I find it kind of amusing that there was some talk about the trailer for X-Men 3, but no talk of the movie itself. I didn’t see the first two, but I come across chunks of them on TV so often that it would now be annoying to try to watch the entire films now. I’d been told the second one was quite good and the third one bad, but at least I hadn’t seen 15 minute sections of the third one over and over, so I rented it for no good reason. Continue reading Strangers With Candy / X-Men 3
Category: (by verdict)
Pusher
The first of a three-part series which detail intersecting characters selling drugs on the streets of Denmark. At least I’m pretty sure it’s from Denmark. (They make fun of Swedes.) We follow Frank, a generally unlikable low-level thug with hints that he might have some residual humanity, as he moves through one week–and follow at the most literal level, at times the camera jostling along right over his shoulder as he pushes his way through rave crowds, into bars, and in physical confrontations. (By confrontation I mean something a bit more extravagantly, ‘though never exuberantly, violent.)
I was impressed. The film can be quite funny but never self-consciously, ironically, never with the kind of smart-ass wit playing at tough guy patter–but real nasty guy patter. And its bleak, fairly vicious tone resembles Richard Stark’s Parker novels (captured in the great Point Blank) more than Elmore Leonard or Tarantino. Reviews claim parts 2 and 3 get even better, and the cumulative effect is even stronger. I’ll let you know.
By the by, the new Bond villain (Mads Mikkelsen) turns up as Tonny, a cheese-eating bald punk hanger-on, who takes some vicious beatings here (and, I hear, in the next film). He’s damn good. Hell, everyone is very good.
forest for the trees
i’d like to recommend a small german film called the forest for the trees (2003). i stumbled upon it at the university library and i’m still haunted by it even though many weeks have gone by. the very simple story is about a young woman who, having just been left by her boyfriend, moves to a different town to teach middle school. lonely and friendless, she latches onto another young woman who lives near her. the story of this ill-fated friendship is so painful it is hard to watch. melanie is desperately needy. like needy people everywhere, she does her do all the wrong things and, most pathetically, exudes some indefinable vibe that repels others. the director captures this predicament and its impalpable elements so sharply that, if you have ever been needy, or dealt with a needy person, you’ll cringe. the countless scenes of melanie knocking on tina’s door are harrowing. Continue reading forest for the trees
gimme shelter
i watched gimme shelter last night. i was pretty sure it had been talked about on the blog, but i couldn’t find a reference and there’s nothing here in the “rock documentaries” topic where you’d expect it to have been discussed. it is a really interesting film though i am not sure what exactly it is a document of. the first half, which largely has pre-altamont footage from a show in new york showcases jagger’s unbelievable charisma and the band’s power live–though the one brief clip of ike and tina turner blows the stones’ performances away.
(i remember reading stanley booth, the true adventures of the rolling stones way back in the late 80s at the american center library in delhi–i don’t know if anyone else here has read it, it is a chronicle of this tour, and is a riproaring read–and he notes that the stones were terrified of ike.)
Continue reading gimme shelter
Altman favorites and successors
And so it goes. But he leaves behind a remarkable string of work that will go in and out of favor for decades, being rediscovered, evaluated and fawned over. I am sorry that Prairie Home Companion was his last film. It’s nice that it was that rather than The Company or something, so that he got to see another film of his play for more than a week in LA, but even up to Gosford Park, he managed to bring a good sized audience along with him.
