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Library Loot
February 4th, 2010 by
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Wednesdays are frequently becoming my favorite day. It was especially needed today since, and I’m not exaggerating, since Friday night at 7pm, I’ve spent ninety three hours as my place of employment. That’s out of a possible one hundred and twenty five. The library was a nice calm oasis among all the stuff that exists outside of film.
Last week’s loot was exceptionally good. I was pleased with all nine selections, and I actually managed to watch a few extracurricular films as well, these included 9 (which really, really worked for me). and the French movies Love Songs (for a musical, it gets an A in my book).
Crisis was very interesting when it’s noted as Ingmar Bergman’s very first film. It’s also interesting without considering that. The best part of it was seeing the seeds planted, the subtleties that would later be thrown to the wind. There’s no shortage of human anguish, and I can never get enough of that, especially when it’s brought to me by Bergman (if you haven’t noticed, he’s my new religion).
The Searchers was interesting. I have to say, that I did enjoy it. I didn’t feel bored or like the film lagged at any part. But I’ve never liked westerns, and I will always take issue with the melodrama, racism, and too much horse riding.
Nanook of the North was bitter sweet. The images captured were breathtaking, and I understand why it was a big deal, especially when it came out almost a hundred years ago. But, knowing that the majority of things caught on film (and yes, I understand the reasons why it had to be like that), took away a bit of the magic. Like when I learned the Bear Grylls is neither named Bear, nor actually does the stuff he pretends to on his show. Still, I’ve now resolved to be a better igloo builder.
I felt that Bergman Island was a bit of a disappointment, only because I was expecting more. I really wanted him to discuss his films, the meaning behind them, working with his disciples, that sort of stuff. What I got was still interesting, but it wasn’t that. There were lots of existential ponderings on life, the afterlife, family grief, and it really did shed some light on my new hero.
I have avoided Jules and Jim for quite a while because I’ve been told by several people that it was really boring. These people are out of their freaking minds. This was fantastic, certainly one of the very best of the French New Wave films I’ve seen. This with Band Apart are ridiculously good. I’d highly recommend it.
Who’s Afraid of Virginia Woolf was another one that made me angry I’ve been putting off so long because of how much I enjoyed. Recently, since I started watching these older films, I’ve taken up calling my grandmas and asking them how it was received when in theatres, was thought about it (they all grew up in rural Idaho towns, so often I’m met with phone silence, but still). They all reported (there are three of them, don’t ask) that it was a worthless film about drunk mean people. I did not get this at all. I loved every second of it (besides the ridiculous non-sequiturs that should have been stopped).
The Apu Trilogy (Pather Panchali, Aparajito, The World of Apu) when this week’s prize. I was only required by my list of 100 Movies I Haven’t Seen, to watch Pather Panchali, but I thought I might as well check them all out. They are remarkable, and the first Indian films I’ve seen. Ray had an amazing amount of talent, considering PP was his very first film ever. I was engrossed in the story the entire way through, and this is a considerable time investment of over three hundred minutes.
Here’s this week’s loot:
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Library Loot Addendum
January 29th, 2010 by
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I’ve got a long weekend of nothing to do, so I made a trip to the library. Yes, I was overly ambitious, but here’s the stuff I’m adding to the three I posted Wednesday.
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Total Film says you should read Bitchin’ Film Reviews
January 29th, 2010 by
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The magazine Total Film published an article on their website today listing 600 blogs you should get to know.
Bitchin’ Film Review makes an appearance on page four of the enormous list. Almost all the blogs I read constantly made the list as well, like Dark of the Matinee, M. Carter @ The Movies, Reel Whore, The Flick Chick, etc., etc. Thanks for the shout out Total Film!
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Killer Inside Me
January 28th, 2010 by
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I had tickets to Killer Inside Me long before all this crazy media attention it’s gotten over the past few days. Truth be told, I didn’t even know what it was about when I made the purchase. I just decided to tag along with my brother-in-law when he announced he was going. Since the premiere, there’s been all sorts of stuff going around about the violence in it. There’s this article from NYDailyNews.com, which clearly insinuates that Jessica Alba herself was so offended by the violence, she walked out during the premiere. Or there’s this recording of an angry audience, specifically an angry woman, during an Q&A, demanding, of director Michael Winterbottom to know ‘who’s responsible for this?’ Geez! You’d think these people have never been to a film festival before. And you know for certain they’ve never seen something like Antichrist, or even one of the Saw movies, or Lust, Caution, or Nurse Betty, or anything David Cronenberg has ever done. I will say now that yes, there’s violence. One specific scene shows Alba being beaten for literally several minutes. But on the grand scale of violent movies that have received an R rating, this is not one of the worst offenders. And without being a communist, I would say that I mildly agree with Han Suyin when she said, ‘moralists have no place in an art gallery.’ Or an arthouse theatre.
