Thursday, February 16, 2017

Split (M. Night Shyamalan, 2016)

Divided

M. Night Shyamalan's Split as of this writing has taken in some $115 million in the United States and $172 million worldwide, all the sweeter considering the minuscule $9 million production budget involved (mostly self-financed), the years of commercial failure and critical abuse the filmmaker suffered.

So Shyamalan's back in a big way, and the question on all our minds is this: what have we bought into/welcomed back/re-created this time, exactly?

Thursday, February 09, 2017

Resident Evil: The Final Chapter (Paul WS Anderson)

Lost in a Roman wilderness
 
Paul WS Anderson's Resident Evil: The Final Chapter begins on a suitably ominous note: Alice (Milla Jovovich) climbing out of a steaming underground exit, looking around, being chased by a vast winged monster while driving a recalcitrant humvee. Welcome, Alice (the name's hardly coincidental), out of the rabbit hole back not into reality but Wonderland. Things are a little different nowadays.

It's been fifteen years and six films so far, with a combined boxoffice of close to a billion dollars, arguably the most commercially successful video-game film adaptation ever. And the rare popular film franchise I might add that features a kickass female in the lead (with an ethnic-and-gender-diverse set of allies, while the villains are mostly privileged white males).


Thursday, February 02, 2017

Sundalong Kanin (Rice Soldiers, Janice O'Hara: 1980 - 2016)



(Belated tribute to Janice O'Hara, 1980 - 2016)

War games

To say Janice O'Hara's Sundalong Kanin (Rice Soldiers, 2014) is clumsy isn't I think a false or fatal flaw--it is clumsy. But it's also by story's end an engaging, suspenseful, even powerful film, fitting successor you might say to her late uncle Mario O'Hara's wartime classic Tatlong Taong Walang Diyos (Three Years Without God), which dealt in its own way with the moral ambiguities of war. 

Thursday, January 26, 2017

Toni Erdmann (Maren Ade, 2016)



Papa don't preach

Maren Ade's Toni Erdmann on paper sounds like that most tiresome of tales: a free spirit goosing up a prig's life, teaching her how to relax, be in the moment, grow a sense of humor. Basically the plot of half of Robin Williams' movies (though for the record the films by Michael Richie, Terry Gilliam and Robert Altman I liked), Steve Martin's (though his collaborations with Herbert Ross, Fred Schepsi, and Carl Reiner I liked), John Candy's, a host of other Hollywood comedians.  

Winfried Conradi (Peter Simonischek) teaches grade school music and is an incorrigible somewhat disturbing prankster--early on for example he makes his face up as a ghoul to pay tribute to a departing teacher; later at a lunch with family (and still wearing the makeup) he informs them that he has a side job at a retirement home--50 euros per death. His daughter Ines (Sandra Huller) is an ambitious up-and-comer in an international consulting firm, constantly on the cell phone, constantly traveling to other countries. The two aren't close: Winfried and his wife divorced and Ines grew up with her mother. Winfried only finds out at the lunch that Ines is celebrating her birthday early and has no gift for her; Ines in turn is palpably uneasy talking to him. When Ines flies to Bucharest for an important meet Winfried suddenly pops up at her office lobby to deliver his promised birthday gift, announcing that he's staying a month; Ines scrambles to close the deal and accommodate her dad at the same time.

If Ade largely avoids the pitfalls of the genre that's no small achievement. Peter Rainer at The Christian Science Monitor wonders at the oddity of a German comedy and wonders further if perhaps this is why most critics are rapturous about the picture; I think it's a tad more interesting than that. Simonischek, a hulking bristly man, doesn't play Winfried the way an accomplished comedian would; his schtick is more awkward than polished, his hunched massive frame half-ready to apologize for whatever absurdity he's about to commit, and he often gives up or admits it's a joke part of the way through; folks react with a blank face, unsure what to say, then give a polite nervous chuckle. It's like Open Mike night at the local comedy club: someone steps up halfway sure he's going to bomb, and you can't help but clap in embarrassed sympathy.


Monday, January 16, 2017

La La Land (Damien Chazelle, 2016)


L.A., L.A. 

(Warning: plot and narrative twists discussed in detail!)

Damien Chazelle's La La Land takes quite a few chances evoking old musicals--on one hand the classics help adds a nostalgic glow to his picture; on the other audiences might be too distracted by love for those films to look kindly on this one (see Michel Hazanavicius' The Artist and its use--some would say theft--of Bernard Hermann's score from Vertigo).

Chazelle does wear his movie love openly on his sleeve and to that extent his passion is hard to resist: this latest effort takes the storyline of Martin Scorsese's New York, New York (two artists Mia (Emma Stone) and Sebastian (Ryan Gosling) trying to succeed in a major American city), ornaments it with the bright colors and (towards the latter half) bittersweet tone of Umbrellas of Cherbourg, caps the story with a lengthy stylized dance number reprising the whole narrative, a la An American in Paris


Tuesday, January 10, 2017

Best of 2016



Terrific films, terrible year

Can't include any horror films because to my mind the entire genre has been rendered not only unfrightening but totally redundant by the world's recent turn into fascism. Can't in good conscience include any film that deals directly with aforementioned recent events because 1) there aren't that many and 2) I suspect we need to digest what's happened for a few years before the proper level of disappointment and anger and artistry can be expressed. 


Monday, December 26, 2016

Rogue One (Garth Edwards, 2016)





The dirty half dozen

(Warning: story and plot twists discussed in explicit detail!

Gareth Edwards' one-off take on arguably the most successful movie franchise ever--good? Bad? Iredeemably ugly?