Tag Archives: 2008 Reviews

Cult Movie, Fantasy

ADD theater: Funky Forest

June 2, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 29, 2008)

One of the most striking signs of the decay of art is when we see its separate forms jumbled together.

-Jean Luc Goddard

A mixed-up mix

Mix up your journey to the next journey

Mixers rock

-DJ Takefumi, from the film Funky Forest: The First Contact

So, do you think you’ve seen it all? I would venture to say that you haven’t- until you’ve sat through a screening of Funky Forest: The First Contact, originally released in 2005 as Naisu no mori in Japan but now available for the first time on Region 1 DVD.

The film is a collaborative effort by three Japanese directors, most notably Katsuhito Ishii (The Taste of Tea). Ishii, along with Hajime Ishimine and Shunichiro Miki, has concocted a heady “mixed-up-mix”, indeed. There is really no logical way to describe this blend of dancing, slapstick, surrealism, sci-fi, animation, absurdist humor, and experimental film making, married to a hip soundtrack of jazz, dub and house music without sounding like I’m high (perhaps I already sound that way in a lot of my posts…nest ce pas?), but I will do my best.

There is no real central “story” in the traditional sense; the film is more or less a network narrative, featuring recurring characters a la late night TV sketch comedy. Some of these disparate stories and characters do eventually intersect (although in somewhat obtuse fashion). The film is a throwback in some ways to comedy anthologies from the 70s like The Groove Tube, Tunnel Vision and The Kentucky Fried Movie; although be forewarned that the referential comic sensibilities are very Japanese. If a Western replica of this project were produced, it would require collaboration between Jim Jarmusch, Terry Gilliam and David Cronenberg (and a script from Charlie Kaufman).

Although there are no “stars” of the film, there are quite a few memorable vignettes featuring three oddball siblings, introduced as “The Unpopular With Women Brothers”. The barbed yet affectionate bickering between the hopelessly geeky Katsuichi, the tone-deaf, guitar strumming Masuru (aka “Guitar Brother”) and the pre-pubescent Masao, as they struggle with dissecting the mystery of how to get “chicks” to dig them is reminiscent of the dynamic between the uncle and the two brothers in Napoleon Dynamite and often quite funny. It is never explained why the obese, Snickers-addicted Masao happens to be a Caucasian; but then, the whole concept wouldn’t be so absurdly funny, would it?

The vignettes centering on the relationship between Notti and Takefumi, a platonic couple, come closest to conventional narrative structure. Then there are the 1001 Tales of the Arabian Nights-influenced trio of giggly “Babbling Hot Springs Vixens”, who tell each other tall stories in three segments entitled “Alien Piko Rico”, “The Big Ginko Tree” and my personal favorite, “Buck Naked and the Panda”.

You will need to clear some time-Funky Forest runs 2½ hours long, in all its challenging, non-linear glory. So is it worth your time? Well, it probably depends on your answer to this age-old question: Does a movie necessarily have to be “about” something to be enjoyable? At one point in the film, Takefumi goes into a soliloquy:

The turntable is the cosmos

A universe in each album

A journey, an adventure

A journey, a true adventure

Journey, adventure

Journey

Needles rock. Needles rock.

Music mixer and the mix

There is another clue on the film’s intermission card, which reads: “End of Side A”. This may be the key to unlocking the “meaning” of this film, which is, there is no meaning. Perhaps life, like the the movie, is best represented by a series of random needle drops. It’s not about the destination, it’s about the journey (OK, now I think I am stoned.) With a spirit of winking goofiness running throughout all of this weirdness, perhaps the filmmakers are paraphrasing something Mork from Ork once offered about retaining “a bit of mondo bozo”. God knows, it’s helped me get through 52 years on this silly planet.

Drama

Blues for Ceausescu: 4 Months, 3 Weeks, and 2 Days ***1/2

June 1, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 16, 2008)

There was a great film that came out four years ago called Maria Full of Grace. The story was a simple narrative about a young, pregnant Columbian woman who hires herself out as a U.S.-bound drug mule in a desperate bid to escape her bleak, poverty-ridden existence. It wasn’t a horror film. It didn’t scream “tension and suspense just ahead!” with ominous musical cues. It was quietly observant and presented with “life-as-it-happens” nonchalance. Yet it was one of the most harrowing nail-biters I have ever squirmed through. However, when I let my breath out at the end of Cristian Mungiu’s 4 months, 3 weeks and 2 days, I realized that Maria just met her match.

Mungiu wrote and directed this stark drama, set in the late 1980s, during Romanian dictator Nicolae Ceausescu’s oppressive regime. Otilia (Anamaria Marinca) and Gabita (Laura Vasiliu) are friends who share a university dorm in Bucharest. From the get-go, we can see that these two aren’t your typically happy-go-lucky coeds. In fact, none of the students on campus seem quick to smile; they vibe a palpable sense of lowered expectations for the future, and that air of innate mistrust that tends to fester in a totalitarian police state.