The story comes from a pulp fiction novel from the 50s, by author Jim Thompson, and Winterbottom adapted it for the screen. It centers around Lou Ford (Casey Affleck), a young sheriff in west Texas. He’s called to run a prostitute named Joyce (Alba) out of town, but he falls in love with her. Love is probably too strong a word here, since it becomes slowly clear that Lou is a psychopath. He’s also sleeping with his high school sweetheart Amy (Kate Hudson). Sex with the two women is rough and sadistic, and frequently enjoys ritual spanking. There’s a grand, complicated story that explains what his motives are, but he ends up killing Joyce and another man, and framing them for it. He gets deeper and deeper, and he has to keep working harder to keep himself in the clear.
The film is almost entirely character driven, so it’s fortunate that they are written so well (there’s all sorts of fantastic peripheral characters acted by Elias Koteas, Ned Betty, Simon Baker, Bill Pullman, and more). All the acting is great, especially Affleck, and even, surprisingly, Ms. Hudson. Anyone who watches this, and think that this is an endorsement to act violently, is ridiculous, because all of the characters are damaged, unhinged souls with no basic barometer of right and wrong. Winterbottom (and perhaps the source material, I’m not sure), was smart enough not to ask the audience to put their sympathies with Lou. He’s insane, dangerous, and unworthy of any sort of mercy. The full horror of his acts are on display, and it’s hard to stomach. The most disturbing scene of all comes after he’s beaten Amy to a point she’s unable to control her bodily functions (it seems Kate Hudson is frantically trying to get us all to forget Fool’s Gold). The plot is complex, and quickly paced, and if you can handle the violence, it’s entertaining from beginning to end. And, while saying this sometimes makes people dubious, the ending is sufficiently shocking to leave you a little speechless as you leave.
Tags: Bill Pullman · Casey Affleck · Elias Koteas · Jessica Alba · Jim Thompson · Kate Hudson · Killer Inside Me · Michael Winterbottom · Ned Betty · Simon Baker4 Comments
Library Loot
January 28th, 2010 by
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On the way to the library last week, I was talking to my sister on the phone. She warned me to go easy on the loot since Sundance started the next day. I brushed her advice off and got six movies.
I should have listened to her.
I didn’t get to all of the loot, just a bit more than half.
I knew that Downloading Nancy wasn’t going to be any good. Friends that I trust when it comes to movies warned me about it. The New York Times was quite vicious. But the premise of the film was morbidly fascinating for me, and I love Maria Bello. Everyone was right, it sucked. The day after, I could barely remember how it ended.
Freaks, on the other hand, was fantastic. Not all of it was perfect, but that last ten minutes was horrifying. And since then I’ve been singing, ‘we accept her, we accept her. One of us. One of us.’ Seriously, this is a messed up movie. I really wish the stuff they cut out in the 30s wasn’t lost.
I liked Strangers on a Train quite a bit. It’s no Rear Window, but it had an interesting plot and was tense enough. Nothing life changing, but it continued to nudge me towards becoming a Hitchcock fan, so I suppose it served its purpose.
I didn’t get to the rest, and since I didn’t even go to the library today, all I’ve got is what Netflix sent me. Here’s what I’ll be working on this week.
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The Man Next Door (El hombre de al lado)
January 27th, 2010 by
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The Man Next Door is working it’s magic in the World Dramatic Competition and Sundance. It comes from Argentina, and demands that it be noticed. It’s directed by two promising young men, Mariano Cohn, and Gastón Duprat, who co-wrote the script together as well. And are both credited as the film’s cinematography. Narcissistic much?
The film is overwhelming simple in it’s storyline. An extremely successful designer named Leonardo, lives in a home named Casa Curutchet. The only home that Le Corbusier built in the Americas. Apparently it’s a big deal in Argentina. He lives there with his wife and daughter. They’re awakened one morning to the noise of a sledgehammer, he finds that a neighbor has torn a hole in one of the Modernist icon’s perfect white walls, intending to build a window for the house on the other side. The soundscape created is almost as poignant as Australia’s Noise.
The story has this fantastic way of garnering all your sympathies for the designer and his wife, who are just trying to keep their ideal home environment in tact from a classless, and vulgarly blue collar man. In the beginning, The Man Next Door is a comedy of disproportioned manners between neighbors, but quickly evolves into something more tense, as we’re not really sure what either of the two are capable off. Then, as some point, without you even knowing it, you realize you’re rooting for a family of assholes. Victor, the neighbor, it seems, is mostly sincere, a man that is just requesting a bit of sunlight for his home that is so genrously afforded Leonard’s. Even Victor’s attempts to befriend Leo, is mocked behind his back to his self-important intelligentsia friends. How the whole things shifted with out me even realizing it, is remarkable, and so much fun to experience.
