Category Archives: Movie Movie

The Top 100 films since 2007, and a shameless holiday pitch

By Dennis Hartley

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It’s hard to believe it’s been 11 years since my pal Digby graciously offered me a crayon, a sippy cup and a weekly play date on her otherwise grownup site so I can scribble about pop culture.

And just over 2 years ago, I put up Den of Cinema. Initially, this blog was created as a handy archive for readers who have followed my reviews over at Digby’s place; it has evolved a bit to include additional musings about music, pop culture and politics.

You’ve probably noticed that this site remains unencumbered by flashy ads and annoying pop ups that distract you from what (I assume) you’re here for…which is to catch up on recent posts or perhaps peruse the (searchable!) archives of well over 900 posts.

You know where this is going, don’t you?

I’m not the high pressure type, so I’ll just throw this out there: This is a 100% reader-supported site, it’s “that time of year”, and if you sample the wares on a regular basis and wish to help out  with a donation (upper left corner), I would be ever so grateful.

Or don’t. Either way, you are always welcome here, and I’m just happy to know that you’re out there…somewhere, in the dark.

Anyway…Merry Crimble, and a Happy Goo Year!

So what about these “100 films” you speak of (you’re thinking?). By popular demand (heh) here are  my top 10 picks for each of the years since I began writing film reviews over at Digby’s Hullabaloo (you may want to bookmark this post as a  reference for movie night).

[Click on title for full review]

2007

Eastern Promises, The Hoax, In the Shadow of the Moon, Kurt Cobain: About a Son, Michael Clayton, My Best Friend, No Country for Old Men, Pan’s Labyrinth, PaprikaZodiac

2008

Burn After Reading, The Dark Knight, The Gits, Happy Go Lucky, Honeydripper, Man on Wire, Milk, Slumdog Millionaire, Vicky Cristina Barcelona, The Visitor

2009

The Baader Meinhof Complex, Inglourious Basterds, In the Loop, The Limits of Control, The Messenger, A Serious Man, Sin Nombre, Star Trek, Where the Wild Things Are, The Yes Men Fix the World

2010

Creation, Inside Job, Joan Rivers: A Piece of Work, Little Big Soldier, A Matter of Size, My Dog Tulip, Nowhere Boy, Oceans, The Runaways, Son of Babylon

2011

Another Earth, Certified Copy, The Descendants, Drei, Drive, The First Grader, Midnight in Paris, Summer Wars, Tinker/Tailor/Soldier/Spy, The Trip

2012

Applause, Dark Horse, Killer Joe, The Master, Paul Williams: Still Alive, Rampart, Samsara, Skyfall, The Story of Film: an Odyssey, Your Sister’s Sister

2013

The Act of Killing, Big Star: Nothing Can Hurt Me, Computer Chess, 56 Up, The Hunt, Mud, The Rocket, The Silence, The Sweeney, Upstream Color

2014

Birdman, Child’s Pose, A Coffee in Berlin, The Grand Budapest Hotel, Kill the Messenger, The Last Days of Vietnam, Life Itself, A Summer’s Tale, The Wind Rises, The Theory of Everything

2015

Chappie, Fassbinder: Love Without Demands, An Italian Name, Liza the Fox Fairy, Love and Mercy, A Pigeon Sat on a Branch Reflecting on Existence, Song of the Sea, Tangerines, Trumbo, When Marnie Was There

2016

The Curve, Eat That Question, Hail Caesar!, Home Care, Jackie, Mekko, Older Than Ireland, Snowden, The Tunnel, Weiner

SIFF 2017: Finding Kukan ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 27, 2017)

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The first documentary to win an Oscar was the 1941 film Kukan: The Battle Cry of China. There are two unfortunate footnotes. 1.) The film, a unique and historically important “front line” document of Japan’s 1937 invasion of China, has since all but vanished from the public eye. 2.) The female producer, Ling-Ai Li, was not credited. With two tantalizing mysteries to solve, film maker Robin Lung had her work cut out for her. The director’s 7-year quest yields two separate yet convergent narratives: a world-wide search for prints of Kukan for possible restoration, and the fascinating life of a previously unsung female film making pioneer. Lung nicely ties the threads together.

SIFF 2017: The Fabulous Allan Carr ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 20, 2017)

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If you learn one thing about the business we call “show” from Jeffrey Schwarz’s profile of late movie producer Allan Carr, it’s this: For every Grease, there’s a Grease 2. Yes, the same man produced both films. But there was a lot more to this flamboyant showman, who first demonstrated his inherent genius for turning lemons into lemonade when he secured domestic distribution for a no-budget Mexican exploitation flick about the Uruguayan rugby team plane crash survivors who kept alive by gnawing on their less fortunate teammates (you remember Survive!). He produced some huge hits…and probably more misses. But his hits were big enough to sustain a hedonistic lifestyle, which included legendarily over-the-top parties. An entertaining paean to a special type of excess that flourished from the mid-1970s thru the early 1980s.