Gabita is pregnant, and wants an abortion. Even though this story is set only 20 years ago, Gabita may as well wished for world peace and a million dollars in a Swiss bank account. In 1966, Ceausescu decreed abortion as a state crime in Romania, making exceptions only for women over the age of 42, and only if they had already mothered a requisite number of children. He also imposed a steep tax penalty, garnished on the income of any childless woman or man over the age of 25, single or married (he was a real piece of work).

Otilia agrees to help. She secures a hotel room, and makes arrangements with a shady abortionist, Bebe (Vlad Ivanov). Once Gabita, Otilia and Bebe converge, an increasingly nightmarish and heart-pounding scenario proceeds to unfold for the remaining three-quarters of the film.

The most gripping moments occur in the hotel room, particularly a scene where the creepy Bebe forces a reprehensible act of extortion on the two women prior to performing the abortion. If you are squeamish, you may not make it all the way through this portion of the film. The unblinking realism of Mungiu’s vision demands full commitment on part of the viewer; sensitive souls may want to avoid the film altogether. When I say “unblinking”, that’s not code for “exploitative”; there is nothing exploitative or “sexy” going on here.

Mungiu doesn’t proselytize one way or the other about the right-to-life issue; that element is merely incidental to the crux of the film, which is showing us what it’s like to live in mortal fear of one’s own government. It’s the little brush strokes that combine to paint an incisive portrait of an oppressed society. For instance, the simple act of booking a hotel room essentially becomes a white-knuckled interrogation scene; the officiously bureaucratic hotel clerk eyes Otilia suspiciously and demands to know why she and her roommate would need a room when they already live in a dorm. Everyone in this society appears to be afflicted by a chronic sense of paranoia.

This is one of those films that you find yourself thinking about long after the credits roll; the significance of certain scenes doesn’t sink in completely until you have had some time to digest. One such scene for me is when Otilia has to abandon Gabita in the hotel room to attend a dinner (so as to not arouse suspicions). There is a static, 7-minute shot of the dinner table, where Otilia sits center frame, not able to explain the real reason she is not eating (at that point, we have also lost our appetite, after what happened in that hotel room).

She says very little, other than a few perfunctory pleasantries, while the other dinner guests laugh and prattle on about mundane matters, proposing endless toasts and heaping second portions onto their plates (a few stuffy guests dismiss Otilia’s behavior at the table with some passive-aggressive inferences that it must have something to do with her lower-class upbringing). With nary a word of dialogue to utter for several pages of script, actress Anamaria Marinca nonetheless holds your rapt attention for the duration; her facial expressions flagging her inner turmoil and the concern for Gabita back at the hotel. It’s an amazing piece of acting and an inspired gamble by director Mungiu that pays off in spades.

I also have to single out Vlad Ivanov’s intense performance as Bebe. He’s so effectively convincing (and genuinely disturbing) as a quietly menacing, repugnant heavy that it is easy to overlook the fact that it is a quite a turn on the actor’s part and must be commended.

4 months, 3 weeks and 2 days may not exactly be a romp in the fields, but it is a worthwhile 1 hour, 53 minutes for the thinking person; and depending on your degree of cynicism about our own state of affairs over these past 7 years…it can also be viewed as a cautionary tale.

Documentary, On Music, Rock 'n' Roll

Punk is a feeling: The Gits ***1/2

May 30, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 19, 2008)

Viva Zapata: Mia and her fans, circa 1991.

In the fall of 1992, I moved to Seattle with no particular action plan, and stumbled into a job hosting the Monday-Friday morning drive show on KCMU (now KEXP) , a mostly volunteer, low-wattage, listener supported FM station broadcasting from the UW campus with the hopeful slogan: “Where the music matters.” I remember joking to my friends that my career was going in reverse order, because after 18 years of commercial radio experience, here I was at age 36, finally getting my first part-time college radio gig. I loved it.

I couldn’t believe I was getting paid to cue up whatever I felt like playing, as opposed to kowtowing to the rigid, market-tested “safe song” play lists at the Top 40, Oldies and A/C formats I had worked with previously. A little Yellowman, Fugazi, Cypress Hill, Liz Phair, maybe a bit o’ Mudhoney with your Danish? Followed by a track from Ali Faka Toure, some Throwing Muses, topping the set with an oldie like the Velvet Underground’s “Heroin” to take you up to your first coffee break? Sure, why not? I was happier than a pig in shit.

What I didn’t realize until several years following my 7-month stint there, is that KCMU was semi-legendary in college/alt-underground circles; not only was it literally the first station in the country to “break” Nirvana, but counted members of Mudhoney and Pearl Jam among former DJ staff. I was just a music geek, enthusiastically exploring somebody else’s incredibly cool record collection, whilst taking my listeners along for the ride; in the meantime I obliviously became a peripheral participant in Seattle’s early 90’s “scene”.

One of the countless bands that migrated to Seattle during the city’s brief and shining heyday as America’s D.I.Y Mecca was a quartet hailing from Ohio, who called themselves The Gits (in honor of a Monty Python sketch). Led by talented singer-songwriter Mia Zapata, the band mixed the aggressive melodic punch of L.A.’s X with the art-punk lyricism of San Francisco’s Romeo Void. Zapata’s powerful, bluesy Janis Joplin-meets-Exene Cervenka vocal delivery and charismatic stage presence made her a formidable front woman, and the band quickly gained a strong local following.