The film almost reads as a love story to the home (it reminded me of The International, a love letter to the Guggenheim, or Gattica, with its sprawling hommages to the work of Frank Lloyd Wright). Cohn and Duprat’s cinematography skills provide some really interesting shots that both showcase the anxiety and alienation felt by their characters, as well as the stunning architecture of the home. When it comes to style, these two have it down pat. This film knows exactly how it wants to look, and pulls it off without a hitch. If the heavy-handed statement on class distinction and prejudice is actually sincere, they should receive a stern finger wagging. But as a mostly fun, and tense comedy with a decently shocking ending, then they score high on all marks.
Bitchin' Stars: 
Tags: Gastón Duprat · Mariano Cohn · The Man Next Door (El hombre de al lado)1 Comment
Jack Goes Boating
January 26th, 2010 by
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It was only a matter of time before Philip Seymour Hoffman decided to direct. He’s gained enough cred in the business to warrant giving him a chance. But it is slightly shocking that he chose to make his debut with a romantic comedy. Did anyone else see that coming? His film, Jack Goes Boating is a movie version of a play by the same name. Hoffman actually played Jack in the off-Broadway production. He brought along two of his stage co-stars as well, and got Amy Ryan to play his leading lady. Not too shabby for his first cast.
The story, yes, is a romantic comedy, but not the kind you’re thinking. It is, of course, centered around Jack. He’s a quiet, mostly unremarkable man, with few friends, and even less family. The two friends he does have are Clyde (John Ortiz), and Lucy (Deaphne Rubin-Vega). They’re good friends to him, and seem to have it together. They match him up with another slightly odd acquaintance of theirs, Connie (Amy Ryan). The two start a strange romance that buds quiet nicely, while at the same time, Lucy and Clyde’s marriage is deteriorating as truths come out about infidelities and betrayals of trust.
The play is written by Bob Glaudini, and was adapted for the screen by him as well. It’s full of witty and fresh dialog and fantastic scenes. It’s an optimistic view on the joys of loving and being loved, despite all kinds of obstacles. It should come as no surprise that something this sturdy comes from Hoffman, who literally gets lost in his character. There’s not much Hoffman does that’s less than superb. While it seems, in the beginning, that the film was going to take a turn closer to the tone of Welcome to the Dollhouse, Hoffman manages to keep this story hopeful, and bright. His direction style is confidant, and well-toned. The world was introduced to Ryan’s comedy during her short stint as Holly on The Office. You’ll be pleased to know that she’s just as funny here, and makes personal manias endearing, and even sexy. In one of the film’s most charming moments, she gently explains to Jack her humble requirements when they decide to make love for the first time. It instantly reminds of a similar scene between Adam Sandler and Emily Watson in Punch-Drunk Love. I don’t think it’s too high of praise to compare Jack to the P.T. Anderson film. The optimism found here is refreshing, without sacrificing a charismatic, and intriguing plot. This, I’m sure, will surface as one of the best that Sundance has to offer this year.
Bitchin' Stars: 
Tags: Amy Ryan · Bob Glaudini · Deaphne Rubin-Vega · Jack Goes Boating · John Ortiz · Philip Seymour Hoffman3 Comments
Welcome to the Rileys
January 26th, 2010 by
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Kristin Stewart is continuing on her crusade to try and distance herself from the Twilight series, and establish herself as a serious actress. Last year she did it with Adventureland, and this year, she has a couple films at Sundance. In one, she plays Joan Jett, and in it has a lesbian love scene with Dakota Fanning. In the other, Welcome to the Rileys, she plays a 16 year old, runaway, making ends meet in New Orleans as a part-time exotic dancer, and part-prostitute. Okay, we get it Kristin, you’re a serious actress. Fortunately, she has some great company in Rileys that makes her look pretty good.
