Monthly Roundup: April Viewing

I watched a total of 40 Films in April. Below are some very brief thoughts on all of them.

New-To-Me Films (In Order of Preference)

Badlands (Terrence Malick, 1973) - Malick's violent and fascinating road odyssey tracks a pair of alienated youths who gain criminal notoriety living off the land and notching up body count. Sheen and Spacek are excellent in this brooding film that shocks with Kit's carefree trigger finger, and yet it's impossible to look away. 

The King of Comedy (Martin Scorsese, 1982) - De Niro is absolutely phenomenal as Rupert Pupkin and it's a great film. A dangerously ambitious comic takes his obsession with a talk show host (Jerry Lewis) and gaining his big break to an extreme length.

One Week (Buster Keaton, 1920) - Just pure genius. Keaton's debut work too, I believe. 

A Nightmare on Elm Street (Wes Craven, 1984) - The horror genre is all about consciously watching your nightmares and ELM STREET brilliantly toys with perceptions of interlocking dream and reality. For me, it is Craven's masterwork so far. Relentless intensity, inventive deaths and a perceptive heroine. Would have left many audiences scared to sleep over the years.

Taxi to the Dark Side (Alex Gibney, 2007) - A very troubling investigation into the heinous US interrogation techniques during the war on terror including suspicious deaths of innocent detainees and the laws unscrupulously amended by Bush admin to allow such methods to be used. 

Sex, Lies and Videotape (Steven Soderbergh, 1989) - Soderbergh's ridiculously young debut feature is sexy and very well acted by the ensemble (including a Cannes winner in Spader, and a never-better Andie MacDowell), fueled by lies, deceit, suppressed desires and the inability to communicate sexual urges.

Whisper of the Heart (Yoshifumi Kondo, 1995) - Lovely Studio Ghibli animation about confusing adolescent crossroads; falling in love, taking responsibility, and finding inspiration and ambition to realize one's dreams. A remarkably sweet film about high school life.

Westworld (Michael Crichton, 1973) - In manufactured themed resorts tourists can fearlessly reinvent themselves, their desires at liberty to the programmed stimuli. This is a really cool futuristic thriller from writer/director Michael Crichton about human tinkering with reality, being betrayed by own creations. Paved way for films like THE TRUMAN SHOW and CABIN IN THE WOODS and evolves into a monster film of sorts after opening as a sci-fi/western hybrid.

Spring Breakers (Harmony Korine, 2013) - Hard to gauge conflicted feelings initially; thirst for freedom, rush, debauchery and power raised to 11. Franco kills. Martinez too. Some issues but as irresponsible and disturbing as some of the behaviour is, it is not far removed from reality. Final third a tense and uncertain spiral into madness, a hallucinatory nightmare of immorality and deception.

Hard Eight (Paul Thomas Anderson, 1996) - Mysterious old-timer (Phillip Baker Hall) involves himself in the life of wayward youngsters (John C. Reilly, Gwyneth Paltrow) in need of wisdom and counsel in PTA's intriguing and unfairly assured (and ignored) debut. It's a top film, and though far less ambitious than the films he has followed it up with, it still features impressive writing and a sense of style that would be especially evident in BOOGIE NIGHTS and MAGNOLIA. Most fascinating theme: the clash of generations - composure and method versus recklessness and spontaneity when unwisely making decisions influenced by chance. The cast are superb.

Cinema Jenin: The Story of A Dream (Marcus Vetter, 2012) - Cinema Jenin is an enlightening documentary account of a tightrope evasion of political, cultural and economic obstacles to resurrect a decrepit Palestinian cinema and former Jenin West Bank cultural centre to bring the power of not just cinema, but the arts in general, to a nation who had been without the privilege for over twenty years.

Shallow Grave (Danny Boyle, 1994) - Gripping and twisty psychological unraveling/betrayal following the chance procuring of a fortune and amateur body disposal. McGregor, as has been the trend recently, is best in show, but it's an early culmination of Boyle's flair and familiar themes of greed vs. morality.

Millions (Danny Boyle, 2004) - Gentle, family-centric Boyle tackles relevant moralities and a young boy's saint-like ideals when faced with fleeting, life-changing wealth. It has an abundance of style (per usual with Boyle) but also interesting ideas on faith, goodwill, equity and economy.

Carrie (Brian De Palma, 1976) - High school cruelty and Evangelical extremism mold an outcast desiring acceptance who exerts telekinetic revenge in disturbing fashion. The film feels pretty dated until the extraordinarily directed prom scene, which is unforgettable. Spacek is magnificent. A De Palma winner, finally.