They also soon gained the attention of local music producers, and were on the verge of being courted by some of the major labels, when it all came crashing to earth with a resounding thud. In the summer of 1993, Mia Zapata was beaten, raped and killed, her body unceremoniously dumped in a vacant lot. Her murder remained unsolved until an astounding break in the case in 2003 helped bring her killer to justice (thanks to advancements in DNA forensics).

Her frighteningly random and brutal murder not only had a profoundly disheartening and long-lasting effect on Seattle’s incestuous music community, but at the time, symbolically represented the beginning of the end for the city’s burgeoning music renaissance; it was sort of the grunge era’s Altamont, if you will.

In their documentary The Gits (available on DVD), super-fans and first time filmmakers Kerri O’Kane (director) and Jessica Bender (producer) have constructed an engrossing, genuinely moving portrait of the band and Zapata’s legacy. When O’Kane and Bender were doing initial research for their project, they began snapping up all the Gits memorabilia they could get their hands on, acquiring much of it via eBay, and mostly through one particular seller.

That person turned out to be the band’s drummer, who was beginning to wonder who these two particularly obsessed fans were. This eventually led to full cooperation from the surviving band members, after they were assured that O’Kane and Bender weren’t a couple of weird stalkers.. This was a legitimate concern due to the fact that Zapata’s killer was then still unknown and presumably still at large. Thus began a six year labor of love for the pair.

The first half is devoted to Gits’ history, beginning with their formation at Antioch College in Ohio in 1986. By the time they moved to Seattle in 1989, the band had developed a sonic sensibility more simpatico with punk rock than it was to the trendy “grunge” sound of the time (speaking as an “old school” rock fan, grunge always sounded like warmed-over Blue Cheer or Sabbath to me, while punk was closer to the spirit of The MC5 and The Ramones).

O’Kane does a nice job encapsulating their Seattle years with well-chosen performance clips and archival photos. Interviews with the band, their friends and members of Mia’s family are supplemented by recollections from professional peers like Joan Jett and members of 7 Year Bitch, an all-female Seattle band who were generously mentored by the Gits (and ironically, signed by a major label long before their more musically accomplished mentors were “discovered” themselves). The music business is a harsh mistress.

The second half of the film deals with Zapata’s death. To their credit, the filmmakers don’t exploit the sensationalist aspects of the crime or dwell on all the gory details of the murder itself. Instead, they take the high road and examine the profound effect her loss had on her family, friends, fans and fellow members of the music community.

The sensitive and respectful handling of the latter part of the story ultimately accentuates what lies at the heart of a film that could have been a real downer: an inspiring portrait of a group of close friends truly committed to each other, their music and their fans.

With all the soulless pap oozing from the music charts and Stepford Idol marionettes warbling their glorified karaoke at us from our Empty Vee these days, it’s enough to give one a glimmer of hope that, somewhere out there in the ether, there will always be someone making Music That Matters (I can always dream, can’t I?)

O’Kane even manages to find and highlight one bittersweet “positive” (for want of a better word) that resulted from the tragedy, which was the formation of Home Alive, an anti-violence non-profit organization that is perhaps best described by the mission statement posted on their website:

Home Alive is a Seattle based anti-violence non-profit organization that offers affordable self-defense classes and provides public education and awareness. We believe violence prevention is a community responsibility as well as an individual issue. Our work in self-defense encourages everyone to recognize their entitlement to the basic human right to live free from violence and hate. Our goal is to build a cultural and social movement that puts violence in a context of political, economic and social oppression, and frames safety as a human right.

Sounds like a damn fine plan to me. Now, if we just could convince the rest of the world to start acting so…punk rock.

Tribute

Natural-born world shaker: R.I.P. Paul Newman

May 30, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 26, 2008)

I’m shocked and saddened by the news today about Paul Newman’s passing. Yes, he was 83 years old, and we all know he had been seriously ill for some time, but it was still one of those “Nooooo!!” moments for me. It was also a spooky moment for me, actually. As I was getting ready to go work out at my health club early this morning, I was flipping through the cable channels, and came across Butch Cassidy and the Sundance Kid. (I hadn’t heard the news yet). It’s one of those personal favorites that I always get sucked into, no matter what scene I happen upon.

In this case, I tuned in just as Butch, Sundance and Etta were disembarking at the train station in Bolivia. I love that scene (“Aw…he’ll feel a lot better after he’s robbed a couple of banks!”). So there I sat, giggling as if it wasn’t the 250^th time I’d watched the film, for 15 minutes before I realized, “Oh yeah, I was just headed out the door.” I’m easily distracted. Anyway, it got my morning off to a great start; as I headed for my truck, I was still chuckling to myself. I switched on the radio, and the very first thing I heard was the NPR host’s solemn announcement. Fuck!