Blu-ray reissue: Wim Wenders-The Road Triliogy

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 3, 2016)

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Wim Wenders: The Road Trilogy – Criterion Collection Blu-ray box set

Few names have become as synonymous with the “road movie” as German film maker Wim Wenders. Paris, Texas and Until the End of the World are the most well-known examples of his mastery in capturing not only the lure of the open road, but in laying bare the disparate human emotions that spark wanderlust. But fairly early in his career, between 1974 and 1976, he made a three-film cycle (all starring his favorite leading man Rudiger Vogler) that, while much lesser-known, easily stands with the best of the genre. Criterion has reissued all three of these previously hard to find titles in a wonderful box set.

Alice in the Cities  (***1/2) stars Vogler as a journalist who is reluctantly saddled into temporary stewardship of a precocious 9 year-old girl. His mission to get her to her grandmother’s house turns into quite the European travelogue (the relationship that develops is reminiscent of Paper Moon). It’s my personal favorite of the three.

In Wrong Move (**), Vogler is a writer in existential crisis, who hooks up with several other travelers who also carry mental baggage. It’s the darkest of the trilogy; Wenders based it on a Goethe novel.

Kings of the Road (***) is a Boudu Saved from Drowning-type tale with Vogler as a traveling film projector repairman who happens to be in the right place at the right time when a depressed psychologist (Hanns Zischler) decides to end it all by driving his VW into a river. The two traveling companions are slow to warm up to each other, but they have plenty of time to develop a bond at 2 hours and 55 minutes (i.e., the film may try the patience of some viewers). If you can stick with it, though, you’ll find it rewarding…it kind of  grows on you.

All three films have been given the usual meticulous Criterion restoration, showcasing Robby Muller’s beautiful cinematography.

Sunrise, sunset: Mia Madre ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 10, 2016)

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God grant me the serenity to accept the things I cannot change; courage to change the things I can; and wisdom to know the difference.

–from the “Serenity Prayer”, by Reinhold Niebuhr

In my lukewarm 2012 review of Nanni Moretti’s We Have a Pope, I did give props to the Italian writer-director for “…humanizing someone who holds a larger-than-life position of power and responsibility by depicting them to be just as neurotic as anybody else.” I observed that Moretti’s protagonist was a (would-be) pontiff who “…elects to leave a hermetic bubble of rituals and spiritual contemplation to revel in the simple joys of everyday life; to rediscover his humanity.”

Although Moretti’s latest effort is but the second film I have seen by this director, I’m sensing a theme. That’s because Mia Madre also centers on a protagonist who holds a larger-than-life position of power and responsibility (in this case, a film director), and is depicted to be just as neurotic as anybody else. One could even say that a film set is also a “hermetic bubble of rituals and spiritual contemplation” (of a sort). And indeed, over this cloistered, make-believe world, Margherita (Margherita Buy) holds sovereignty. But when it comes to her “real” life-not so much.

Every time she steps foot off her set, we sense Margherita’s power over her world diminishing. We see her literally gathering up the scant remnants of a failed relationship; dropping by her (soon to be) ex-lover’s apartment to collect some of her odds and ends. Her morose boyfriend (who, in a nice little directorial flourish, is sulking and listening to Leonard Cohen while she packs) gives her a desperate hug. “We know how things are,” she says a little unconvincingly, as she gently breaks away, “We’ve already decided.” To which he counters, “No…you’ve decided.”

Other aspects of her personal life are slipping through her fingers. She is stressed over the declining health of her hospitalized mother (Giulia Lazzarini), which in turn is exacerbating a gulf between Margherita and her teenage daughter (Beatrice Mancini). The only rock she can seem to cling to in her destabilizing spin is her Zen-like brother Giovanni (director Moretti), who urges her to get a grip (he’s the only person in her orbit who intuits that she is headed for a crash).

We know Margherita is losing it, because she is having Fellini-esque, metaphor-laden daydreams suggesting as such (echoes of 8 ½). In fact, chaos (internal and external) seems to be a central theme. The fictional director’s film within the film is a polemic concerning factory workers in the midst of a tumultuous labor dispute; Margherita’s set itself gets thrown into disarray upon arrival of a mercurial American actor (played to the back row by the ever hammy John Turturro).

