Thursday, September 16, 2010

sep 26 | casablanca | cineplex classic film series


Casablanca (1943)
"They had a date with fate in Casablanca!"
Directed by: Michael Curtiz
Cast: Humphrey Bogart, Ingrid Bergman, Paul Henreid
Plot: Set in unoccupied Africa during the early days of World War II. An American expatriate meets a former lover, with unforeseen complications. See Ingrid Bergman in her most famous and enduring role!

Wednesday, September 8, 7:00pm
Sunday, September 26, 1:00pm

Presented in HD. All tickets five dollars. SilverCity Riverport, SilverCity Coquitlam, Colossus Langley, Scotiabank Theatre. The Classic Film Series presents one great title each month on the big screen from September 2010 to August 2011: details here.

classic film series | cineplex

Look what I saw in the lobby at SilverCity Riverport yesterday...


A little sleuthing led me to more about the Classic Film Series being offered by Cineplex in 2010-2011.

"This is a great opportunity for classic film fans to see their favourites in digital on the big screen! A series of classic film titles will be screened in a digital format from September 2010 – August 2011. The intent is to showcase classic films that, in most cases, have not been seen on the big screen in this format before."

How great is that! The chance see Doctor Zhivago, The Wizard of Oz, The Sound of Music or Spartacus on a great big screen. I can't wait to see It's A Wonderful Life with a crowd of people. And what a timely release of Psycho - this is the film's fiftieth birthday, and all the cinema rags have been running pieces on it.

And can you believe? Five bucks a ticket. Yowza.

You know, when multi-screen theatres first started opening, this sort of thing was talked about. Show current releases on most of your screens, but reserve a screen or two for foreign and independent cinema, another for classic films. Perhaps it was the proliferation of home video that killed that particular star (along with rep theatres like The Ridge or VanEast in their heyday), or perhaps it was simple greed... er, economics. Whatever the case, it's fantastic to see a commercial chain like Cineplex launch this wonderful experiment. Let's hope they sell enough popcorn to make it worth their while!

In the lower mainland the series is showing at SilverCity Riverport, SilverCity Coquitlam, Colossus Langley and Scotiabank Theatre downtown.

Sunday, September 12, 2010

viff 2010 | of gods and men


OF GODS AND MEN
France, Xavier Beauvois, 120 min.
A French brotherhood stationed in a deseret mountain monastery in Algeria holds off Islamic fundamentalists with the strength of its faith. Based on a true story, Xavier Beauvois’ classical drama stars Lambert Wilson and Michael Lonsdale, and is close to perfection. Winner, Grand Prix, Cannes 2010.

The thematic area of international terrorism, while deeply mined, is given close and thoughtful attention in Xavier Beavois gravely beautiful drama. Of Gods and Men is based on the 1996 Tibhirine attack, in which an order of Cicstercian monks confront Islamic fundamentalists with only the strength of their faith. Against the majesty of Algeria's Atlas Mountains, the quotidian activity of the monks (gardening, dispensing medical help to the locals, and religious observances) proceed with humble grace. Even as the mounting threat of terrorist violence looms, the brotherhood maintain their mission.

"In this year's winner of the Grand Jury Prize at Cannes, director Xavier Beauvois recounts the harrowing true story of a brotherhood of French monks in the highlands of North Africa who find themselves threatened by Islamic extremists during the Algerian Civil War of the 1990s. Starring a gifted ensemble cast led by the empathetic Lambert Wilson (as resident religious scholar Brother Christian), the film begins as a bucolic chronicle of these simple men of God and their gentle relationship with their Muslim neighbors, to whom they provide much-needed medical care and other services. When the insurgents arrive, they find themselves faced with an impossible decision: to flee, or to stand their ground and fulfill their spiritual mission. Magnificently photographed by cinematographer Caroline Champetier in compositions that suggest Renaissance paintings, Of Gods and Men is a poetic, austerely beautiful triumph." - Film Comment

"It is the most intensely passionate film at Cannes so far this year, and the fact that the passion is religious makes it no less moving. The early-morning audience wept yesterday in Of Gods and Men, Xavier Beauvois’s picture of the monks of the Atlas Mountains in Algeria, a beautifully told story of bravery and extraordinary understanding." Kate Muir, The Times

Sun, Oct 10th 9:15pm | Granville 7
Tue, Oct 12th 4:00pm | Granville 7
Wed, Oct 13th 3:30pm | Park

VIFF page

viff 2010 | rejoice and shout


REJOICE AND SHOUT
USA, Don McGlynn, 115 min.
Don McGlynn has made films about musicians as diverse as Glenn Miller and Howlin' Wolf, and in this, his most ambitious film to date, he uncovers the progression in gospel music over the course of two centuries. A rousing combination of rare vintage clips, probing interviews and fantastic music will, indeed, make you want to rejoice and shout.

As The Soul Stirrers belt out “I’m a Soldier in the Army of the Lord,” you may just find yourself wondering, “Where can I enlist?” Such is the sway of Don McGlynn’s rousing testament to American gospel music. The veteran music documentarian strikes all the right chords here, offering both a history lesson on African-American Christianity and a jubilant ode to religious anthems. Connecting the dots, McGlynn makes a convincing argument that the plantation music of two centuries ago is the root of all American music. Likewise, he submits that The Dixie Hummingbirds begat The Temptations and Claude Jeter’s trademark falsetto set the stage for Al Green's lilting vocals.

Should such seminal artists’ names not register with you, fear not. McGlynn unearths rare audio recordings (including the first known gospel record) and live footage in order to offer up a sinful serving of devotional music in all of its strains. A Memphis Holiness Church sermon exhibits the ferocity of an underground rock show while Mahalia Jackson’s soulful Ed Sullivan Show performance would have you believe that angels walk among us. We’re also treated to a historical showdown between the Alabama and Mississippi factions of The Blind Boys in which the weapons of choice are pipes (as in vocal chords). “The winner was always going to be the audience,” recalls gospel music historian Bill Carpenter. “They knew they were going to get a great show.” That still holds true today.

Fri, Oct 1st 2:30pm | Granville 7
Wed, Oct 6th 6:40pm | Granville 7
Mon, Oct 11th 12:20pm | Granville 7

VIFF page

Thursday, September 09, 2010

viff 2010 | preview guide


It's grey, damp and chilly out, so one's thoughts naturally turn to... The Vancouver International Film Festival! Sneak Preview Guide is available today! as a download.

Not sure if the print version is out there yet: the website says Saturday September 9, so who knows if that's September 9, or if we have to wait until Saturday? Whatever the big day, they'll be pick-up-able at Videomatica, Rogers and various other video emporia; public libraries, Oscar's, Book Warehouse, Chapters/Indigo; and other locations around town.

Apparently the full on-line program will be available Sunday September 12, though the printed program guide doesn't arrive until Thursday September 23 - at the above outlets, as well as VIFF venues: Vancity Theatre, Granville 7 Cinemas, Pacific Cinematheque, Park Theatre.