Paul Newman is not only to be admired for leaving behind an impressive array of iconic film roles that truly enriched the art of film acting, but for making so many genuine contributions to humanity in his off-hours. Earlier today on CNN, I caught a phone interview with an obviously choked-up staffer from one of Newman’s Hole in the Wall Camps (for terminally ill children) and it was a much more moving tribute than any collage of film clips could ever be.

It’s also worth noting that the donated profits from the “Newman’s Own” food company have translated to over $250,000,000 for charitable organizations. You know-just another one of those typical Democratic Hollywood lefties.

Newman was one of those actors who made it all look so easy; you couldn’t detect the “method”, as it were. He “inhabited” his characters, and you never doubted that you were observing a real flesh-and-blood human being up on that screen. Even when he was playing larger than life characters, he always managed to keep it real and down-to-earth.

I think I’ll leave the final words of farewell to Cool Hand Luke’s best pal, “Dragline”.

“He was smiling… That’s right. You know, that, that Luke smile of his. He had it on his face right to the very end. Hell, if they didn’t know it ‘fore, they could tell right then that they weren’t a-gonna beat him. That old Luke smile. Oh, Luke. He was some boy. Cool Hand Luke. Hell, he’s a natural-born world-shaker.”

We’ll keep “shakin’ that world” in your memory, Mr. Newman. I’m pretty sure somebody up there likes you.

Film Noir

My obsession with Ida Lupino: Moontide * & Road House *

May 30, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 13, 2008)

Hello, Dali.

This week, I wanted to spotlight a pair of lesser-known, underappreciated and previously hard-to-find films noirs from the 1940s that have finally seen the light of day on DVD. Moontide and Road House are two of the latest reissues in the ongoing Fox Film Noir Series, and both happen to feature the woman of my darkest dreams, Ida Lupino.

The British-born Lupino (who died in 1995 at age 81) was a staple of the classic American noir cycle from the early 40s through the late 50s. Although it wasn’t the only movie genre she worked in during her long career, it’s the one she was born to inhabit. She had a sexy, slinky, waif-like appearance that was intriguingly contrapuntal to her husky voice and tough-as-nails countenance.

Whether portraying a victim of fate or a femme fatale, Lupino imbued all of her characters with an authentic, “lived-in” quality that gave her a compelling screen presence. It’s also worth noting her fine work as a writer, director and producer, in an era of film making when few women wore those hats.

Back in 1941, director Archie Mayo (The Petrified Forest, Charley’s Aunt, A Night in Casablanca) faced the unenviable task of stepping in to rescue a 20^th Century Fox film project called Moontide, which had been abandoned by the great Fritz Lang not too long after shooting had begun. As one of the pioneering German expressionists, Lang was a key developer of the visual style that eventually morphed into a defining noir “look” (some of his pre-1940s classics like M, The Testament of Dr. Mabuse and Fury are generally considered seminal proto-noirs).

Moontide was also to be the American debut for Frenchman Jean Gabin, already a major star in Europe (Pepe le Moko, La Grande Illusion, La Bete humaine). Needless to say, the pressure was on for Mayo to deliver. And “deliver” he did, with this moody and highly stylistic sleeper, ripe for rediscovery.

Gabin stars as Bobo, an itinerate odd-jobber (the type of character Steve Martin might call a “ramblin’ guy”) who blows into a coastal California fishing community with a parasitic sidekick named Tiny (Thomas Mitchell) in tow. Adhering to time-honored longshoreman tradition, Bobo and Tiny make a wharf side pub crawl the first order of business when they hit port. It is quickly established that the handsome, likable and free-spirited Bobo loves to party, as we watch him go merrily careening into an all-night boning and grogging fest.

The next morning, Bobo appears to be suffering from a classic blackout, not quite sure why or how he ended up sacked out on an unfamiliar barge, wearing a hat that belongs to a man who has met a mysterious demise sometime during the previous evening.

Taking a stroll along the beach in an attempt to clear his head, he happens upon a distraught young woman named Anna (Lupino) who is attempting to drown herself in the surf. Anyone who has screened a noir or two knows what’s coming next. Before we know it, Bobo and Anna are playing house in a cozy love shack (well, bait shop, technically). Of course, there is still that certain unresolved matter of Did He Or Didn’t He, which provides the requisite dramatic tension for the rest of the narrative.

John O’Hara’s screenplay (adapted from Willard Robertson’s novel) borders on trite at times and could have done more damage to the film’s rep, if it had not been for Gabin and Lupino’s formidable charisma, as well as the beautifully atmospheric chiaroscuro photography (by Charles G. Clarke and Lucien Ballard) and assured direction from Mayo.

There are several brilliant directorial flourishes; the montage depicting Bobo’s fateful night of revelry is a particular standout. The surreal touches in that sequence were “inspired” by some original sketches submitted on spec by Salvatore Dali, who was slated to contribute art direction, but ended up dropping out for one reason or another.

Great supporting performances abound, particularly from a nearly unrecognizable Claude Rains as a paternal waterfront philosopher who could have easily strolled off the pages of Steinbeck’s Cannery Row. Moontide would make an interesting double bill with Clash by Night, another character-driven “cannery noir” set in a California fishing town milieu.