Chasing Ice (Jeff Orlowski, 2012) - A fascinating, stunning and important documentary. To challenge the climate change debate, a driven photographer named James Balog traverses the icy extremes of Alaska, Greenland and Iceland to publicize visual evidence of significant glacial calving. James' mission and dedication is admirable work, as is his belief in the co-existence of civilization and nature. They can't be divorced. It seems undeniable.

Iron Man 3 (Shane Black, 2013) - I enjoyed Iron Man 3 a lot. A fun superhero-come-political espionage thriller with compelling action, an exposed and vulnerable hero (RDJ is terrific) and some surprises. The final act, though featuring an impressive set piece, was less satisfying, but Stark's sharp dialogue and his genuine relationships with helpful civilians, give the film a big lift. Hats off to Shane Black for ensuring there is an arresting personal story amongst the visual spectacle.

Oblivion (Joseph Kosinski, 2013) - Atmospheric and cinematic. Terrific visuals, score and a consistently intriguing/surprising story that takes it's time to immerse a viewer in the world Cruise's (good!) character inhabits. Lots of sci-fi derivatives, which will likely prove to be too much to overlook for many, but personally I didn't care. Much better than most films I have seen recently. A big surprise.

----- Essential Viewing -----

New Releases (02/05/13)

I found it difficult to find multiple sources confirming this week's releases but it seems like The Hunt, Drift, 42, The Big Wedding and Promised Land will be the new additions to cinemas to separate the blockbuster releases of Iron Man 3 and Star Trek Into Darkness.

The Hunt - Mads Mikkelsen (NBC's Hannibal, A ROYAL AFFAIR, CASINO ROYALE) won the Best Actor Award at the 2012 Cannes Film Festival for his penetrating portrayal of Lucas, a former school teacher who has been forced to start over having overcome a tough divorce and the loss of his job. Just as things are starting to go his way, his life is shattered when an untruthful remark throws his small community into a collective state of hysteria. As the lie spreads, Lucas is forced to fight a lonely fight for his life and dignity.

Drift - Australia, 1970s. The Kelly brothers, Andy (28) and Jimmy (22), have one great passion: riding big waves. As kids, their mother escaped from Sydney to Margaret River, a sleepy coastal town with some of the world's most challenging and dangerous waves. For the next 12 years, the boys perfected their surfing skills, always searching for the perfect ride. Free-spirited Jimmy is a gifted surfer but he starts to slip toward a life of crime to help the family out of debt. Andy makes a big decision. Quitting a stable job, he bets on Jimmy's surf inventions and his own business skills and launches a backyard surf gear business. They rethink board design, craft homemade wetsuits and sell their merchandise out of their van. Encouraged by their new friends, traveling bohemian surf photographer and filmmaker JB (Sam Worthington) and his gorgeous Hawaiian surfer companion, Lani, who stirs the two brothers' hearts, they start to seek ways to expand. A story of passion and corruption, friendship and loyalty, deadly addictions and fractured relationships, Drift tells a tale of courage and the will to survive against all odds.

42 - Hero is a word we hear often in sports, but heroism is not always about achievements on the field of play. "42" tells the story of two men-the great Jackie Robinson and legendary Brooklyn Dodgers GM Branch Rickey-whose brave stand against prejudice forever changed the world by changing the game of baseball. In 1946, Branch Rickey (Harrison Ford) put himself at the forefront of history when he signed Jackie Robinson (Chadwick Boseman) to the team, breaking Major League Baseball's infamous color line. But the deal also put both Robinson and Rickey in the firing line of the public, the press and even other players. Facing unabashed racism from every side, Robinson was forced to demonstrate tremendous courage and restraint by not reacting in kind, knowing that any incident could destroy his and Rickey's hopes. Instead, Number 42 let his talent on the field do the talking-ultimately winning over fans and his teammates, silencing his critics, and paving the way for others to follow.

The Big Wedding - With an all-star cast led by Robert De Niro, Katherine Heigl, Diane Keaton, Amanda Seyfried, Topher Grace, with Susan Sarandon and Robin Williams, The Big Wedding is an uproarious romantic comedy about a charmingly modern family trying to survive a weekend wedding celebration that has the potential to become a full blown family fiasco. To the amusement of their adult children and friends, long divorced couple Don and Ellie Griffin (De Niro and Keaton) are once again forced to play the happy couple for the sake of their adopted son's wedding after his ultra conservative biological mother unexpectedly decides to fly halfway across the world to attend. With all of the wedding guests looking on, the Griffins are hilariously forced to confront their past, present and future - and hopefully avoid killing each other in the process.