Sunday, August 08, 2010

book | detweiler | into the dark: seeing the sacred in the top films of the 21st century


I picked up a copy of Craig Detweiler's Into the Dark: Seeing the Sacred in the Top Films of the 21st Century (2008) at Regent College Bookstore yesterday. It's on sale for half price, and while I've only begun reading, it certainly seems like money well spent. He's a smart man, and I love the fact that he was trained as a film-maker first, then as a theologian. Just as he's willing to let the film speak to him first as a piece of art, then move to analysis.
"I have been trained theologically to move from facts to feelings, from propositional truths to personal applications. But what if we can reverse the process, mirroring the way most people experience film? Can we start with beauty, art, and nature as a way into ethics and even film? In a reverse hermeneutic, can our feelings lead us toward God? I join an emerging cloud of witnesses in undertaking this theological experiment confident that the Spirit will guide us from art (beauty) to ethics (goodness) to theology (truth)."
I also like the rationale behind his decision to consider the films which are favourites with IMDb users, rather than the films which might rank higher on critics' lists. Certainly if one expects film to reflect the ethos of its moment - and perhaps, as Detweiler does, to reflect what God may be saying to a culture at a historical moment - the more populist list may be the more telling.
While professional film critics may offer helpful standards to establish a cinematic canon, I choose to elevate the insights of the amateur critics gathered at the IMDb. Just as the early Christian community established the canon of Scripture, so the dedicated film fans of the IMDb sort out the essential from the incidental. Film studies professor Crystal Downing notes how "opinion, or dogma arises out of an interpretive community whose members believe with all their hearts, souls and minds that their shared opinion is truth." We turn to the chaotic world of the Internet Movie Database as our interpretive community. . . . So what does a freeze frame of the IMDb's Top 250 films captured on January 1, 2007 reveal about our tastes, preferences, and religious needs? The frequent users of the IMDb have affirmed forty-five films from 2000 to 2006 as all-time classics. This book will focus on this emerging canon."
Here are the 45 films Detweiler considers. The first number following a film's year indicate its placement on the January 1 2007 IMDb Top 250, followed by its ranking today (August 8, 2010). At the end of the post I provide a list of the 21st century films which have been added to the IMDb list in the last three and a half years. [Nine 21st century films have dropped off the list, twenty-nine have been added.] Films in bold type are the primary focus of the chapter in which they are considered.

Chapter 1 - Methodology: Into the Darko
concludes with an example of Detweiler's methodology in action . . . "the cult film for the emerging generation"
Donnie Darko (2001) #103 | #127

Chapter 2 - Memento: Duped in Film Noir
examines the resurgence of film noir . . . memory loss . . . what happens when our autonomous selves lose our frame of reference? . . . a heart of darkness within each of us.
City of God (2002) #18 | #19
Memento (2000) #26 | #29
Requiem for a Dream (2000) #58 | #62
Sin City (2005) #67 | #97
The Departed (2006) #67 | #52
Batman Begins (2005) #88 | #108
Kill Bill: Vol. 1 (2003) #94 | #135
Kill Bill: Vol. 2 (2004) #120 | #210
Oldboy (2003) #122 | #112
Amores perros (2000) #141 | #164
Snatch (2000) #195 | #132
The Prestige (2006) #216 | #72
Mulholland Drive (2001) #242 | #244

Chapter 3 - Eternal Sunshine: The Risky Rewards of Romance
examines postmodern relationships via romantic comedies . . . from our darkness and unchecked individualism arises a need for connection. Love can correct our self-deception.
Amelie (2001) #31 | #47
Eternal Sunshine of the Spotless Mind (2004) #38 | #60
Before Sunset (2004) #190 | No longer in Top 250
Walk the Line (2005) #197 | No longer in Top 250

Chapter 4 - Crashing into the Ensemble Drama: Communities in Crisis
Hotel Rwanda (2004) #59 | #114
Crash (2004) #107 | #221
Mystic River (2003) #180 | #212
Little Miss Sunshine (2006) #234 | #237
United 93 (2006) #238 | No longer in Top 250

Chapter 5 - Talk to Her (and Him and Us): Everyday Ethics
Million Dollar Baby (2004) #78 | #145
Talk to Her (2002) #209 | No longer in Top 250

Chapter 6 - Finding Neverland: Nostalgia and Imagination in History
Downfall (2004) #45 | #81
The Pianist (2002) #47 | #53
Gladiator (2000) #135 | #96
Finding Neverland (2004) #172 | No longer in Top 250
Cinderella Man (2005) #187 | No longer in Top 250

Chapter 7 - Spirited Away by Fantasy: Tending the Garden
Spirited Away (2001) #51 | #57
The Incredibles (2004) #97 | #184
Finding Nemo (2003) #109 | #154
V for Vendetta (2005) #116 | #170
Crouching Tiger, Hidden Dragon (2000) #125 | #234
Hero (2002) #168 | No longer in Top 250
Shrek (2001) #183 | No longer in Top 250
Big Fish (2003) #186 | #202
Pan's Labyrinth (2006) #188 | #70
Wallace & Gromit in The Curse of the Were-Rabbit (2005) #200 | No longer in Top 250
Monsters, Inc. (2001) #221 | #243
Pirates of the Carribbean: Curse of the Black Pearl (2003) #225 | #219

Chapter 8 - Mnemonic Devices
a study of the IMDb's highest-ranking recent films
The Lord of the Rings: The Return of the King (2003) #4 | #13
The Lord of the Rings: The Fellowship of the Ring (2001) #14 | #20
The Lord of the Rings: The Two Towers (2002) #20 | #31

PS. The following 21st century films have been added to the IMDb Top 250 since January 1, 2007.
Inception (2010) #3
Toy Story 3 (2010) #10
The Dark Knight (2008) #12
Wall-E (2008) #48
The Lives of Others (2006) #58
Inglourious Basterds (2009) #76
Up (2009) #84
Gran Torino (2008) #93
Slumdog Millionaire (2008) #107
Avatar (2009) #115
No Country for Old Men (2007) #116
District 9 (2009) #124
There WIll Be Blood (2007) #134
Into The Wild (2007) #142
The Wrestler (2008) #147
The Bourne Ultimatum (2007) #153
Star Trek (2009) #166
Ratatouille (2007) #168
The Secret In Their Eyes (2009) #169
Kick-Ass (2010) #179
How to Train Your Dragon (2010) #181
Children of Men (2006) #190
In Bruges (2008) #191
Let the Right One In (2008) #203
The Diving Bell and the Butterfly (2007) #205
Letters from Iwo Jima (2006) #211
Changeling (2008) #246
The Curious Case of Benjamin Button (2008) #247
Shaun of the Dead (2004) #248
With regard to the extremely high placement of certain 2010 titles, it's worth noting Detweiler's comment: "The IMDb ratings evolve over time. Loyal fans often praise a director's latest film upon its theatrical release, but as th emovie rolls out on DVD or television, another wave of moviegoers weigh in, often counterbalancing the initial enthusiasm. Over two or three years, the best films find an audience, with ample time for word of mouth to build."
Random Thoughts: Pixar has done well, wouldn't you say? For a foreign film to make the list, it helps if it wins the academy award. Clint Eastwood has done well, wouldn't you say?