And now we come to a particularly delicious sleaze-noir from 1948 called Road House (not to be confused with the trashy 1989 Patrick Swayze mullet fest that shares the same title). This was the fourth and final genre pic from director Jean Nugulesco, who had previously helmed The Mask of Dimitrios, Nobody Lives Forever and Johnny Belinda.

Noir icon Richard Widmark stars as the mercurial Jefty Robbins, who owns a road house called (wait for it…) “Jefty’s”. He has hired his longtime pal Pete Morgan (noir beefcake Cornel Wilde) to help with day-to-day management. The fussy, protective Pete feels that his main function is to be the voice of reason and steer the frequently impulsive Jefty away from making potentially reckless business decisions.

When Pete is dispatched to the train station to pick up Jefty’s “new equipment” Lily Stevens (Lupino), a hardened chanteuse who starts cracking wise from the moment they meet, he becomes convinced that this is one of Jefty’s potentially reckless business decisions. The tough, self-assured Lily laughs off his attempt to offer up the advance money “for her trouble” and then steer her onto the next train heading back to Chicago. Now, you and I know that these two are obviously destined to rip each other’s clothes off at some point; the fun is in getting there.

Although the setup may give the impression that this is going to be a standard romantic triangle melodrama, the film segues into noir territory from the moment that the Widmark Stare first appears. For those not familiar with the Widmark Stare, it goes thusly:

Suffice it to say-when you see the Widmark Stare, it is very likely that trouble lies ahead. As his character becomes more and more unhinged, Widmark eventually employs all his “greatest hits” (including, of course, The Demented Cackle). His performance builds to an operatic crescendo of psychopathic batshit craziness in the film’s final act that plays like a precursor to Ben Kingsley’s raging, sexual jealously-fueled meltdown in Sexy Beast.

Widmark and Lupino are both in top form here. Wilde is overshadowed a bit, but then again his “boy toy” role isn’t as showy as the others. Celeste Holm is wonderfully droll as one of Jefty’s long-suffering employees. Lupino insisted on doing her own singing in the film; while she was not a technically accomplished crooner, she actually wasn’t half bad in a husky-voiced “song stylist” vein (she really tears it up on “One For My Baby”).

Both films sport excellent DVD transfers and insightful commentary from noir experts.

Family Issues, Neo-Noir, Troubled Teens

‘Board certified: Paranoid Park **1/2

May 18, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

Gus Van Sant’s name has become synonymous with what I call “northwest noir”, and, true to form, his latest film cozies right up alongside some of the director’s previous genre forays like Drugstore Cowboy, My Own Private Idaho, Elephant and Last Days.

Dreamlike and elliptical in construct, Paranoid Park is a Crime and Punishment type portrait of a young man struggling with guilt and inner turmoil after inadvertently causing the death of a security guard. A Portland skateboarder named Alex (Gabe Nevins), lives with his brother and their mother (Grace Carter), who is separated from the boys’ father. We get a glimpse of the otherwise taciturn Alex’s inner life through snippets from a private journal, relayed to us in voice-over (a la Travis Bickle in Taxi Driver).

His parent’s pending divorce aside, Alex appears to be a typical suburban high school student. His girlfriend (Taylor Momsen) is a cheerleader; his best friend Jared (Jake Miller) is a skateboard enthusiast as well. The two friends hang out after school at an unsanctioned skateboard course, hidden beneath a freeway overpass and nicknamed “Paranoid Park” by users (the kind of place you don’t want to go to after dark).

Alex and Jared spend most of their time there marveling at the prowess of the hard core boarders. Alex harbors a fascination for the fringe lifestyles of the park’s more feral denizens; a breed he describes in his journal as “gutter punks, train hoppers, skate drunks…throwaway kids.”

Late one night, out of sheer boredom (and against his better instincts) Alex ventures into the park and hooks up with one of the “train hoppers”, a dubious character named “Scratch” (tempted by the Devil?). The resulting incident and its aftermath forms the crux of Alex’s churning moral dilemma and creeping paranoia.

The director’s script (adapted from Blake Nelson’s novel) features the minimalist dialogue we’ve come to expect in his films. This probably works to the young star’s advantage; especially since this was his first acting role (the director picked him out of an open casting call in Portland for extras).

Nevins, a slightly built, doe-eyed teenager who bears an uncanny resemblance to 70s bubble-gum idol Leif Garrett, fits the physical profile of the typical Van Sant protagonist. He and the rest of the largely non-professional cast give naturalistic performances. There is some nifty work from cinematographers Christopher Doyle and Kathy Li, especially in the chimerical skateboarding sequences.

As with many of Van Sant’s efforts (especially those of most recent vintage), your reaction to this film may hinge on your disposition when you watch it. Not for all tastes; but fans of movies like Tim Hunter’s River’s Edge and Francis Coppola’s The Outsiders will likely want to check out this similarly haunting mood piece about youthful angst.

Action, Fantasy

Sky-high Fe: Iron Man ***1/2

May 18, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

Robert Downey, Jr. forges a head.