While Maretti’s meta-narrative of a harried director juggling creative and personal issues while slogging through a film shoot begs comparison to Truffaut’s Day for Night, he ultimately digs into more elemental themes, revealed incrementally. Maretti’s measured pacing may give you some pause, so be advised that it does require your attention (and patience) to fully appreciate the denouement: one word of dialog that not only packs an emotional wallop and beautifully ties the entire film together, but gives us all a reassuring moment of clarity amidst the chaos of adult life.

SIFF 2016: The 1,000 Eyes of Dr. Maddin ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 21, 2016)

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I once noted in a review that “immersing yourself in the world of Canadian filmmaker Guy Maddin is not unlike entering a fever dream you might have after dropping acid and trying to get back to sleep…after waking up inside someone else’s nightmare”. While I stand by that appraisal, I now have an inkling of the method behind the madness after watching Yves Montmayeur’s enlightening portrait of the director, who opens up about his life and art. A few collaborators (Udo Kei, Isabella Rossellini), and like-minded directors (John Waters, the Quay brothers) weigh in as well.

SIFF 2016: Uncle Howard **1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 14, 2016)

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Maybe I’m jaded from having seen one too many documentaries about the NYC arts scene; from the people (the Beats, Warhol’s Factory alums, the Velvets, Patti Smith, the punks, Mapplethorpe, Haring, Basquiat, the Club Kids, etc.) to the haunts (SoHo, TriBeBa, the Chelsea Hotel, CBGB’s, Studio 54, etc.) it’s all been pretty well strip mined by filmmakers. Perhaps that explains why we’re now reduced to a documentary, about a documentarian, who once made a documentary about William Burroughs. If you’re stuck for an angle…go meta (a credo that frequently saves my ass). Still, this heartfelt tribute to Burroughs: The Movie director Howard Brookner (who died of AIDS in 1989), by his nephew Aaron Brookner is not wholly unwatchable, and ultimately quite moving.

There’s a Red’s house over yonder: Hail, Caesar! ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on  February 6, 2016)

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Not that Hollywood ever tires of making movies about Hollywood…but “they” really seem to be on a roll lately. Arriving on the heels of Jay Roach’s Trumbo (my review), which depicted the Red Scare-induced fear and paranoia that permeated the film industry in the 1950s through the eyes of a slightly fictionalized real-life participant, we now have the latest effort from co-writer-directors Joel and Ethan Coen…which depicts the Red Scare-induced fear and paranoia that permeated the industry in the 1950s through the eyes of a slightly fictionalized real-life participant (although in this case, its funnier side).

In fact, the Coens have gone into full “screwball” mode for Hail, Caesar! – leaving no gag unturned (think The Hudsucker Proxy or O Brother, Where Art Thou?). That said, it wouldn’t be a Coen Brothers film without its Conflicted Everyman Protagonist; for this outing it’s Hollywood “fixer” Eddie Mannix, (the ubiquitous Josh Brolin). Not unlike his (wholly fictional) contemporary counterpart “Ray Donovan” (who I wrote about recently) he’s a responsible family man on the one hand, yet earns his living in a twilight world where he is required to bend whatever rules he needs to (moral and/or legal) in order to clean up after his clients. Also like Donovan, Mannix is racked by Catholic guilt.

When Mannix isn’t in the confession box (which provides some of the film’s more drolly amusing scenes) he’s busy putting out fires; like the one that involves the kidnapping of Baird Whitlock (George Clooney), one of Capitol Studio’s biggest stars. Whitlock has been snatched off the set of his latest picture (a sword-and-sandal epic bearing a striking resemblance to Spartacus) by an enigmatic organization called The Future…whose true identity I’m sworn to protect, in the interest of remaining spoiler-free.

In the meantime, Mannix has to stave off a pair of persistent gossip columnists (twin sisters played by Tilda Swinton, who through no fault of her own has to follow Helen Mirren’s recent bigger-than-life, Golden Globes and SAG-nominated turn as Hedda Hopper in Trumbo).

Truth be told, the narrative is actually a bit thin in this fluffier-than-usual Coen outing; it’s primarily a skeleton around which the brothers can construct a portmanteau of 50s movie parodies. 1950s musicals provide fodder for several set pieces; including an Esther Williams send up (with Scarlett Johanssen poured into a mermaid suit), and a takeoff of On the Town, featuring a nimble-footed Channing Tatum firing up a barroom full of hunky sailors and leading them in a winking, cheerfully homoerotic song and dance.

Singing westerns are parodied via Alden Ehrenreich’s character, a hick who hit the big time based not so much on his nominal acting abilities, but due to his looks and rodeo skills. The main plot cleverly mirrors 1950s Red Scare films like Big Jim McLain and I Was a Communist for the FBI (I also found the kidnappers’ hideaway suspiciously reminiscent of the antagonists’ digs in North by Northwest).