Wednesday, July 21, 2010

so many movies, so little summer...

Inspired by a nifty double bill I missed in May at the Cinematheque...


[Breathless Days, a double bill that paired Godard's New Wave classic - Breathless, a 1959 Cannes competitor that hit North American screens the following year - with Hitchcock's strangely comparable 1960 departure Psycho: "After years of suave, sophisticated, highly polished colour thrillers, Hitchcock abruptly and unexpectedly changed gears with this made-on-the-cheap monochrome masterwork..."]


...I queued up the Godard and the Hitchcock in my Videomatica list, and will be watching them maybe tomorrow. (Amazingly, I've seen neither in their entirety!) Which got me thinking what a swell little Turn-Of-The-Decade Fest I could have in my living room over the next week. So many films on my "I Gotta See That" list land right then; The 400 Blows, Anatomy of a Murder, Eyes Without A Face, Black Orpheus, Pickpocket, Peeping Tom ("compared to the black and white of Alfred Hitchcock's somewhat likeminded shocker Psycho, the vivid Peeping Tom comes across as more immediate and ultimately more frightening..." 1001 Movies You Must See Before You Die), Splendor In The Grass.

Or maybe it'll get trumped by a Music Movie Fest. Watched It Might Get Loud tonight, which included a chunk of "Sittin' On Top Of The World," which is featured in the Mississippi Sheiks Tribute Concert DVD I bought at the Folk Music Festival this weekend (Steve Dawson, Jim Byrnes, The Sojourners, Bob Brozman, John Hammond, Alvin Youngblood Hart, Colin James...). IMGL also included hunks of U2 performances, made me want to watch Live At Red Rocks and Rattle & Hum. And "The Weight," which made me want to watch Easy Rider to see where it's used, and The Last Waltz to say goodbye to The Band. And I've got a copy of Calle 54 on my shelf here...

Heck, I could rip that scene from Easy Rider and YouTube it and start my Great Pop Songs In Film Series; Fiona Apple's "Across The Universe" in Pleasantville, Elliott Smith's "Because" from American Beauty or his "Angeles" in Paranoid Park. The utterly memorable use of the over-wrought sentimentality of "Rain And Tears" in Hsiao-hsien Hou's emotionally muted Three Times. Or Penguin Cafe Orchestra: "Nothing Really Blue" from the astonishing final sequence of The Princess & The Warrior, or "Music For A Found Harmonium" in Napoleon Dynamite (!). "Tell It Like It Is" in the overlooked South African drama Forgiveness, "Cold Water" by Damien Rice in The Girl In The Cafe, or an unlikely Nordic pop cover of "How Deep Is Your Love" that provides fitting perplexity at the conclusion of Adam's Apples. "Don't Be Shy" or "Trouble" or "If You Want To Sing Out" from Harold & Maude (can you imagine that movie without Cat Stevens?), or "Indication" or "Rose For Emily" or "She's Not There" or "Time Of The Season" or "The Way I Feel Inside" or "Woman" from Dear Wendy (can you imagine that movie without The Zombies?) or "One" in Magnolia (can you imagine that movie without Aimee Mann? Heck, that movie wouldn't ever have happened without Aimee Mann). "Easy To Be Hard" as it appears in Zodiac, the Fleetwood Mac instrumental "Albatross" used beautifully in Man On Wire. "The Good Life" from Matchstick Men, or "Summer Wind" in Matchstick Men or at the opening of The Pope Of Greenwich Village, which reminded me of "Stayin' Alive" during the opening of Saturday Night Fever. Jazz: Coltrane's "It's Easy To Remember" which appears only slightly anachronistically in Capote, "Jordu" from The Notorious Bettie Page, Nina Simone in Shallow Grave ("My Baby Just Cares For Me") and Bella ("Nearer Blessed Lord"). How about the eerily effective use of Nat King Cole's "I'd Rather Have The Blues" on the car radio during the opening of Kiss Me Deadly -- or other car radio numbers, "If I Didn't Care" in Shawshank Redemption, or the super-sexy "Wonderful World" in Witness, or half a dozen tunes in American Graffitti. "The Only Living Boy In New York" or the song that put the Shins on the map (of New Jersey) in Garden State - "It'll change your life, I swear." Israel Kamakawiwa'ole's gloriously scrambled "Over The Rainbow / Wonderful World" in half a dozen movies, or the Louis Armstrong original in Good Morning Vietnam. The theme from "Lakme" in every film made in the mid-Eighties. Maybe even memorable credit tunes: "Ride Ride" at the end of The Good Girl (Gillian Welch) or Dylan's "He Was A Friend Of Mine" at the end of Brokeback Mountain or Lyle Lovett's too-perfect "Stand By Your Man" as the credits roll for The Crying Game ("Sometimes it's hard to be a woman..."). Did I miss any?

Or, to take along on my photography road trip, Born Into Brothels and Rivers & Tides and The Diving Bell & The Butterfly and The Assassination of Jesse James and Smoke. . . .

Tuesday, July 20, 2010

robbie robertson + luis bunuel

Watched IT MIGHT GET LOUD tonight (very fine), which ends with The Edge, Jimmy Page and Jack White working through The Band's classic song, The Weight. Got out the guitar, got in trouble for playing and howling so late, and for the first time really tried to figure out what the song's about.

Turns out the doc about rock guitarists isn't the film's only cinematic tie-in. The Band's official website mentions not only Easy Rider but...


The Weight became a signpost of the time. Featured in the film Easy Rider (but not on the soundtrack for contractual reasons), it was partially inspired by the work of Spanish filmmaker Luis Bunuel.

"He did so many films on the impossibility of sainthood," says Robertson about Bunuel, "people trying to be good in Viridiana and Nazarin, people trying to do this thing. In `The Weight' it's the same thing. People like Bunuel would make films that had these religious connotations to them but it wasn't necessarily a religous meaning. In Bunuel there were these people trying to be good and it's impossible to be good."

"In The Weight, it was this very simple thing. Someone says, `Listen, will you me this favour? When you get there will you say hello to somebody or will you pick up one of these for me? Oh, you're going to Nazareth, that's where the Martin guitar factory is. Do me a favour when you're there.' This is what it's all about. So the guy goes and one thing leads to another and it's like, `Holy shit, what has this turned into? I've only come here to say "Hello" for somebody and I've got myself in this incredible predicament.' It was very Bunuelish to me at the time."

