Larry Charles
2008
Liberal pundit Bill Maher has never been much for subtlety in his take on religion, and this documentary, which smacks something heavy of a vanity project, aims straight for the heart of faith's multitude of wackjob practitioners. Unfortunately the film takes the easy route, picking on the feeble-minded and a host of ludicrous zealots who would look just as stupid in any context. It makes for passable comedy, but our host is smarter than this, and even on his HBO series he at least books conservatives that can keep up with him. Also Maher mostly focuses on razzing "the big three," with nutty Christians, Jews, and Muslims taking the brunt of his assault. Apparently Hindu bashing is out of vogue. For all the cheap shots and buffoonery the film's conclusion is impassioned and sincere with Maher warning against putting nuclear arms in the hands of government officials who believe in "end times," a worthy stance that I agree with. It's an adequate picture with it's share laughs (and scares), but is ultimately a puff piece made by the only guy on the left with the lack of shame to yell as loud as the maniacs on the right.
Tuesday, September 29, 2009
Inglorious Basterds
Quentin Tarantino
2009
The immaculate avatar of Cinematic notation delves deeper into genre ecstasy with a satisfyingly mature WWII revenger complete with Spaghetti Western nods and mission-film tropes. This revisionist take on WWII pits a guerilla gang of Jewish Americans against Hitler's army, while a secretly Jewish young woman running a movie theater in Paris hatches her own plot to stick it to the Krauts. Pitt's scar-necked hilbilly Lieutenant with ragtag gang in tow is the equivalent of cinematic crack, but for better or worse Tarantino proves a lackadaisical pusher man, instead fronting a more ambitious multi-thread yarn, bordering on epic. While the picture left me wanting more action-oriented Basterd madness, it was a fallacy on my part to expect that graphic violence or harrowing thrills would ever steal the spotlight from Tarantino's obsessive expressive rebop dialogue. I certainly enjoyed the picture immensely, but frankly I need to see it again to develop a final opinion. I've found that in Tarantino's work reveals itself best through multiple viewings.
2009
The immaculate avatar of Cinematic notation delves deeper into genre ecstasy with a satisfyingly mature WWII revenger complete with Spaghetti Western nods and mission-film tropes. This revisionist take on WWII pits a guerilla gang of Jewish Americans against Hitler's army, while a secretly Jewish young woman running a movie theater in Paris hatches her own plot to stick it to the Krauts. Pitt's scar-necked hilbilly Lieutenant with ragtag gang in tow is the equivalent of cinematic crack, but for better or worse Tarantino proves a lackadaisical pusher man, instead fronting a more ambitious multi-thread yarn, bordering on epic. While the picture left me wanting more action-oriented Basterd madness, it was a fallacy on my part to expect that graphic violence or harrowing thrills would ever steal the spotlight from Tarantino's obsessive expressive rebop dialogue. I certainly enjoyed the picture immensely, but frankly I need to see it again to develop a final opinion. I've found that in Tarantino's work reveals itself best through multiple viewings.
Monday, September 28, 2009
Shadows and Fog
Woody Allen
1991
Second Viewing
I saw this picture on cable sometime in the late 90's and didn't think too much of it at the time, but was pleasantly surprised when this reviewing proved rewarding. Made a year or two before Allen's eventually ill-fated partnership with Jean Doumanian "Shadows and Fog" takes the ubber-nebbish's love of classic cinema, philosophy, and existentialism, all themes he'd explored before, and remixed them in a fresh, engaging, and thoughtful way. In a quasi London, replete with the eponymous mood setters, Allen's meek clerk tries in vain to meet up with a vigilante mob bent on cowing an at-large serial killer, while simultaneously keeping his nose clean. During his misadventures around the city Allen meets up with a comely sword-swallower (Mia Farrow) who's coming off a bad fight with her main squeeze man/clown - the two find safety in numbers. Thanks to the exaggerated backdrop of mannered lighting and gorgeous sets some of Allen's more frustrating intellectual impulses feel right at home in this fabricated world of ideas (he even cleverly tackles anti-Semitism). The great casting and wide range of interesting actors and celebrities is no surprise for a film made during the director's established period but it's never any less of a treat to see such lavish ensembles. "Shadows and Fog" offers nothing daring, nor does it offer anything new in his ouvre, but it's a pleasant reminder that a fresh coat of paint can go a long way.