The season of popcorn has now been officially thrust upon us with the release of Iron Man, the latest live-action “issue” produced from the seemingly inexhaustible stable of Marvel Comics superheroes.

This marks the fourth feature film and the second fantasy-adventure in a row from director-writer-actor Jon Favreau (Made, Elf and Zathura: A Space Adventure). Despite his growing list of director’s credits, Favreau the actor is probably still most recognizable for his role as the neurotic, lovelorn stand-up comic in Doug Liman’s 1996 cult film Swingers. Favreau also wrote the screenplay for that film, which means that you can credit (or blame) as being responsible for injecting the catchphrase “Vegas, baby, Vegas!” into the pop lexicon.

For his new film, Favreau turns screenwriting chores over to Mark Fegus, Hawk Otsby, Art Marcum and Matt Holloway; but those paying close attention will catch a clever visual homage to Swingers in the opening sequence, which takes place in (you guessed it) Las Vegas. Favreau has a cameo as one of the nattily attired security men for wealthy inventor/industrialist Tony Stark (Robert Downey Jr.) who is in town to accept a recognition award for his ingenious achievements in the advancement of weapons technology. Stark is a cocky eccentric who enjoys the typical pursuits and distractions of a rich playboy, when not ensconced in the high-tech basement laboratory of his (movie fabulous) cliff mansion in Malibu. He is attended to by trusty gal Friday, Pepper Pots (Gwyneth Paltrow).

While on a junket in Afghanistan to demonstrate and promote sales of his latest missile technology, Stark’s military escort convoy is ambushed and he is captured by a group of terrorists, who then demand that he construct a crude prototype of his latest invention for their further development and use. Thanks to the assistance of a fellow prisoner, a doctor-inventor (natch), Stark instead constructs an armored suit with built-in weapon technology and jet-propulsion capabilities, which enables his eventual escape. You know-the kind of thing anyone can MacGyver just by re-purposing a few odds ‘n’ ends that you might find lying about…

Stark is quite shaken by his experience, and is particularly traumatized by the realization that the terrorist’s cave complex was chock-a-block with crates of weaponry labeled “Stark Industries”. He calls a press conference after his return to the states. Stricken by his conscience, he announces that his company will detach themselves from the propagation of the war machine and instead devote research and development to high-tech products that will be more beneficial to humanity (now that’s a “fantasy”). The scene reminded me of that oft-played newsreel in which atomic bomb developer Robert Oppenheimer utters his mournful epiphany: “I am become death, the destroyer of worlds” (which precipitated the anti-nuke crusade he embarked on for the remainder of his life).

This sudden and unexpected change in the corporate mission statement doesn’t settle well with Stark Industries’ longtime VP Obadiah Stone (Jeff Bridges) who thinks the CEO has gone off his rocker. The duplicitous Stone’s machinations eventually lead to his transmogrification into Iron Man’s first arch-nemesis, “Iron Monger”.

The film is thankfully bereft of the headache and/or vertigo-inducing f/x overkill one usually encounters in this genre (the reason I generally avoid the comic book inspired action flicks these days; chalk it up to the joys of aging). The action sequences are exciting and quite well done, but parceled out in just the right amounts. The emphasis is on character development, helped along quite nicely by a talented cast. Downey’s knack for physical comedy enlivens a hugely entertaining montage depicting the construction of his “new and improved” body armor. Downey keeps getting better, and despite the fact that he is not the first actor one thinks of as the “superhero type” he is perfectly cast here as the complex Tony Stark. You could say… the irony suits him well (insert groan here).

Culture Clash, Dramedy

Crazy rhythms: The Visitor ****

May 18, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 26, 2008)

If Richard Jenkins doesn’t get an Oscar nod for his amazing performance in Thomas McCarthy’s new comedy-drama, The Visitor, I will personally picket the Academy. Jenkins absolutely owns the character of life-tired, middle-aged widower Walter Vale. He is a Connecticut college professor who leads a life of quiet desperation; he sleepwalks through his dreary workday, and it’s obvious that any inspirational spark is long gone from a staid lesson plan more aged than his students. His personal life has become rote as well; he putters through his off-hours, halfheartedly plunking away on his late wife’s piano. Clearly, Walter needs to get out more.

When Walter travels to New York to attend a conference, he has a big surprise awaiting him at the seldom-used apartment he keeps there. Someone has sublet his digs to a Syrian immigrant named Tarek (Haaz Sleiman) and his Senegalese girlfriend, Zainab (Danai Gurira). After some initially awkward moments, the forlorn Walter invites the couple to stay rather than turning them out on the street.

As friendship blossoms between the three, Walter begins to emerge from his cocoon, prompted by Tarek’s infectious enthusiasm for pounding out joyful rhythms on his African djembes. Before he knows it, Walter is loosening his tie and joining Tarek in a drum circle. When Tarek ends up at a detention center, Walter hires a lawyer and becomes even more ensconced in the couple’s lives. Add one more unexpected “visitor” to the mix…Tarek’s widowed mother Mouna (Israeli actress Hiam Abbass), and all the elements are in place for The Reawakening of Walter Vale.

