over the top french action movies

now there’s a genre for you. i began this as a response to the michaels in the “garden state” discussion but decided it needed a place all to itself.

while being right generally about luc besson you’re all wrong about “the fifth element”. that film kicks ass– even though there is a lot deeply, politically wrong with it. but the rest of the luc besson catalog is all crap. however, i am a connoisseur of the scenery-chewing performance and besson has enabled some of the greatest of this kind in screen history. oldman’s performance in “the professional” may never be topped–though daniel day lewis does make a strong case in “gangs of new york”, but i digress. aesthetic problems with his movies aside, besson’s penchant for putting the female body in pain is somewhat disturbing. i think he may have issues.
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Guarded Stare

Garden State A FILM ABOUT TROUBLED YOUNG PEOPLE… WITH NO TROUBLES.

Is Zach Braff just not good enough – or confident enough – to let certain things remain unsaid? Or is the audience that dense that we need to have every little thing spelled out for us? Braff lets his cast off very easy in this film, particularly himself and Portman. Blinding headaches? Oh, they just go away halfway through the film. Been on lithium, Zoloft, Paxil for ten years and decide to take yourself off all at once? Well, the worst thing that will happen to you is that you’ll joyously shout while standing in the rain! Continue reading Guarded Stare

russian ark

we watched this last night. that is to say, i watched it all, while sunhee fell asleep at about the 50 minute mark. i don’t really know what to make of this. i found the opening 20 minutes or so to be very absorbing but then it sort of fizzled out. perhaps one needs to be much more familiar with russian history to get what the film is doing with it. but in the absence of that knowledge it felt more and more like a celebration of pomp and circumstance for its own sake. doing it one take was apparently the director’s attempt at a filmic version of doing something in “one breath”. i suppose, but i don’t know if a colder approach a la kubrick in “barry lyndon” might not have suited his purposes better. then again maybe it works really well on a large screen. anyone else seen this? amy, if you’re still reading, i think you’d recommended this–what am i missing?

horror conventions and culture

in a comment over in the “the wicker man/spirited away” thread mark posted some interesting stuff about more “amoral” japanese horror vs. the christian ethic of the average american horror film. i think this might deserve its own thread and so am cutting and pasting the relevant portion of mark’s comments here.

What I did discover that interested me was the lack of morals of the spirits and whom they choose to reward and punish. This didn’t come up much in Spirited Away – for example the girl’s parents are turned into pigs not out of some god’s whim, but b/c they dared to eat food that belonged to someone else. They “sinned.” In the Japanese ghost story books I read, it seemed punishments were meted out for no good reason; that the spirits were simply mischievous, weren’t judging based on sin, and in some cases couldn’t even be classified as “thinking” (which reminded me of the Cthuhlu mythos, where the malevolence is pure, and the monsters aren’t even really capable of rational thought.)
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The Wicker Man / Spirited Away

Just watched The Wicker Man and Spirited Away by Miyazaki

Several here would have a field day using Wicker Man as text: Comparative religion, worker exploitation through religion, cultural imperialism, and as a great example of the post-hippie New Age rise in paganism and anti-authority to which the time period (early 70s) gave rise.

One of my favorite scenes in the film shows the police officer, a devout Christian, watching in horror as a teacher instructs a group of children about pagan rites. This fascinates me in light of the current Darwinism / creationism debate going on in red states school boards across the country. I would imagine either side could identify with both the teacher and the officer; the pure outrage of teaching young people something so clearly erroneous and idiotic as creationism…or Darwinism.
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Yes Men

God, I wanted to love this film. Two pranksters take on the WTO, getting invited to conferences to present (as reps of world trade) on globalization in some wonderfully twisted provocations. The actual pranks are quite good–a speech lamenting the Civil War in America, for instance, because normal market forces would have eventually and more peacefully evolved from unpaid labor (shipped to a new country) into efficiently-paid labor forces kept in their own cheap homes/countries (while the corporations run the forces from afar).

Three solid speeches/pranks, and lots and lots of filler. The pranksters hang out and talk, inanely, about how they’re prepping the prank. We see them sleep, or shop for the right suit. I was so sad to see such lousy, sloppy filmmaking for a subject–and a mode of satiric intervention–I find so important.

1. Back to documentaries–here’s a good example of a bad one.

2. And they remind you why Michael Moore is actually one hell of a talent. His ability to shape agit-prop narrative, to entertain as he attacks…. I wish I could recommend “The Yes Men,” but you’d be much better revisiting Moore’s tv show “The Awful Truth.”

Speaking of tripe

I gave “The Transporter” a shot, after my brother weighed in on how amazing it was. It wasn’t. I would call it, if you will, the flip-side to “Goodbye Dragon Inn.” A lot happens in this film, but you don’t care, whereas in that film, as I understand it, nothing happens, and you don’t care.

Maybe that reveals something about pure cinema–the purest product provokes the most sincere and deeply existential apathy.

hollywood shuffle

not much high art of late i’m afraid. we watched “shrek 2” a few nights ago and last night we watched “friday night lights”. “shrek 2” is entertaining enough–jennifer saunders and rupert everett are great, as are eddie murphy (of course) and antonio banderas. i find it funny that even in animation voiceover the black guy still plays the sidekick. but there’s not much else to say about this. don’t do what i did and watch “faraway idol” with simon cowell on the dvd extras.

we thought “friday night lights” was really quite good. it is a genre film through and through, and towards the end the conventions take over to a large extent but it is fairly affecting stuff–much closer to “hoop dreams” than to something like “varsity blues”. there’s some weird stuff with race towards the end and in general the film skips over dealing with the question of race in a small texas town in the late 80s but still worth a watch. the dvd extra interviews with the actual now grown-up players (this is very closely based on real events, or rather a non-fiction book about real events) are quite moving in parts, as you see what became of the guy who when the movie starts out seems destined for nfl stardom.

Does anyone still watch TV?

Someone here said that Lost is good. And I suppose that there might just be a chance that there is a good hour-long thriller out there, but I didn’t want to waste the hour to take a chance on Lost; the odds were very much against it because TV SUCKS.

The networks and cable; comedies, dramas, reality shows; game shows, talk shows, sports; those purveyors of our horrors that are MTV, E!, BET, A&E… I honestly have given up on something good showing up on TV. Am I wrong? I might be, but I can’t stand to do more than flip channels for an hour each night. Continue reading Does anyone still watch TV?

Mabuse — insert “abuse” joke, preferably prefixed by “self-“, here

I’d heard much about this — Fritz Lang’s 1933 updating of an old serial, adapted from a novel about a criminal mastermind. The film uses its lovingly-reiterated generic conventions to take potshots at the Nazis, then ascendant in Germany.

I won’t say much about all this significance–I watched the Criterion disc, which comes with all of these important extras which someday, maybe, when terribly bored or in prep for a poorly-thought-through decision to teach this film, I need more background. Political allegory, censored film, genre/pop film as subversion, etc.

But I will recommend it on the merits. Despite (because of?) its antiquated plot techniques, there’s this dazzling melodramatic aesthetic: Continue reading Mabuse — insert “abuse” joke, preferably prefixed by “self-“, here