1991
Second Viewing
I saw this picture on cable sometime in the late 90's and didn't think too much of it at the time, but was pleasantly surprised when this reviewing proved rewarding. Made a year or two before Allen's eventually ill-fated partnership with Jean Doumanian "Shadows and Fog" takes the ubber-nebbish's love of classic cinema, philosophy, and existentialism, all themes he'd explored before, and remixed them in a fresh, engaging, and thoughtful way. In a quasi London, replete with the eponymous mood setters, Allen's meek clerk tries in vain to meet up with a vigilante mob bent on cowing an at-large serial killer, while simultaneously keeping his nose clean. During his misadventures around the city Allen meets up with a comely sword-swallower (Mia Farrow) who's coming off a bad fight with her main squeeze man/clown - the two find safety in numbers. Thanks to the exaggerated backdrop of mannered lighting and gorgeous sets some of Allen's more frustrating intellectual impulses feel right at home in this fabricated world of ideas (he even cleverly tackles anti-Semitism). The great casting and wide range of interesting actors and celebrities is no surprise for a film made during the director's established period but it's never any less of a treat to see such lavish ensembles. "Shadows and Fog" offers nothing daring, nor does it offer anything new in his ouvre, but it's a pleasant reminder that a fresh coat of paint can go a long way.
Thursday, September 03, 2009
Bob le Flambeur
Jean-Pierre Melville
1956
One of the weaker Melville pictures I've seen to date, "Bob Le Flambeur" is mostly a slapdash of gangster film cliches with a steadfast reverence for style and "honor amongst thieves." Our titular gambler cuts a dashing figure, impeccably dressed, and topped with a silver coiffure, he lives by night throwing away money in games of chance. Thanks to a longstanding losing streak the normally noble Bob is compelled to mastermind a casino heist - the proverbial "final score." For the most part the story plods along predictably with a protege, a police friend, and an underworld snitch, but Melville does a solid job of capturing a sense of place: his Montmartre and Pigalle are as much a part of the film as it's hoods. The picture's greatest asset is the inclusion of a carefree libertine, young and blonde, rapidly integrating herself into a sleazy world of loose morals and cheap thrills. Bob does his best to set her right (gallantry would come natural to this kind of character), but the tart is oblivious to the warnings, taking him for another in a long line of sugar daddies. This complex father/daughter/lover relationship is far more rewarding than the heist itself, muted in tension and disappointing in conclusion. For my money I find the similarly themed "Touchez pas au Grisbi" (1954) to be far superior.
1956
One of the weaker Melville pictures I've seen to date, "Bob Le Flambeur" is mostly a slapdash of gangster film cliches with a steadfast reverence for style and "honor amongst thieves." Our titular gambler cuts a dashing figure, impeccably dressed, and topped with a silver coiffure, he lives by night throwing away money in games of chance. Thanks to a longstanding losing streak the normally noble Bob is compelled to mastermind a casino heist - the proverbial "final score." For the most part the story plods along predictably with a protege, a police friend, and an underworld snitch, but Melville does a solid job of capturing a sense of place: his Montmartre and Pigalle are as much a part of the film as it's hoods. The picture's greatest asset is the inclusion of a carefree libertine, young and blonde, rapidly integrating herself into a sleazy world of loose morals and cheap thrills. Bob does his best to set her right (gallantry would come natural to this kind of character), but the tart is oblivious to the warnings, taking him for another in a long line of sugar daddies. This complex father/daughter/lover relationship is far more rewarding than the heist itself, muted in tension and disappointing in conclusion. For my money I find the similarly themed "Touchez pas au Grisbi" (1954) to be far superior.
Wednesday, September 02, 2009
The Incredible Hulk
Louis Leterrier
2008
I never caught the ill-fated Ang Lee screen debut of Marvel's green meanie but thought I'd get in on the hasty attempt to reboot the potential franchise via an Ondemand lark. This version has Bruce Banner stuck in self imposed exile living a quiet existence in South America while learning to cope with his condition. Unfortunately for him the United States military is hot to unlock the secrets of Banner's blood in order to create super soldiers - enter Tim Roth as an aging Russian-born commando supreme eager to get his hands on some performance enhancing drugs. When Banner (Ed Norton) reunites with former flame Betty Ross (Liv Tyler) it becomes apparent that Norton is a more refined actor than the role requires. His emoting and dramatic gravitas is at odds with his costars' more expected and genre-friendly plasticity. The CG looks great and the action sequences are far more pleasing than Marvel Studios' concurrent release "Iron Man" (2008), though the overall the story is much weaker. I think I might be developing a thing for superhero movies considering the last three that I've seen have all been pretty excellent. I did find Tim Roth's character to be oddly sympathetic during the campus battle scene in which a supercharged but regular-sized Roth single handedly takes on the massive Hulk - the scene innately captures the David Vs. Goliath underdog rooting most audiences have been conditioned for, though I'm sure this wasn't Leterrier's intention.