Thanks to Jenkins’ subtle, quietly compelling performance, that transformation is the heart of the film, and an absolute joy to behold. Although he has over 70 films to his credit (mostly supporting roles, but always memorable), he is probably most recognizable for his portrayal of the “late” father in HBO’s popular series, Six Feet Under.

Abbass is a revelation here as well; she and Jenkins play off each other in sublime fashion . In fact, no one in the cast hits a false note; likely due to the fact that McCarthy is an actor’s director (he himself remains active in front of the camera as well, most recently playing a troubled newspaper reporter in the final season of HBO’s The Wire).

The “strange bedfellows” setup of the narrative may resemble The Goodbye Girl or The Odd Couple, but this not a glib Neil Simon play, where characters throw perfectly timed zingers at each other; these are people who feel, and interact like real human beings. There is humor, but also heartbreak and melancholy. The important thing is that it is all perfectly balanced, and beautifully nuanced.

Although the circumstances leading up to Tarek’s detention could be viewed as an allusion to the Kafkaesque scenarios faced by immigrants in a post 9-11 world, McCarthy doesn’t get preachy or use his film as a polemic. In fact, this movie has more in common with the keen social observations of Stephen Frears’ Dirty Pretty Things or the gentle observational satire of Bill Forsyth’s low key culture-clash comedy Local Hero than, say, The Road to Guantanamo.

One thing I will say-if the overwrought and vastly overrated Crash (2005) could win Best Picture, then surely The Visitor, which deals with many of the same themes, and in a less histrionic and more palatable manner, deserves consideration as well (we shall see). In the meantime, you don’t want to miss this lovely little gem.

Drama, On Politics, War(s) on Terror

Surge protectors: Stop-Loss ***

May 13, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 5, 2008)

Stop-loss was created by the United States Congress after the Vietnam War. It has been used on the legal basis of Title 10 , United States Code , Section 12305(a) which states in part: “… the President may suspend any provision of law relating to promotion, retirement, or separation applicable to any member of the armed forces who the President determines is essential to the national security of the United States” and Paragraph 9(c) of DD Form 4/1 (The Armed Forces Enlistment Contract) which states: “In the event of war, my enlistment in the Armed Forces continues until six (6) months after the war ends, unless the enlistment is ended sooner by the President of the United States.” Furthermore, every person who enlists in branch of the Armed Forces signs an initial contract with an eight (8) year obligation, regardless of how many years of active duty the person enlists for.

-from Wikipedia

One year ago (almost to the day) I wrote a post where I tied in some classic “vets coming home” films with a war weary nod to the (then) 4^th anniversary of the interminable debacle in Iraq. At the time, Hollywood was yet to tackle a story about our latest generation of walking wounded; I was starting to wonder; did the studios have a case of cold feet on the subject, like they did throughout the duration of the Vietnam War, or was it simply “too soon”?

A few filmmakers have tested the water, with admirable efforts like In the Valley of Elah, Grace is Gone and Robert Redford’s Afghanistan-themed drama Lions for Lambs. Unfortunately, none of the aforementioned films have received much more than a nibble at the domestic box office (sadly, College Road Trip has already grossed more than any of those films have to date).

It will be a damn shame if Stop-Loss, a powerful and heartfelt new drama from director Kimberly Peirce, elicits the same yawning indifference from the American public. With echoes of The Best Years of Our Lives, Deer Hunter, Coming Home and Born on the Fourth of July, this could be the first substantive film to address the plight of Iraq war vets.

Co-written by the director along with Mark Richard, this is Peirce’s belated follow-up to her haunting 1999 heartland noir, Boys Don’t Cry, which was based on circumstances leading up to the tragic real-life murder of trans-gendered Teena Brandon, who re-invented herself as Brandon Teena (interestingly, the protagonist in Peirce’s latest film shares the same first name).

As the film opens, we meet Sgt. Brandon King (Ryan Phillippe), an infantry squad leader leading his men in hot pursuit of a carload of heavily armed insurgents through the streets of Tikrit. The chase ends in a harrowing ambush, with the squad suffering heavy casualties.

Brandon is wounded in the skirmish, as are two of his lifelong buddies, Steve (Channing Tatum) and Tommy (Joseph Gordon-Levitt). They return to their small Texas hometown to receive Purple Hearts and a hero’s welcome, infusing the battle-weary vets with an brief euphoria that soon gives way to varying degrees of PTSD for all members of the trio.

Brandon, who has had a bellyful of war horrors, has decided to pass on his option to re-enlist. Steve, a crack marksman who is also up for re-enlistment, is on the fence. His company commander (Timothy Olyphant) is pressuring him to re-up and return to combat duty; but his long-time fiancée, Michelle (Abbie Cornish) is concerned about Steve’s sometimes violent flashbacks and may leave him if he opts to stay in the Army. Tommy, who is suffering the most mental anguish, dives into a maelstrom of alcohol and textbook self-destructiveness.