This film comes from director Jake Scott. Scott has done some TV stuff, but most notably, he’s directed music videos for Radiohead, Tori Amos, REM, and The Cranberries. The story is written by Ken Hixon, who written anything since the 2002 De Niro film, City by the Sea. When summarized, the story sounds awfully cliched. James Gandolfini plays Doug Riley, a successful business owner who’s married to a literal shut in played by Melissa Leo. She hasn’t left the house since her daughter died in a car wreck four years ago. In an attempt at a normal relationship, Doug starts sleeping with a diner waitress, is dies at the beginning of the movie. During a business trip to New Orleans, Doug comes across Mallory (Stewart), who looks quite a bit like his daughter, and clearly need help. He moves in with her. He takes the energies formerly focused on his affair, and redirects it too her. This prompts the shut in mother to drive down to the Big Easy, where she ends up moving in with the two, and they become a makeshift family, teaching each other to heal…
Yes, it’s about as cliched as you get. Fortunately, there are some fantastic parts of the film. Leo’s performance is outrageously good. Usually stuck in heavy handed crime dramas (Homicide, Frozen River), she was free to showcase her perfect comedic timing. I’m not being over superlative to say that she was the best part of the show. Next comes Stewart, whom I love to hate. I’m not sure why. But this is the first film that I’ve seen her in where I felt like she wasn’t playing herself. She really made an impression and if this is the sort of stuff we can expect out of her, I’ll soon be a fan. Then there was Gandolfini, who can’t do a southern accent to save his live. The script had fun making him a puritanical sort, which made his speech to Mallory about not using the f-word just SO hilarious since we all know him as Tony Soprano. Yes, the irony is that in-your-face. This is certainly standard Sundance fare, especially considering the ending, which is the same ending I’ve seen in three movies so far at the festival. However, after a slow start, it picks up quite niceles. It’s definitely above average, and is both charmingly funny, and will tug at your heartstrings.
Bitchin' Stars:
Tags: Jake Scott · James Gandolfini · Ken Hixon · Kristin Stewart · Melissa Leo · Welcome to the RileysNo Comments.
Red Riding: 1983
January 25th, 2010 by
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The Red Riding Trilogy is a trio of films based on the novels of David Peace (The Damned United). The novels and films are a mix of fact and fiction centered around the disappearances of several young girls and the crimes of the actual Yorkshire Ripper, Peter Sutcliffe, who killed 13 women from 1975-80 while eluding police. (Sutcliffe could, astonishingly, be released from prison two years from now.) The films reverberate significantly with one another, and are not designed to be stand-alone pictures, although the middle one could almost manage as a solo item. They are gritty explorations of brutal crimes, corrupt institutions, conspiracies, and the like. The style of the films bring to mind HBO’s The Wire, and David Fincher’s Zodiac because of the presence of unearthly serial killers, their brutal crimes, and extremely complex forensic plots. The trilogy originally aired in the UK and was quickly picked up by IFC for release in North America. See my review of Red Riding: 1974, and Red Riding: 1980.
The conclusion of The Red Riding Trilogy, directed by Anand Tucker (Leap Year, Shopgirl), is no less gripping that 1974, or 1980. Although it does lack just a bit compared to ‘80. The story follows two characters, one we’ve met before. Another girl has gone missing, and Detective Chief Superintendent Maurice Jobson (David Morrissey) notices some striking similarities to the ‘74 abduction, and is now grappling with the fact he may have convicted the wrong man, a mentally handicapped boy named Michael, played by Daniel Mays. The second character is an attorney that is convinced to take up Michael’s appeal, played by Mark Addy (I can’t tell if I just don’t like him because of that horrible TV show he was in, or if he really isn’t a great actor). It seems that both ‘80, and ‘83 could have benefited from a strong femme fatale character, like Rebecca Hall provided in ‘74. There’s a dearth of healthy sexual tension here. It’s not hugely distracting, but it could have provided a new dimension to our two male heroes.
Tucker’s direction is a tad distracting here, there are definitely the same melancholy notes (accompanied with similar music) that we saw in Shopgirl. Although this may very well be the only way to handle the script, since it heavily relies on flashbacks, and cuts to the previous films to tell its story. There are also a number of scenes so beautifully shot, they could have been pulled out of a fantasy film for their surrealism. I’d provide screenshots, but it’d give too much away. 1974 was shot in 16mm, 1980 was upgraded to 35mm, and 1983 is actually shot in high definition, which allows for some fantastic close ups and lighting.
This film is certainly appealing for its promise to wrap up everything. Saying this series is dense is an understatement. It seems, however, that quite a bit was cut out of the script for whatever reason (probably time), and so you think that everything will be explained here, and it’s not. Don’t get me wrong, things get settled, but I have loads of questions I’d like answered that I fear will never be unless I read Peace’s books–repeat viewings can explain what’s not there. Overall, this is a solid finish to a great story, now don’t fuck it up, Ridley.
Bitchin' Stars:
Tags: Anand Tucker · Daniel Mays · David Morrissey · David Peace · Mark Addy · Red Riding Trilogy · Red Riding: 19832 Comments