Brolin plays it straight, Clooney plays it broad, Ehrenreich is endearing, Johanssen is, uh, gorgeous, and Tatum proves quite adept at comedy (who knew?). Ralph Fiennes hams it up as a finicky “prestige” director, and you can have fun playing “spot the cameo” with the likes of Frances McDormand, Jonah Hill, Clancy Brown, Christopher Lambert, and Dolph Lundgren.

This is far from the Coen’s best work, but the film has just enough of their patented “little touches” (like a Communist who has named his dog “Engels”) that make it unmistakably Coen. Oh-and a character is repeatedly told to shut up; undoubtedly this is a callback to the catchphrase “Shut the fuck up, Donnie!” from The Big Lebowski.

Which is what I will do now.

Blu-ray reissue: Mulholland Drive ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 5, 2015)

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Mulholland Drive – The Criterion Collection Blu-ray

David Lynch’s nightmarish, yet mordantly droll twist on the Hollywood dream makes The Day of the Locust seem like an upbeat romp. Naomi Watts stars as a fresh-faced ingénue with high hopes who blows into Hollywood from Somewhere in Middle America to (wait for it) become a star. Those plans get, shall we say, put on hold…once she crosses paths with a voluptuous and mysterious amnesiac (Laura Harring).

What ensues is the usual Lynch mindfuck, and if you buy the ticket, you better be ready to take the ride, because this is one of his more fun ones (or as close as one gets to having “fun” watching a Lynch film). This one grew on me; by the third (or was it fourth?) time I’d seen it I decided that it’s one of the iconoclastic director’s finest efforts. Criterion’s sparkling transfer brings new depth to the light and shadow of Peter Deming’s cinematography. Extras include new interviews with Deming, Lynch, Watts and Harring.

Planet of the cheap f/x: Electric Boogaloo: The Wild Untold Story of Cannon Films **1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 3, 2015)

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In dissecting the “art” of cinema, one can very easily bang on all day about narrative construct, auteur theory, lighting, camera angles, tracking shots, meow meow, woof woof…but you know what “they” say: all that artifice and a dime will buy you a cup of coffee. Let’s get real for a moment. At the end of the day, it’s still show business. And business is all about making money…amirite, boychick? And movies are basically about make-believe, right? So bottom line, what we really need here is ideas, bubbeleh, ideas! Ideas that sell tickets, and put asses in seats! With that in mind, here’s a crystalline distillation of all film theory, from one of the interviewees in Mark Hartley’s uneven but generally engaging Electric Boogaloo: The Wild, Untold Story of Cannon Films: “[Producer Menahem Golan] would make shit up…and then we’d film it.” See? Simple!

Mr. Golan and his cousin, Yoram Globus were two movie nuts who grew up in their native Israel dreaming about one day moving to America and becoming Hollywood moguls (which they in fact ended up doing…sort of). Golan directed several films in the late 70s, including one genuine cult item that (depending on who you ask) occasionally threatens to unseat Ed Wood’s Plan 9 From Outer Space as “Worst Movie of All Time”…the 1979 sci-fi disco musical, The Apple (oy!). Hartley’s film primarily focuses on Golan and Globus’ joint tenure as the honchos of Cannon Films from 1979 until 1989.

During that period, the pair gained a rep for crankin’ ‘em out fast and cheap; as someone in the film observes, “[the money] was all up there on the screen.” That doesn’t necessarily guarantee that what ended up on that screen was eminently watchable, but it was product. And apparently somebody was buying tickets, because they had a “golden period” once they perfected their formula (mostly involving profitable overseas sales).

One thing I had forgotten is that Cannon accidentally made some good films during that period: Love Streams, The Company of Wolves, Runaway Train, Otello, 52 Pick-Up, Street Smart, Tough Guys Don’t Dance, Barfly, Powaqqatsi, and A Cry in the Dark. But again, that’s a relative handful among hundreds like The Happy Hooker Goes Hollywood, Hospital Massacre, Revenge of the Ninja, Bolero, Hercules, Sahara, Death Wish 3 and Superman IV: The Quest for Peace. Not to mention Cannon’s culpability in jumpstarting the careers of Chuck Norris, Dolph Lundgren, and Jean-Claude Van Damme (j’accuse!).

While Cannon’s Golan-Globus era indeed makes for quite a “wild story”, it unfortunately morphs from “untold” into “retold one too many times” early on. About halfway through I began to tire of yet one more anecdote from a former associate that illustrates how flinty and eccentric the cousins were (we get it, already!). On the plus side, you can always elect to turn off your brain and revel in the guilty pleasure of all those campy film clips.