Promised Land - Matt Damon plays Steve Butler, an ace corporate salesman who is sent along with his partner, Sue Thomason (Frances McDormand), to close a key rural town in his company's expansion plans. With the town having been hit hard by the economic decline of recent years, the two outsiders see the local citizens as likely to accept their company's offer, for drilling rights to their properties, as much-needed relief. What seems like an easy job for the duo becomes complicated by the objection of a respected schoolteacher (Hal Holbrook) with support from a grassroots campaign led by another man (John Krasinski), as well as the interest of a local woman (Rosemarie DeWitt). Promised Land explores America at the crossroads where big business and the strength of small-town community converge. 

Weekly Recommendation: Having only seen 'The Hunt' and finding it extremely emotional and thought provoking, it is easily my pick of the week. In fact, it would be one of the top films to hit cinemas this year. But, I have read some positive responses to '42' and with Gus Van Sant at the helm 'Promised Land' could also be worth a look.   

Brief Hiatus

Hey everyone, there will only be a few posts added to the site over the next ten days as I am heading out of town for a holiday. Monthly round-up and a spotlight on the May 2 releases to come, but likely not much else. You can keep track of my adventures and my ever-existent thoughts on film at my Twitter account - @buckle22

Review: Cinema Jenin: The Story of A Dream (Marcus Vetter, 2012)

Cinema Jenin is an enlightening documentary account of a tightrope evasion of political, cultural and economic obstacles to resurrect a decrepit Palestinian cinema. The former Jenin West Bank cultural centre isn’t just a symbol of cinema, but the arts of a nation who has been without the privilege for over twenty years. Prior to the project there had been no functioning cinemas in Jenin since 1987, following First Intifada closure. A German journalist and documentarian fronts a passionate team who collectively envision its return to former glory. Navigating the divisive politically charged interests of a nation still in turmoil with it’s neighbour, Marcus’s dream is a dangerous but endearing one. This illuminating study of an important international aid project is powerful viewing, a tribute to the inspiring and healing magic of art and culture, and sought insurance that the arts are an integral part of universal societies.

 

Marcus Vetter was in Jenin in 2008 after filming for his documentary Heart of Jenin, the story of Ahmed Khatib, a Palestinian boy shot by Israeli soldiers whose father decides to donate his son’s organs to Israeli children as a gesture of peace, when he learned about the abandoned cinema. Driven to resurrect, restore and reopen the iconic centre of Palestinian cultural life, he enlists a program director, begins to communicate with the cinema owners, and seeks funding learning some lessons on Palestinian customs along the way.

Continue reading at Graffiti With Punctuation. 

Review: Iron Man 3 (Shane Black, 2013)

Robert Downey Jr. is back in suitably charismatic form as billionaire genius and playboy Tony Stark, in the entertaining third installment in the Iron Man franchise. Director/co-writer Shane Black, responsible for awesome noir throwback Kiss Kiss Bang Bang and buddy cop classic Lethal Weapon, has taken the reins from Jon Favreau (Iron Man 1 and 2), who sticks around with an amusing cameo, crafting a film with surprising social relevance and heart. He has successfully fused comic book sensibilities, thrilling high-stakes action, guffaw-worthy humour and compelling character drama into a top class visual effects bonanza that fits nicely into the current Marvel canon.

Following the events of The Avengers in Manhattan, Tony has been struggling to sleep and suffers from anxiety attacks whenever reminded of the ordeal. He busies himself tinkering with his suits, giving individual elements their own exclusive power, which allows the suit to remotely fit together on his person from disparate pieces. While Tony has been trying to put his mind at rest, Pepper Potts (Gwyneth Paltrow), has been approached by Aldich Killian (Guy Pearce), a rival businessman who was involved in a fleeting but important moment from Tony’s past. He requests Stark Industries’ allegiance with his company, which is operating an Extremis Program involving the experimental treatment of crippling injury. Meanwhile, an antagonistic and sadistic terrorist known as The Mandarin (Ben Kingsley) has been responsible for a series of bombings on U.S soil. When Tony threatens him, he retaliates by targeting everything that Tony has come to hold dear.

Continue Reading at Graffiti With Punctuation. 

My 25 Favourite Albums

As many of you know I don't spend ALL of my time watching films. Whether I am at home or out and about I am usually listening to music, and make my choices based on a specific album I feel like. I respect artists not by their collection of hit singles, but their ability to put together an album. One that offers rewarding songs from beginning to end, that take a listener on an evolving journey. Albums reveal so much about an artist at the time of release; their creative influences and collaborative evidence of the band's experimentation and future direction with sound. Here is my frequently interchangeable list of 25 Favourite Albums - ones I have listened to and enjoyed consistently more than any others.