So what are your favorites? I love the music scenes in Kansas City, and almost everything about Gosford Park. I’ve watched The Player maybe half a dozen times and could watch it again in a second. Nashville never moved me, good as I realize it is, but it did come in the middle of that remarkable string of films from 70 to 75. For me it’s MASH, The Long Goodbye and California Split, for Elliot Gould as much as Altman, for their creation of a mumbling oddball character and reimagining him three times over. Continue reading Altman favorites and successors
Bond, James Bond
I thoroughly enjoyed this incarnation of Bond. Making grandiose claims for an action adventure franchise would be foolish, but it is hard to quibble with the choices made in ‘Casino Royale.’ You get a much harder edge to Bond with Daniel Craig (actually similar to the excellent but much-maligned first Timothy Dalton outing as Bond), and the external scars that he sports at several points in the movie (you see bruised knuckles several hours after a fight, along with the lacerations to the face) speak to someone who is much more clearly only one step away from an assassin rather than the dandy spy that we have seen in recent years.
The main action sequence comes early in the movie and is utterly satisfying, not least because the guy Bond is chasing appears to have learned his moves from B-13: he climbs impossible surfaces, bounces off hard objects and his body appears made of rubber. Craig huffs and puffs behind him.
Continue reading Bond, James Bond
Borat
I saw Borat with Arnab and Jeff, so I know there’s stuff to say about the movie, based on our initial post-film discussion, and many I’ve had with students and friends since. I guess I’ve been waiting, hoping that others would say it. In a nutshell, the movie will make you laugh. It’s often very, very, very funny. And often a bit tamer and somewhat padded and not as exciting as we’d been hoping. . . but then again part of me is plain excited to see a mainstream(ish) comedy with such transgressive energy, with a sly sharp political edge, with a fat man and a skinny man wrestling nude. So complaining seems like whining (like my dessert was pie, and I’m crying for ice cream), and yet trumpeting seems mere repetition of arguments we’ve made before. I would be curious if someone hates it, then I could pull out my enthusiasm for a defense. I do recommend it, just can’t muster up enough sense of conflict to “make a case” for it.
advertisements for the apocalypse
i haven’t watched a lot of movies of late, but if i may be allowed to extend this blog to a discussion of advertisements i’d like to direct your attention in mock-horror to a recent visa check card commercial. this is the one in which everything in a large cafeteria is moving like clockwork when a man shows up with cash and brings it all to a grinding halt. the ad itself seems like it must be a direct riff on the famous modern times sequence in which chaplin inserts himself into the assembly line and brings it to a halt with his body. here, however, the action of the human who breaks the chain, stops the line from moving is greeted with scorn, and mechanization of everyday life is presented as cheerful and hip. mechanization no longer evokes horror; it is presented instead as the bright, sunny prerequisite of paradise.
Recently watched
I thought the documentary (Street Fight) on Newark’s 2002 mayoral race was pretty engaging, largely because its ‘star,’ the rising political bigwig Cory Booker, is as smart and self-effacing and … well, grounded as you’d want a politician to be. I caution: the narrative of the documentary never digs deep into party politics, represents but doesn’t really interrogate or historicize or even explicate the racial tensions which emerged between the two black democrats vying for the job. It shows a collision of corruption, race, poverty, class, politics, and urban realities, but it doesn’t really do much more than make a good showing of such problems. That said, it’s a decent film. And as a complement to the Carcetti/Royce race on The Wire, it was even more compelling to this viewer.
Continue reading Recently watched
the damnation of oliver o’grady
a woman filmmaker has made a documentary about a famous pedophialiac priest, using footage she obtained when she went to visit him in ireland and discovered to her surprise that the priest was more than happy to chat away about his deeds and desires. she filmed him for eight days.
i could write this as a comment in the free-for-all that follows the alternet post i link to above, but i don’t have the energy to duke it out with the death penalty invokers and the castration advocates. so excuse me as i take this blog out of the purely filmic and into the political.
witch-hunt/lynching: from the description of the film, the priest sounds totally deranged. he brags about what he did, gets lascivious, indulges in details. now how cool is that? how easy is it to put a deranged man in front of a camera and allow him to crucify himself without the benefit even of a miranda warning? no wonder the man had to flee ireland. judging from the small sample on alternet, there are a lot of people out there who would like a bloody piece of him. Continue reading the damnation of oliver o’grady