Tuesday, July 06, 2010

Juno: "Whip-smart"

"Juno is a whip-smart teen confronting an unplanned pregnancy..."
Movieyay.com

"god bless the whip-smart, snarky and powerfully funny screenplay by blogger / author / former stripper Diablo Cody."
Cinematical

"The film's narrative centers on whip-smart Juno MacGuff (Page), a teenaged girl faced with.."
Rhino Records

"teenage parenthood is devistating for teens and their kids. Perhaps instead of blaming Juno and it's whip-smart dialoge as a potential cause for a rise in teen births, perhaps you should..."
Huffington post blog reply

"The film stars Ellen Page as the youngest mother of them all, a whip-smart high-school student named Juno MacGuff who discovers that she is in the family way..."
Peter Chattaway, CT Movies

"Juno is a whip-smart Minnesota teen living by her own rules."
Barnes & Noble

"the dialogue tones down a bit after the dangerous opening - still whip-smart and quirky, but somehow sweeter."
TheCinemaSource.com

"The fictional character’s whip-smart dialogue and well-rounded fallibility make her more empathetic..."
Hollywood Today

"It's whip-smart, cool, and very, very funny."
Chris Roberts, Uncut

"Whip-smart, witty and mature beyond her age, Juno finds herself pregnant after ..."
About.com

"Stars Ellen Page as the title character, a funny whip-smart teen confronting an unplanned pregnancy..."
Youtube

"Ellen Page, well, of course, she’s glorious, the most talented young actress in America and the reason to see Juno. Whip-smart and razor sharp, she plays the role just about as well as it could possibly be played."
Dartmouth Free Press

So not only the character, but also the screenwriter and the actress are all, coincidentally, "whip-smart."

"Part whip-smart teen comedy, part drama, backed by a quirky soundtrack and the most subtle comic performance by a youngster in years, Juno is a rare feel-good film in the morose pack of Oscar contenders."
Sun Media

Ah, so even the film itself is whip-smart. Cool.

And then this one. Apparently I'm not the only person to have noticed...

"Juno is supposedly “whip-smart.” That’s what every review of the movie says. This demonstrates that most reviewers are too lazy to frame the movie in their own words—they just mirror the advertising copy...."
Halfsigma.com

Okay, enough. There are hundreds more.

It was actually a review of Slumdog Millionaire by the verbally virtuosic, usually cliché-free Joe Morgenstern that triggered this whole "If I ever hear a critic say whip-smart again, I'll show them whipping and smarting" jag. "This quiet, passionate, whipsmart kid has lived almost every answer he gives; the questions he needs are provided by destiny." Joe, Joe, Joe. And I used to think you were so whipsmart....

Monday, July 05, 2010

Thursday, July 01, 2010

jul 1-7 | now playing


NOW PLAYING
Jul 1-7 2010
Cinema's silly season is upon us. Here are the big screen gleanings.

Agora
Granville 7 | Fri: 6:45, 9:30 | Sat, Sun: 1:15, 4:00, 6:45, 9:30 | Mon, Tue, Wed: 5:20, 8:10
Director Amenabar intriguing in Open Your Eyes, chilling and subtle in The Others, annoying and polemic in The Sea Inside - I'm afraid I'll find this story (nasty shenanigans as underground Christianity morphs into Holy Roman Empire) more Sea than Others/Eyes.
Morefield | the moral failings of Christian, pagan, scientist, and Jew alike make it hard for me to see the film as a plea for tolerance so much as a lament for the costs of intolerance.
Greydanus | Enlightenment myth... a work of anti-hagiography.
Chattaway

Amelie
Vancity Tue 7:30
Reed | endearing 'do unto others' fable

Babies
5th | 1:15, 3:00, 4:45, 7:25, 9:10
arty doc about worldwide babies
Denby | Cuts back and forth among four infants located on the red earth of Namibia, the open plains of Mongolia, and in apartments in the vertical cities of San Francisco and Tokyo as they crawl, eat mush, play, and so on, right up to their first words and steps . . . pleasing, but anodyne as a series of episodes from “America’s Funniest Home Videos.

Cyrus
5th 1:00, 3:05, 5:00, 7:20, 9:30
One of this summer's obligatory Sundance pix (though the big winner was Winter's Bone)
Denby | creepy stay-at-home Cyrus tries to break up an affair between his mother (Marisa Tomei) and her new boyfriend (John C. Reilly), a forlorn, long-divorced fellow looking for love

Exit Through the Gift Shop [1:27]
G7 Thu: 5:25, 8:10
arty doc about street art - people recommending this one. prob final week

The Girl with the Dragon Tattoo [2:32]
Hollywood 7:30 through Thursday
G7 8:00 | Sat, Sun also 1:05, 4:25
arty foreign thriller from arty foreign best-seller. prob final week. first of a trilogy: #2 opens Friday at Fifth Ave
Denby | journalist hired by rich old man to probe disappearance of teen-age girl forty years before. Quest leads to further unearthings as forgotten crimes are dragged into the light. (So many, indeed, that the film runs longer than two and a half hours.) Hero’s gothic sidekick exudes throbbing air of resentment against the eternal cruelties of man; crow-black garb, inked and studded flesh, cuts a defiant figure in the wintry landscape, refusing to be deadened by the gloom.

Harry Brown [1:43]
G7 Thu: 5:20, 8:05
Gran Torino with better script, worse soul? prob final week

How to Train Your Dragon [1:38]
G7 Thu: 5:40
Surprising recommendations from highbrow movie buddies, theatre scenic designers (KMcA). prob final week

Mao's Last Dancer [1:57]
5th Thu: 1:45, 4:20, 6:50, 9:15 | Fri, Sat, Sun, Mon, Tue, Wed: 1:45, 4:15, 6:50
arty doc about dancers

METROPOLIS to Jul 6
Cinematheque Thu: 3:45 | Fri: 6:30 | Sat: 2:00, 3:45, 9:00 | Sun: 6:30 | Mon: 9:00 | Tue: 6:30
One of those "gotta see" flix, w/ long lost footage restored - complete with Soul Food content!

Red Shoes to Jul 6
Cinematheque Thu: 6:30 | Fri: 9:15 | Sat: 6:30 | Sun: 4:00, 9:15 | Mon: 6:30 | Tue: 9:15
Gotta dance, gotta see - has changed lives

Toy Story 3
everywhere including
2D @ RC Thu: 1:10, 4:10, 7:05, 9:40 | Fri Mon Tue Wed 4:10, 6:55, 9:35 | Sat, Sun: 1:10, 4:10, 6:55, 9:35
3D @ SCRP 11:35am, 1:00, 2:15, 3:45, 4:50, 6:45, 7:30, 9:45, 10:15
Does the Pixar streak continue?
Chattaway's delightful pre-screening musings

Winter's Bone
Wow. Every critic I found on line considers this the film of the year, so far. I agree.