2008
I never caught the ill-fated Ang Lee screen debut of Marvel's green meanie but thought I'd get in on the hasty attempt to reboot the potential franchise via an Ondemand lark. This version has Bruce Banner stuck in self imposed exile living a quiet existence in South America while learning to cope with his condition. Unfortunately for him the United States military is hot to unlock the secrets of Banner's blood in order to create super soldiers - enter Tim Roth as an aging Russian-born commando supreme eager to get his hands on some performance enhancing drugs. When Banner (Ed Norton) reunites with former flame Betty Ross (Liv Tyler) it becomes apparent that Norton is a more refined actor than the role requires. His emoting and dramatic gravitas is at odds with his costars' more expected and genre-friendly plasticity. The CG looks great and the action sequences are far more pleasing than Marvel Studios' concurrent release "Iron Man" (2008), though the overall the story is much weaker. I think I might be developing a thing for superhero movies considering the last three that I've seen have all been pretty excellent. I did find Tim Roth's character to be oddly sympathetic during the campus battle scene in which a supercharged but regular-sized Roth single handedly takes on the massive Hulk - the scene innately captures the David Vs. Goliath underdog rooting most audiences have been conditioned for, though I'm sure this wasn't Leterrier's intention.
Tuesday, September 01, 2009
Battle For the Planet of the Apes
J. Lee Thompson
1973
Unfortunately for the franchise, it's last installment "Battle.." goes out with a whimper undeserving of such a great series. This one finds the rift between ape and man clearly drawn with humans serving as an underclass to their patrician counterparts. The former world of men has crumbled to become underground archaeological strata inhabited by a group of rapidly mutating survivors (these will be the mutants from "Beneath The Planet of the Apes (1970))." Inevitably the paths of ape and mutant cross resulting in the film's titular skirmish. Besides the fierce battle itself, complete with mutant helmed tank and other patchwork war machines, most of the interest comes from the apes discovering their darker side. The final revelation that Caesar's son has been murdered at the hands of a militant rival rends asunder the old axiom that "Ape Shall Not Kill Ape." This last message provides the unsurprising sum total that despite physiological and purported philosophical differences there is just as much capacity for savagery in ape as there is in man.
1973
Unfortunately for the franchise, it's last installment "Battle.." goes out with a whimper undeserving of such a great series. This one finds the rift between ape and man clearly drawn with humans serving as an underclass to their patrician counterparts. The former world of men has crumbled to become underground archaeological strata inhabited by a group of rapidly mutating survivors (these will be the mutants from "Beneath The Planet of the Apes (1970))." Inevitably the paths of ape and mutant cross resulting in the film's titular skirmish. Besides the fierce battle itself, complete with mutant helmed tank and other patchwork war machines, most of the interest comes from the apes discovering their darker side. The final revelation that Caesar's son has been murdered at the hands of a militant rival rends asunder the old axiom that "Ape Shall Not Kill Ape." This last message provides the unsurprising sum total that despite physiological and purported philosophical differences there is just as much capacity for savagery in ape as there is in man.
In the Realm of the Senses
Nagisa Oshima
1976
Easily the most frankly sexual non-porn film I've seen to date. Oshima's notoriously torrid affair puts a tranquilized eye on the obsessed and frequent bedroom frolics of a couple willfully insulating themselves from Japan's rapid pre-war militarization. As much an intellectual challenge as an expressive work of art Oshima attempts to meld human passion with the clinical physicality of bumpin' uglies by combining familiar cinematic romance, with an almost medical sense of anatomy. To say the actors put in courageous performances is an understatement, and unlike the vacant tendencies of hambone pornstars Tatsuya Fuji and Eiko Matsuda believably convey their roles while engaged in constant, extreme intimacy. Compared to this film Chloe Sevigny's much ballyhooed blowing of Vincent Gallo in "The Brown Bunny" (2003) seems far less daring given Oshima's precedent.
1976
Easily the most frankly sexual non-porn film I've seen to date. Oshima's notoriously torrid affair puts a tranquilized eye on the obsessed and frequent bedroom frolics of a couple willfully insulating themselves from Japan's rapid pre-war militarization. As much an intellectual challenge as an expressive work of art Oshima attempts to meld human passion with the clinical physicality of bumpin' uglies by combining familiar cinematic romance, with an almost medical sense of anatomy. To say the actors put in courageous performances is an understatement, and unlike the vacant tendencies of hambone pornstars Tatsuya Fuji and Eiko Matsuda believably convey their roles while engaged in constant, extreme intimacy. Compared to this film Chloe Sevigny's much ballyhooed blowing of Vincent Gallo in "The Brown Bunny" (2003) seems far less daring given Oshima's precedent.
Subscribe to:
Comments (Atom)