran on Fox Family and then when it was released on DVD in the last few years. The premise follows the Weir sibling, Lindsay (the Freak) and Sam (the Geek) as they go through a year of changes in 1980. Lindsay, a straight-A student and member of the Math-letes, starts hanging out with a group of classic rock loving stoners, and Sam deals with his desire to lose his childish geek image and win the heart of his long time crush. Unlike other nostalgia based programming, there is no maudlin sentiment here. The emotions and resolutions to stories feel honest and real. Characters have parents who are incredibly flawed, and those flaws don't go away at the end of the episode. One episode in particular deals with a cheating parent, the episode ends on a very ambiguous note. If you haven't discovered this gem, I highly recommend you hunt it down.


Curb Your Enthusiasm (2000 - present, created by Larry David)
Starring Larry David, Cheryl Hines, Jeff Garlin, Susie Essman
Featuring Richard Lewis, Ted Danson, Mary Steenburgen, Bob Einstein, Shelly Berman, Vivica A. Fox, Wanda Sykes, J.B. Smoove, Paul Dooley, Julia Louis-Dreyfus, Jason Alexander, Jerry Seinfeld, Michael Richards, Kaitlin Olsen, Paul Mazursky, Richard Kind, Ben Stiller, Mel Brooks

If you enjoyed Seinfeld, then Curb Your Enthusiasm will blow your mind. The neurotic basis of George Costanza, Larry David, has created a series in which he plays himself as a buffoon constantly getting into awkward situations based on the misunderstanding of other or, more often than not, David's own hang ups about minutiae. The series is one of the few to really capture improv comedy working right. A lot of comedies have followed since and don't seem to have actors of the high level working in them that Curb does. A typical episode of Curb might involve Larry getting into an argument with a wheelchair bound man about using the handicapped toilet stall, followed by him inadvertently insulting a lesbian receptionist about she and her partner's desire to adopt a Chinese baby. The jokes are never played as mocking these people, but rather comes from David's desire to see all characters, regardless of their specificities, shown as jerks. He sees that people are more or less jerks when it comes down to it, and how he plays this out is hilarious.


Arrested Development (2003-2006, created by Mitchell Hurwitz)
Starring Jason Bateman, Will Arnett, Portia de Rossi, Tony Hale, Michael Cera, Alia Shawkat, Jessica Walter, Jeffrey Tambor, David Cross, Ron Howard
Featuring Liza Minelli, Ed Begley, Jr., Henry Winkler, Mae Whitman, Judy Greer

There has never been a more complex, layered, and enjoyable comedy on network television than Arrested Development. From the moment it debuted, Fox seemed to have little interest in it, while viewers and critics loved the hell out of this show. The premise is that George Bluth, owner of the Bluth Corporation is arrested for violating trading laws and his son, Michael finds he's now in charge of the company and the self-absorbed and moronic family around him. Every actor is bringing their A game here, and the casting is spot on. There are no other actors who could play this character so over the top and still be endearing. The series also incorporates a large number of cameos and employs many of the players from HBO's Mr. Show (Cross was one of the creators of that skit comedy series). Since the cancellation of series, network television comedy has never seemed as promising to me. A featuring film continuing the adventures of the Bluth family is in the works and set to be released next year, here's hoping it can live up to the series.


Eastbound and Down (2009 - present, created by Jody Hill)
Starring Danny McBride, Andrew Daly, John Hawkes, Katy Mixon, Ben Best, Jennifer Irwin
Featuring Will Ferrell, Craig Robinson

From the minds behind The Foot Fist Way and Observe & Report, comes this amazing HBO comedy series. Kenny Powers, a blatant parody of ignorant, racist Atlanta Brave John Rocker, is thrown out of Major League Baseball after being caught using steroids. He returns to his hometown in North Carolina where he becomes a substitute PE teacher at the same middle school his high school sweetheart works at. Kenny goes about abusing the hospitality of his brother and family, treating the middle school principal like a jerk, and ingesting an unhealthy amount of drugs. The highlight of the series comes when Kenny deals with local car dealer Ashley Schaeffer (Ferrell) which culminates in an insane pitching demonstration. The entire first season plays out like an extended movie, with a series finale that could serve as a perfect ending.


Bored to Death (2009 - present, created by Jonathan Ames)
Starring Jason Schwartzman, Zach Galifianakis, Ted Danson
Featuring Olivia Thirlby, Oliver Platt, John Hodgman, Bebe Neuwirth, Jenny Slate

This HBO series is a sort of comedic version of Paul Auster's City of Glass novel. Schwartzman playing a writer named Jonathan Ames (meta, eh?), loses his girlfriend and out of boredom posts a craiglist ad as an unlicensed private eye. He begins to get cases and finds himself getting caught up in the fun of it. He typically incorporates his indie comic book artist friend (Galifiankis) and pot smoking boss (Danson) on the cases as well. The series has a much more muted sense of comedy than Eastbound and Down, one of the best aspects of HBO's comedy programming. They do a very good job of balancing multiple styles, yet never lose their quality.