*

COMING SOON
IKIRU | Cinematheque Jul 8 9:05 | Jul 10 8:50 | Jul 11 6:30
8 1/2 | Cinematheque Jul 16-18, 6:30 & 9:05
The Magnificent Seven | Cinematheque Jul 20 1:00
Man With A Movie Camera | Vancity Sun, Jul 25 7:30 (Alloy Orchestra score)
RAN | Aug 6-8 7:00
film noir series | Cinematheque | Aug 11 - Sep 2
Taxi Driver | Cinematheque | Aug 18 7:30

Sunday, June 27, 2010

hobbit | good news bad news

the good news
was that Guillermo del Toro, director of Pan's Labyrinth, was lined up to direct The Hobbit.

the bad news
came out May 30, when del Toro announced he would not be directing The Hobbit, "expressing concern about MGM's financial situation. He left days later. Since the expectation is that somehow the film would get financed despite MGM's woes, speculation was that perhaps del Toro didn't see himself and his family living in New Zealand for the next several years required to make the films."

the good news
"Peter Jackson has decided to direct two installments of The Hobbit, after Jackson extricates himself from other project obligations. Jackson said he expected to get the films into theaters for December 2012 and December, 2013. Jackson has been a creative partner with del Toro from the beginning. The films will use the soundstages and visual effects facilities that Jackson built with proceeds from the LOTR proceeds. Pending a deal, the next step will be to discuss whether or not to shoot the films in 3D."

the qualm
hoping for more Fellowship and Return, not so much Towers. Dwarf-tossing and skate-boarding warriors we don't need.

Source: Deadline New York
Thanks, Peter

Tuesday, June 22, 2010

Watching for... THE GREAT DIVORCE

For Pacific Theatre's next season, I hoped to stage The Silver Chair, but because a film version is in the works, the rights weren't available. But we did secure permission to produce The Great Divorce. Maybe we were just in time...


painting by Neil Dassler, from his "Great Divorce" series
Producers wed for 'Divorce' fantasy
Mpower, Beloved to adapt C.S. Lewis novel
By DAVE MCNARY
Variety, June 22 2010

Mpower Pictures ("The Stoning of Soraya M.") and Beloved Pictures are teaming to co-produce C.S. Lewis' fantasy novel "The Great Divorce." Veteran producer and Mpower CEO Steve McEveety will lead the production team. Childrens' book author N.D. Wilson ("Leepike Ridge," "100 Cupboards") is attached to write.

Lewis, who wrote the "Chronicles of Narnia" books and often wove Christian themes into his works, published "The Great Divorce" in 1945. Story centers on a man who learns that the sprawling, dim metropolis where he's been living is actually Hell; he hops on a bus headed for the outskirts of Elsewhere, only to discover that the one place worse than Hell, for a self-absorbed ad executive, just might be Heaven.

Mpower was created by McEveety in 2007 after he'd been a longtime exec at Mel Gibson's Icon Prods. He produced "The Passion of the Christ" and "We Were Soldiers" and exec produced "Braveheart" and "What Women Want." . . . Mpower recently completed the live action family film "Snowmen," which premiered at the Tribeca Film Festival and stars Ray Liotta and Christopher Lloyd. Other projects include romantic comedy "Hello, I Love You" by director Sunu Gonera ("Pride"); a film based on Adam Ciralsky's article "Scandal Tycoon, Contractor, Soldier, Spy"; Joe Eszterhas' "Guadalupe"; and "Left to Tell" by Immaculee Ilibagiza.

Thanks, Mr Chattaway

Wednesday, May 26, 2010

Watching for... HERE, THERE BE DRAGONS


Peter Chattaway, filmchat: "Eagle Eye co-writer Travis Adam Wright has been hired to write the script for Warner Brothers' adaptation of Here, There Be Dragons, a novel that casts real-life authors C.S. Lewis, J.R.R. Tolkien and Charles Williams as heroes in a fantasy adventure of their own. When I first mentioned this project nearly four years ago, it was going to be produced by Harry Potter producer David Heyman and The Dark Knight scribe David Goyer, but the only producer named in the current news story is Rick Porras, a co-producer and second-unit director on Peter Jackson's Lord of the Rings adaptation (2001-2003)."

Tuesday, May 25, 2010

Mike Dacko, "Lightheaded"



A Peter Chattaway recommendation from the 2009 Vancouver International Film Festival

Sunday, May 23, 2010

Brody on Rossellini

Malcolm Brody has a notable film blog at The New Yorker. In this recent post, he considers GERMANY YEAR ZERO from Rossellini's war trilogy...


“Germany Year Zero” is part of Criterion’s boxed set featuring Rossellini’s “War Trilogy,” which I recently reviewed in the magazine; I also reviewed two other Rossellini sets last year. But there’s one, a natural to compile, that doesn’t exist, and its absence from home video is perhaps the single most grievous cinematic blind spot in the marketplace: the five features and one short film that he made with Ingrid Bergman (whom he married in the course of their collaborations), between 1949 and 1955.
Exactly. No sooner had I ordered my copy of the War Trilogy than I began wishing Criterion would come out with Stromboli, Europa '51 and Voyage To Italy - the Rossellini films (apart from Rome, Open City and Paisan) that I've always been most eager to see. Someday...

There've been a couple other previous Soul Food posts on Rossellini, one concerning the War Trilogy that includes some nice links, James Quandt's notes on the Cinematheque Ontario's retrospective, and a transcription of Martin Scorsese's comments in his tribute to Italian film My Voyage To Italy - which is available, along with the War Trilogy and Flowers Of St Francis, at Videomatica

Tuesday, May 18, 2010

Happy Birthday, Kurosawa-san


Over at Filmwell, Andrew Spitznas posted a nice tribute for Kurosawa's 100th birthday.
The formative event in his own childhood occurred when, in the immediate aftermath of the devastating Great Kanto Earthquake of 1923, his older brother dragged him around Tokyo and forced him to gaze upon massive scenes of death and conflagration. As young Akira attempted to turn away from the carnage, his brother sternly told him, “If you shut your eyes to a frightening sight, you end up being frightened. If you look at everything straight on, there is nothing to be afraid of.” These words became a lifelong motto for Kurosawa, as he pushed himself and his audiences to stare directly at human wrongs and tragedies, whether war, poverty, child abuse, or class discrimination.

Nonetheless, Kurosawa succeeded (most of the time, anyway) in representing moral dilemmas to his audience, rather than preaching about them. In viewing his films, I feel moved to become a better person. . . .

Saturday, May 08, 2010

Now Playing! PLEASE GIVE

A few years back, much fuss - mostly deserved - was made over THE LIVES OF OTHERS, and everybody saw it. (Perhaps because of the irresistable Austrian-ness of the tyro director's handle -- Florian Henckel von Donnersmarck. Yes, I think that's why.) The only pity was that the mob response to that pretty darn fine foreign film completely overshadowed an even finer foreign film playing at precisely the same time, AFTER THE WEDDING. I never understood how one made it into everybody's datebook, while the other slipped past uncelebrated.

If you haven't seen WEDDING, you ought to. Screenwriter Anders Thomas Jensen seems to be Denmark's most prolific: he's got Dogme credits, and his outrageous ADAM'S APPLES is an all-time favourite. A frequent collaborator with director Susanne Bier and actor Mads Mikkelsen, both of whose work on the picture in question is marvellous.

All of which is a long way of getting to the point of this post. The essential concern of AFTER THE WEDDING was philanthropy. (How many charity flicks can you name? It's something I think about a great deal, but it doesn't make it into a lot of fiction. Odd. I guess people find car chases more relevant to their personal lives.) PLEASE GIVE takes up similar themes, if on a smaller scale. And sounds like a film not to miss. Here are excerpts from David Denby's May 3 New Yorker write-up.