Brandon appears to be holding up better than his two friends; that is, until he is ordered to report back to his unit and finds out that he is to be shipped back immediately for another tour of duty in Iraq, on the very day he is slated for his official discharge. When he starts asking questions, he is curtly informed that he has been “stop-lossed, under Title 10 of the United States Code…” (see above) and is summarily dismissed.

Even though he has served in good faith and with a sense of patriotic duty, it now appears that the government has betrayed his trust (and why are we not surprised?). Determined not to take this sitting down, Brandon confronts the company commander, who views his protestations as “mutinous” and orders him to be thrown in the stockade. Brandon gives his M.P. escorts the slip and goes AWOL; Steve’s fiancée Michelle offers to tag along.

Brandon and Michelle’s subsequent road trip drives the film’s third act; it becomes both a literal and metaphorical journey through the zeitgeist of the modern American vet. Peirce and her co-writer largely avoid clichés; sans a few obligatory nods ( I believe that there is a rule stipulating that every war vet film must contain at least one scene where the protagonist gets goaded into a street fight and goes temporarily medieval after it triggers a flashback).

Aside from a brief (and eye-opening) depiction of an “underground railroad” network that enables U.S. expatriates to flee to Canada, the filmmakers manage to remain low-key on political subtext; this is ultimately a soldier’s story. After all, the bottom line in any appraisal of our current “war” (or any war, for that matter) is (or should be) the human cost.

The irrefutable fact here is that young people are dying, and many who do survive their tours of duty are left to deal with horrendous physical and/or mental damage for the rest of their lives. A beautifully played scene centered on a visit to a V.A. hospital brings this sad point home quite poignantly. Anyone with an ounce of compassion should find Stop-Loss to be wrenching and moving.

It is interesting to peruse the discussion boards on the Internet Movie Database regarding this film. As you might guess, there is predictable wing nut blather condemning the film as anti-American, anti-war hippie propaganda. But the most telling comments are coming from Iraq veterans themselves, who for the most part seem to indicate that the film rings true. Hmm, I wonder which of those two camps is more likely to know of what they speak?

Action, Cop on the Edge, Mystery, Neo-Noir

The case of the cracked case-cracker: Mad Detective **1/2

May 13, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 2, 2008)

“When I was in school, I cheated on my metaphysics exam. I looked into the soul of the boy sitting beside me.”

-Woody Allen

In the opening scene of Mad Detective (a new psychological drama/murder mystery that cheats on its metaphysics exam), detective inspector Chan Kwai Bun (Lau Ching Wan) appears to be intently staring into the soul of a dead pig, suspended from the ceiling of a homicide division squad room. A group of his fellow officers silently stands by, transfixed by the sight of Bun, wielding a formidable looking knife as he circles the dangling porker.

When rookie inspector Ho Ka On (Andy On) blunders into the room to report for duty, he is pulled aside and shushed by another officer, who whispers, “Bun is immersed in the investigation.” Suddenly, Bun lunges at the pig and begins to stab it repeatedly. Then he dives under a desk and grabs a travel bag, bidding the wide-eyed Ho to accompany him to the top of a staircase. “I’ll lie inside the suitcase,” Bun says. “You push me down the stairs.” And so begins the partnership between inspectors Ho and Bun.

Bun apparently possesses the ability to literally “look into the soul” of both perpetrators and deceased victims alike (a neat trick that handily one-ups the cognitive abilities of your typical criminal profiler), and has consequently racked up a 100% success rate solving his murder cases.

This odd ability doesn’t come without its psychic/social price; Bun is viewed by most of his peers as a bit of a freak show and is pushed into an “early retirement”. The doubts about his overall mental state appear to be confirmed when, at the end of his career, he inexplicably slices off one of his ears (a la Van Gogh) and dutifully presents it along with his gun and badge. (Cuckoo! Cuckoo!)

However, according to the Rules of Old Mentor/Young Protégé Cop Buddy Movies, at this point in the narrative, an occasion must arise that precipitates Bun being dragged out of retirement to help solve “one last case” (otherwise, we would only have a 20 minute film.) After a cop mysteriously disappears, Ho talks the reluctant Bun into assisting in the case, to lend that special voodoo, that he do, so well.

Now, this is where co directors Johnny To and Ka-Fai Wai decide to borrow a few tricks from M. Night Shyamalan, and have some wicked fun with the viewer’s perception of reality; especially when you realize that you are “seeing” the inner personalities of certain characters just as Bun “sees” them. Toss in a prime suspect with multiple personalities, and buckle up for a real mindfuck.

While this is not your typical Hong Kong crime thriller, it contains enough requisite elements to genre enthusiasts, like the inevitable denouement wherein all the principal characters converge (usually in a deserted building or warehouse) and have a Mexican standoff. There are some nice visual touches, especially in a nifty “hall of mirrors” climax a la The Lady from Shanghai or Enter the Dragon.

Although there isn’t a lot of “ha ha funny” inherent in the screenplay (written by co-director Ka-Fai Wai along with Kin-Yee Au), it does contain dark comedy, helped by some subtly arch undercurrents in Wan’s deadpan take on inspector Bun. Not a masterpiece, but an intriguing watch for fans of (really, really) off-beat whodunits.