25. Enter the Wu Tang (36 Chambers) – Wu Tang Clan

24. Low – David Bowie

23. I See A Darkness - Bonnie "Prince" Billy

22. Yoshimi Battles the Pink Robots - The Flaming Lips

21. Dark Side of the Moon - Pink Floyd

20. Ride the Lightning - Metallica

19. Ten - Pearl Jam

18. Unknown Pleasures - Joy Division

17. In the Airplane Over the Sea - Neutral Milk Hotel

16. The Lonesome Crowded West - Modest Mouse

15. Californication - Red Hot Chili Peppers

14. Abbey Road – The Beatles

13. Aenima – Tool

12. Forever Changes - Love

11. Wish You Were Here – Pink Floyd

10. The Moon and Antarctica – Modest Mouse

9. Meat is Murder – The Smiths

8. Illinoise - Sufjan Stevens

7. Hot Rats - Frank Zappa

6. The Doors - The Doors

5. OK Computer - Radiohead

4. Funeral - Arcade Fire

3. Paranoid - Black Sabbath

2. Master of Puppets - Metallica

1. Remain in Light - Talking Heads

Review: Mercy (Matthias Glasner, 2012)

Mercy, directed by German filmmaker Matthias Glasner, is a fascinating melodrama screening at the upcoming 2013 Audi Festival of German Films.

Set in the beautiful northern Norwegian town of Hammerfest, covered by periodic complete darkness and light, Mercy is an engrossing slow-burn drama fraught with moral quandary (guilt is a more relevant virtue than the eponymous one, however) and domestic melodrama. Mercy offers surprises and focuses on how people cope with isolation, both in relation to location and the individual emotional traps they face. The plot mechanics are well constructed and the unique location presents a stunning snowy canvas for this tale to unravel.

Niels (Jurgen Vogel, Hotel Lux) and Maria (Brigit Minichmayr, Das Weiss Bande) and their son Markus (Henry Stange), have recently emigrated to Norway in the hopes they can start a new life and resurrect their stagnant marriage. Niels has taken on a job as an engineer and we soon learn he has been sleeping with an attractive colleague (Ane Dahl Top, Dead Snow). After being briefly distracted by the northern lights on her way home late one night, Maria hits someone or something with her car. She stops quickly but is panicked and drives on home. A search by Niels later in the night reveals no sign of anything, but Maria still fears the worst. The next day, on the news and in the paper, there is a report that one of Markus’ schoolmates had been killed during the night, a hit-and-run.

Continue reading at Graffiti With Punctuation. 

Review: The Hunt (Thomas Vinterberg, 2012)

I first watched The Hunt at the Melbourne International Film Festival. Here is an extension of my diary thoughts. In cinemas May 2, distributed through Madman Films.

In Danish writer/director Thomas Vinterberg's haunting new drama, The Hunt, Mads Mikkelsen (awarded Best Actor at the Cannes Film Festival for the role), stars as Lucas, a popular small town Kindergarten teacher. When Klara (Annika Wedderkopp), the daughter of his best friend Theo (Thomas Bo Larsen), tells a story detailing inappropriate sexual contact from Lucas, it quickly becomes a serious case. The adults, informed of the claims by the school's principal despite there being no proof beyond Klara's account, are blinded by rage, turn against Lucas and begin a campaign to ensure that justice is served, targeting not only his professional career and personal reputation, but also his family. Lucas is wrongfully accused, but when more stories of abuse surface - a result of insular paranoia - the mounting lies spiral out of control to the point where the life of this innocent man is facing ruin. 

The Hunt is tremendously affecting and frequently angered me. This is courtesy of the decision-making by some of the adult characters, and a line of questioning initially administered to Klara was especially deplorable. I left the cinema devastated. Vinterberg, best known for his Dogma 95 origin film, Festen [The Celebration] (1998), has crafted an atmospheric and tense drama of an insular community unnervingly embroiled in hysteria and turmoil as a result of a child's lie. A parent's desire to protect their children and bring justice to a wrongdoer in a situation like this is only natural, but the series of events in this story hit me hard. Vinterberg makes wonderful use of Mikkelsen's emotive face, drawing a mesmerising performance from one of Europe's most talented actors, in what is a glamorously photographed work.  

There are many outstanding sequences - including a stunning finale - which punctuate why The Hunt is a must see, and many questionable decisions made by the school and the townsfolk, that will leave a viewer audibly frustrated. Lucas, so close to Klara's father he's like an extended member of the family, walks Klara to school alone on one occasion and on another assists a child in the lavatory. While these seem like kind and harmless gestures, without alternative adult supervision Lucas is susceptible to a situation like the one he is accused of. He has no witnesses, so it becomes the child's word against his.  

While some of the actions might seem to be of an extreme nature, and the film deemed manipulative, I felt it was exceptionally well-constructed. Sadly, there are many cases of child sexual abuse in the world today. It is a horrific crime. This fascinating character study captures the emotions on both sides and asks us not to desire justice being served but to hope that in this case it isn't wrongfully done so.

My Rating: ★★★★1/2