From scene to scene, PLEASE GIVE, a radiant comedy of middle-class mores, depends on observations so acute that the movie, even as it borders on satire, is intensely sympathetic. Writer-director Nicole Holofcener (Lovely & Amazing, Friends With Money) is a virtuoso of awkward domestic scenes in which conversation goes absurdly awry. Bu she's ambitious too, and among the deftly launched jokes, PLEASE GIVE explores such large and grave matters as the nature of benevolence and the exhausting but inescapable necessity of family loyalty. . . . A finely wrought short story, all but perfect. l l l
A New Yorker by birth, she spent time as a teenager on Woody Allen's sets. (Her stepfather, the late Charles Joffe, was Allen's longtime producer.) In PLEASE GIVE, she inhabits a slightly downscale version of Allen's worried and self-conscious Manhattan. . . .

Kate and Rebecca, a set of paired characters, act as if they were always living under scrutiny. Holofcener's touch with these two glum urban saints is gently comic: Rebecca Hall just slightly parodies this wallflower's need to always be good. Her Rebecca is not quite as forlornly conscience-stricken, however, as Kate, who can't walk down the street without slipping five bucks to a homeless person. Kate's philanthropy is underoing a frenzied crisis. Oblivious to everything but her own guilt, she begins helping people who don't need help. . . .

Not much happens: a couple of love affairs, one trivial, one perhaps serious; some moments of pleasure. . . The trouble with life-goes-on movies is that they don't electrify the senses. This one doesn't, either, but it does stimulate moral imagination. . .

. . . funny, irresistibly convincing and appealing.


PLEASE GIVE is at Tinseltown - a nifty double bill with this year's Exotic Lingo Oscar nabber, THE SECRET IN THEIR EYES, which is also at the Fifth Avenue

Tuesday, April 20, 2010

Jan Kiesser


A couple years ago, Pacific Theatre did a themed season, "PT Goes To The Movies." It featured a special "Stage & Screen" evening for each of the shows, and my special guest for some of those was cinematographer Jan Kiesser. He just put up a website where you can view clips his work on some of the 83 films he's shot. Check it out here.

Amazing to think the same guy lensed Fido, Beowulf & Grendel, and the action sequences in The Fast & The Furious: Tokyo Drift (which are all shown on the site) - not to mention work on 80 other films including Heaven's Gate, Hair, Some Kind Of Wonderful, Something Wicked This Way Comes, Clean and Sober, the notable Door To Door, Martin Scorsese's Kundun, and Jason Goode's Pop Switch. His latest is Percy Jackson & the Olympians: The Lightning Thief.

Sunday, April 04, 2010

Easter Double Feature: Last Temptation / Passion



The Conversations (at Slant.com) is a monthly feature in which Jason Bellamy and Ed Howard discuss a wide range of cinematic subjects. This month, an extended, detailed and really substantial consideration of two Jesus movies...
Jason Bellamy: I never followed the amateur filmmaking documentary series Project Greenlight, which was perhaps best known for having celebrity producers (Matt Damon and Ben Affleck) and for failing to discover any major breakthrough talents, but I'll never forget one of the episodes I happened to see. It was early in its third and final season, by which point Project Greenlight had expanded its diamond-in-the-rough search to be a contest not just for amateur screenwriters, but also amateur directors. In the episode in question I took delight in the method chosen to evaluate their pool of director nominees: All contestants were given identical screenplays offering nothing more than dialogue. No descriptions of settings. No descriptions of characters. No descriptions of action. Just words to be spoken. From that skeleton it was on the directors to dream up the rest, fill in the blanks and shoot a film. All these years later, I can't remember anything about the dialogue, but I do remember that the interpretations were wildly diverse—one had a mob theme while another was set in a dentist's office, as I recall. Same source material. Same words. Different films.

That brings us to this month's edition of The Conversations, in which we will discuss Martin Scorsese's The Last Temptation of Christ and Mel Gibson's The Passion of the Christ, a pair of films that are remarkably and unmistakably different despite the numerous things they have in common. . . . When it comes to the life of Jesus, so much of the Bible is like those Project Greenlight scripts: dialogue on a page. No descriptions of settings. No descriptions of characters. No descriptions of action. Just words to be spoken.

. . .

It's only fitting that a devout worshiper of cinema such as Scorsese would use film not just as a way to reveal his own feelings about Christianity but as a way to explore them. And, as such, Last Temptation feels like two quests—that of Jesus Christ and that of Martin Scorsese.

And yet the more I continue along these lines of thinking, the less dismissive I become about the substantiality of THE PASSION. Is the film as complex? No. Is it as provocative? No. Is it as conflicted? Heavens, no. But is it personal? Well, I think so, yes. And is it "engaged with matters of spirituality?" Why, certainly. . . .
The conversation continues here

Saturday, March 13, 2010

Fifty Best Living Directors | Paste Magazine

Paste Magazine
The Fifty Best Living Directors

1. Martin Scorsese | Raging Bull
2. Jean-Luc Godard | Breathless
3. Steven Spielberg | Schindler's List
4. Joel & Ethan Coen | Fargo (probably right, but I'd pick Blood Simple)
5. Steven Soderbergh | Traffic


6. Paul Thomas Anderson | Magnolia
7. Woody Allen | Annie Hall (bizarrely, I'd pick Take The Money and Run)
8. Quentin Tarantino | Pulp Fiction
9. David Lynch | Mulholland Dr.
10. Wong Kar-Wai | In The Mood For Love
11. Wes Anderson | Rushmore (Fantastic Mr. Fox)
12. Jean-Pierre & Luc Dardenne | L'Enfant (The Son)
13. Werner Herzog | Grizzly Man (Aguirre, The Wrath Of God)
14. Francis Ford Coppola | The Godfather


15. Lars von Trier | Breaking The Waves (Dogville)
16. Hou Hsiao-Hsien | Hao nan hao nu [Good Men, Good Women]
17. David Fincher | Fight Club
18. Abbas Kiarostami | Taste Of Cherry (Close-Up)
19. Clint Eastwood | Mystic River (Unforgiven)
20. Hayao Miyazaki | Princess Mononoke
21. Apichatpong Weerasethakul | Syndromes and a Century
22. Agnes Varda | Vagabond
23. David Cronenberg | A History of Violence
24. Tim Burton | Edward Scissorhands
25. Wim Wenders | Wings Of Desire


26. Jim Jarmusch | Ghost Dog (good call!!)
27. Terry Gilliam | Brazil
28. Claire Denis | Chocolat
29. Christopher Nolan | The Dark Knight (Memento)
30. Danny Boyle | Slumdog Millionaire (Trainspotting)
31. Chris Marker | Sans Soleil
32. Michael Haneke | Cache (White Ribbon)
33. Alain Resnais | Hiroshima Mon Amour
34. Gus Van Sant | Good Will Hunting


35. Ridley Scott | Blade Runner (probably, but my peculiar fave: Matchstick Men)
36. Richard Linklater | Before Sunset (near miss: Before Sunrise)
37. Pedro Almodovar | Talk To Her
38. Spike Lee | Do The Right Thing
39. Jacques Rivette | La belle Noiseuse
40. Guillermo Del Toro | Pan's Labyrinth
41. James Cameron | Avatar
42. Jane Campion | The Piano


43. Terrence Malick | Days Of Heaven
44. Cameron Crowe | Almost Famous (Say Anything)
45. Sofia Coppola | Lost In Translation
46. John Sayles | Lone Star (near miss: should be Men With Guns)
47. Jim Sheridan | My Left Foot
48. Errol Morris | The Fog Of War (Thin Blue Line)
49. Charles Burnett | Killer Of Sheep
50. Mel Brooks | Blazing Saddles


And these are the most significant imissions pointed out by readers, along with my pick of their Crowning Achievement . . .
Todd Haynes | Far From Heaven
Roman Polanski | Chinatown
Peter Jackson | The Lord Of The Rings
Alexander Payne | About Schmidt


And I'd add . . .
John Lassetter | Up

(boldface = my top picks, brackets = my preferred films)

Friday, March 12, 2010

steven soderbergh | oscar acceptance speech, 2001


“I want to thank anyone who spends part of their day creating. I don’t care if it’s a book, a film, a painting, a dance, a piece of theater, a piece of music. Anybody who spends part of their day sharing their experience with us. I think the world would be unlivable without art.”

New Yorker cover | best picture nominees

Thursday, March 11, 2010

Videomaticademy Awards!

Foxes are Fantastic and Prawns are Prime
at Videomatica.ca's 11th Alternative Oscars

While Hollywood was busy showcasing lengthy acceptance speeches and well-dressed actors at its annual Oscars, the Videomaticademy of Motion Picture Arts and Sciences was equally occupied chasing foxes and celebrating prawns at the conclusion of its Canada-wide Alternative Oscars Contest.

Hosted by Videomatica.ca, the Canadian destination for independent and alternative films, the 11th edition of the Alternative OscarsÃ’ Contest boasted an 11-category ballot of 2009's most overlooked and underappreciated films and performers, and invited Canadian movie fans to choose for their favourites.

  • In the battle for Best Picture, the stop-motion animation of Fantastic Mr. Fox trumped science fiction, political satire, musical documentaries, and real-life romance. Fantastic filmmaker Wes Anderson didn't win the award for Best Director, which went to Neill lomkamp, who won for being the architect of the space alien "prawns" in District 9.
  • One of the aforementioned prawns, Christopher the "Prawn" from District 9, won the coveted Best Non-Human Actor Award. In a field that also included creatures ranging from tigers and iguanas to robots and animated dobermans, Christopher made short work of them all and struck a chord with the voting members of the Videomatica.ca Alternative OscarsÃ’ who crave emotional depth and honest character development from their non-human performers. Where human actors were concerned, Matt Damon (The Informant) and Melanie Laurent (Inglourious Basterds) topped the votes in the Best Actor Maleand Best Actor Female categories, respectively.
  • Like Melanie Laurent, this year's most resounding winner was also a "basterd". Christoph Waltz waltzed away with the Best Villain award for his chilling turn as Col. Hans Landra Best Villain, collecting a hefty 45% of the vote on his way to victory. One of Waltz's fellow nominees was Lorna Raver, the crazed gypsy in Drag Me to Hell, a film nominated in this year's newest Alternative OscarsÃ’ category, Scariest Picture. In the end, the unseen forces ofParanormal Activity proved to be scary enough for voters to emerge victorious.
  • So what was the closest race in the Alternative Oscars this year? The infamous Worst Picture showdown, which saw Steve Martin's bumbling remake sequel, Pink Panther 2 overtake the poorly-conceived shenanigans of Robin Williams and John Travolta in Old Dogs by a single vote. One vote wouldn't have made a difference in the Best Canadian Picture category, where the Joshua Jackson-led drama, One Week, tugged at the necessary heartstrings to shine through as a true winner.
For a complete wrap-up of the contest, please visit www.videomatica.ca/alternativeoscars
A complete list of winners and nominees follows...

THE COMPLETE LIST OF WINNERS AND NOMINEES

BEST PICTURE
Bright Star
Fantastic Mr. Fox
(winner)
In the Loop
Michael Jackson's This Is It
Moon

BEST DIRECTOR
Wes AndersonFantastic Mr. Fox
Neill Blomkamp
- District 9 (winner)
Tom Ford - A Single Man
Terry Gilliam - The Imaginarium of Doctor Parnassus
Duncan Jones - Moon

BEST ACTOR (MALE)
Nicolas CageBad Lieutenant: Port of Call New Orleans
Matt Damon - The Informant (winner)
Paul Giamatti - Cold Souls
Christian McKay - Me and Orson Welles
Sam Rockwell - Moon

BEST ACTOR (FEMALE)
Abbie Cornish - Bright Star
Sasha Grey - The Girlfriend Experience
Melanie Laurent - Inglourious Basterds (winner)
Tilda Swinton - Julia
Robin Wright Penn - The Private Lives of Pippa Lee

BEST SUPPORTING ACTOR (MALE)
Robert Duvall - The Road (winner)
Ken Jeong - The Hangover
Bill Murray - Zombieland
Liev Schreiber - Taking Woodstock
Kevin Spacey - The Men Who Stare At Goats

BEST SUPPORTING ACTOR (FEMALE)
Mariah Carey - Precious
Claire Danes - Me and Orson Welles
Maggie Gyllenhaal - Away We Go
Helen Mirren - State of Play
Julianne Moore - A Single Man (winner)

BEST NON-HUMAN ACTOR
Alpha the DobermanUp
Christopher the Prawn District 9 (winner)
GERTY the Robot - Moon
The Iguanas - Bad Lieutenant: Port of Call New Orleans
Mike Tyson's Tiger - The Hangover

BEST VILLAIN
Michael Gambon as Franklin BeanFantastic Mr. Fox
Mo'Nique as Mary
Precious
Lorna Raver as Sylvia GanushDrag Me to Hell
Christoph Waltz as Col. Hans LandraInglourious Basterds (winner)
Greedy CorporationsCapitalism: A Love Story

BEST CANADIAN PICTURE
Anvil: The Story of Anvil
Coopers' Camera
Facing Ali
The Necessities of Life
One Week (winner)

SCARIEST PICTURE
Dead Snow
Drag Me to Hell
The Haunting in Connecticut
Paranormal Activity (winner)
Thirst

WORST PICTURE
Angels & Demons
Couples Retreat

Old Dogs
The Pink Panther 2 (winner)
Transformers: Revenge of the Fallen

Saturday, March 06, 2010

GENTLEMEN BRONCOS "a work of visionary inspiration with religious overtones"?!


New Yorker's Richard Brody is rare among film critics in finding things to praise about GENTLEMEN BRONCOS, the third film from Mormon film maker Jared Hess (NAPOLEON DYNAMITE, NACHO LIBRE).
One of the most audacious American movies of 2009, Jared Hess’s “Gentlemen Broncos” (on DVD from Fox) — a loopy comedy that blends frumpy down-market vulgarity with excremental humor and cartoonish, yet astonishingly simple and clever, action sequences — is hardly the type to attract Oscar consideration. Yet it’s a work of visionary inspiration that, like many outrageous Hollywood comedies of the classic era (such as those of Frank Tashlin), tackles remarkably serious matters.

The story of the home-schooled teen-ager Benjamin Purvis (Michael Angarano), the only child of a poor widow (Jennifer Coolidge) in a pious Christian community in Saltair, Utah, is rife with religious overtones. An aspiring science-fiction writer, Benjamin goes to a teen-writers’ conference, where he meets his idol, the fantasy novelist Dr. Ronald Chevalier (Jemaine Clement), to whom he shows a manuscript, which Chevalier soon appropriates, transforms, and passes off as his own. Meanwhile, two other kids in the program, Lonnie (Héctor Jiménez) and Tabitha (Halley Feiffer), buy the story from Benjamin under false pretenses and turn it into a smarmy home video; the young writer—with the help of his so-called guardian angel, Dusty (Mike White)—fights to reclaim and restore his novel.

Hess, a Brigham Young graduate who has worked in the Mormon film industry, daringly sets Benjamin’s naïve yet heroic visions in three sets of images—the gaudy, lubricious ones that Chevalier imagines; Lonnie’s travesty; and, most astonishingly, the fierce yet devout ones that Benjamin sees in his mind’s eye. Set in a future outer-space post-apocalyptic desert, his tale, “Yeast Lords: The Bronco Years,” blends whiz-bang weaponry with Rocky Mountain fauna and an adolescent obsession with reproductive organs and bodily fluids. Its hero resembles Benjamin’s late father, as well as the poster-size portrait of the long-haired, bearded Jesus that hangs in the family’s living room. The struggle against a diabolical intergalactic warlord involves physical degradation, projectile vomiting, and other grotesque bodily functions. In his jejune yet highly moral inspiration, Benjamin is the prophet of a pop-infused Gospel, an updated Book of Mormon, that speaks to a new generation of young people whose coarsened sensibility is paradoxically attuned to Biblical explicitness and ferocity. Hess’s vision is both childish and childlike, yet from the mouths of babes oft comes wisdom—as well as things that need to be wiped up.


Brody noted the spiritual concerns of BRONCOS last fall, at The New Yorker's film blog The Front Row

"Point by point, Manohla Dargis’s review of Jared Hess’s Gentlemen Broncos (2009) misses what’s going on. She and I were among the few writers who praised Hess’s previous film, Nacho Libre (2006). . . . She saw the film almost exclusively in terms of gender politics, praising its 'liberating vision of identity as a performance space, an existential wrestling ring, if you will, in which each of us, if only given the opportunity, can cavort freely in the mask and colored tights of our choosing.' Fine, but not a word about religion. . . ."

Where Dargas sees only "a gross-out comedy," Brody calls Gentlemen Broncos "a strange and personal religious vision," its central character "the author of a new gospel," and director Hess’s filming of his visions "wondrously ingenuous, . . . both as sublime and as crudely carnal as scripture itself."

He goes on to connect the writer-director of Napoleon Dynamite (2004) with another auteur whose work finds the sacred in the profane. "The grotesque bodily functions, human, animal, and alien, that the movie depicts unflinchingly—as well as the “unpleasant, unattractive characters” Dargis says the film is filled with—are the point. It’s easy to present the beautiful people and the scrubbed world as divine creations; Hess’s vision sacralizes what other filmmakers don’t. The director he’s closest to in this regard is Pier Paolo Pasolini (and Pasolini, too, had an extraordinary sense of the naïve, the repellent, and the ridiculous)."

It strikes me that a less lofty point of comparison might be Kevin Smith (CLERKS, whose sensibility similarly pairs an eternally adolescent preoccupation with crudity and a not-so-crude preoccupation with eternity - Smith a Catholic, Hess a Latter Day Saint.

In case Brody sets Soul Food expectations too high, here's the prevailing critical opinion, represented by EW's Lisa Schwartzbaum: "As they did in Napoleon Dynamite and Nacho Libre, the Hesses claim to celebrate the amusing qualities of misshapen people and their misshapen dreams, insisting that amateurism and bad taste (both in filmmaking and in life) are intentional artistic choices. The audience may have bought the act in Napoleon Dynamite. But this time, the act bombs.The one saving grace of such a relentlessly unappealing movie may be that the emperor's-new-clothes moment has arrived: Bad taste is sometimes just a vice, and amateurism in filmmaking is no virtue."

All three Hess films available at Videomatica

Thursday, March 04, 2010

Richard Brody on LORNA'S SILENCE


In LORNA'S SILENCE (Sony), the Belgian directors Jean-Pierre and Luc Dardenne, shooting on location in Liège, use symbolic and theatrical elements to transcend practical naturalism. Arta Dobroshi stars as an Albanian immigrant for whom gangsters have arranged a paid marriage with Claudy (Jérémie Renier), a drug addict, in order to make her a Belgian citizen. They plan to kill him off so that she can, in turn, marry a Russian immigrant—and her silence costs Claudy his life. With recurring shots of locks and keys, the Dardennes suggest the fear and exclusion that suffuse the prosperous West and Lorna herself, and the story builds to a terrifying episode of Shakespearean madness that, with its implications of the supernatural, dramatizes, against the coldhearted demands of reason, the resistance of moral conscience.

The New Yorker, February 15 & 22, 2010


Available at Videomatica

Monday, March 01, 2010

A&F 100: 2010 Edition!


In 2004, 2005 and 2006 the Arts & Faith conversation board created a list of 100 "spiritually significant" films. Last year the site joined forces with IMAGE Journal, which is to my mind the finest publication available on, well, arts and faith. Jointly, A&F and IMAGE today published the fourth iteration of the list, and it's well worth exploring.


This year the "spiritually significant" descriptor was removed from the list, and as a result there's been an increase in films which might not at first glance seem to be of particular "soul food" interest - a drift toward just-plain-great movies, the "Sight & Sound" effect. But for every PLAYTIME or KILLER OF SHEEP added to the list, you'll find any number of exciting new additions that still fit with the list's original intent - A SERIOUS MAN, INTO GREAT SILENCE, L'ENFANT and LORNA'S SILENCE, THE ISLAND (OSTROV), SILENT LIGHT, THE NEW WORLD, USHPIZIN and (an extreme personal favourite) SON OF MAN.


More to follow, whenever your faithful correspondent can spring some time to dig a little deeper, but for the meantime check out the list itself at A&F, Jeffrey Overstreets initial thoughts posted at the IMAGE Journal blog, "Good Letters," and ongoing commentary at Filmwell. And here's a rundown of all the films previously included on the list, from 2004 to 2006.