30

Sep

“Mr. Nice” is about how a nice young Welshman became a drug lord

“Mr Nice” is a great autobiographical story about Howard Marks (Rhys Ifans), a shy young Welsh boy who finds himself going to Oxford, and on his accidental way to being a British hash king pin.  It’s based on his book of the same name, or title.

It starts in a surprising way: before he gives a speech, he asks “are there any plain clothes officers here?”

The poster (from images.google.com)

The story’s era and Mr. Marks’ temperament reminds me of “In the Name of the Father,” although it has not a thing to do with this film.  Mr. Nice/Marks is a smart, funny slacker as king pin, upturning many stereotypes.  This backwoods Welshman tests well, and ends up at Oxford, discovering the pleasure of drugs, and more, that his innocent look serves his need for stealth.

If that core of the story wasn’t enough, it turns out that the British secret service turn to him to turn up information that eludes them.  Both of these twists on the typical are welcome and refreshing!

This smart, amusing and atypical true-crime yarn opens at the Lagoon Cinema on September 30th.

This story feels a lot like 2001′s “Blow,” but without that one’s morose ending or dramatic peaks and valleys in the plot.  He’s no Scarface or Daniel Craig’s no-name character in 2004′s “Layer Cake.”  (In fact the actor, Rhys Ifans, is the “masterbating Irishman” from Notting Hill.)  This is less of a paint-by-numbers film than other drug lord ones.  Some drug dramas emphasize trauma and upturned lives.  This one, without any hard-boiled East Coast-style shows Mr. Marks’ slippery slope of involvement.

“Mr. Nice” is a crazy, funny story that’s very smart, but doesn’t take itself too seriously.

597 days ago Short URL Comments

Film/foreign

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06

Sep

In “Griff the Invisible” an introverted Superhero has to a face world of “reality”

Griff, a 20-something social misfit, claims a haven from a wider world, where he’s a nerd.  “Griff the Invisible,” an Australian film, directed by Leon Ford, is a story of 20-something and left over teen angst burst to life, on-screen.

When most people don’t get or appreciate you, it makes for a small life.  You might question your sanity or at least stability.  You’re often isolated, and bullied.

The last time you felt like a misfit, how’d you try to fix that?  Did you reach out, strain yourself to become social, more sociable?  In 1986′s “Lucas,” the title character tried, but that fell flat.  In 1953′s “From Here to Eternity” after his girl wonders if he takes her seriously, Pvt. Pruitt tells her, “No.  No one lies about being lonely.”

Griff the "Invisible?" (Courtesy: Indomina)

But you try to fix the misfitness, quash it.  Did you reach into your imagination, into a comic book-like mental tool kit?

The movies’ opening title: Oscar Wilde  “Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth,” lays out how we’re to take reality.

Griff (Ryan Kwanten) takes this to heart.  What if you were a hero with super powers, which made you special, interesting to others (if they knew) and provided a sense of self and power that you don’t have in real life?  Would you take that?  Griff did at least according to his imagination’s eye.  As real as the John Nash’s delusions in 2001′s “A Beautiful Mind.”

This highly stylized film opens at the Lagoon Cinema on September 9th.

Griff has a banal job with a banal company, where he’s bullied and misunderstood, as he was throughout school.  He finds an outlet in acting out like a small town Batman, after work, wearing a costume.  Small ones; he wants to help vulnerable women.  He sees himself as a hero, but only neighborhood-bound – within a few bus stops from his apartment!

Soon we’re introduced to Griff’s brother, Tim (Patrick Brammall),  who feels responsible to Griff as his one sympathetic anchor to “normalcy.”  Tim visits Griff with his introverted girlfriend, Melody (Maeve Dermody), in tow.  Soon it’s clear that she clicks with Griff, while not with his brother.  They exchange glances while big brother is oblivious.

Can nerds find love? (Courtesy: Indomina)

What!  The introvert might just get the girl?  Each starts to bump into the other, and trying to avoid Tim, and inevitably awkward questions.  After a while Melody tells Griff: “I live in a bubble that no one gets in!  Griff.  You get into my bubble.”

Then we have a dramatic wrinkle: we see that Griff’s powers, his alternative world, is closed to the known world; it’s solely a figment of his imagination.  The super suit we see is seen through his mind’s eyes only.  And then doubly powered by his and Melody’s. That’s an interesting crack in the fourth wall of movie “reality” and imagination!  Comic book movies, such as “Spiderman” or any of the “Batman” or “X-Men” franchises and others omit the possibility of those questions.

Griff contrasts a reality of social isolation with one of a comic book reality and Griff’s need for release.

Late in the movie harsh reality seems to intrude.  Melody joins Griff as his back up on a mission to save the mayor, with Tim in tow.  Here Tim insists on talking reality with her.  Breaking down the pieces of their “mission” and “special equipment.”  She tells Tim: “He’s a freak.  He’d never fit in at dinner with my family.  But so am I!”  A crisis: Griff overhears this, but only until the signal was dropped.

He wants her.  He’ll change!  But then there’s a grand, tragic irony: after he has decided to grow-up, has thrown away all his hero crap and tried normalcy, Melody turns cold.  I would have loved you forever.”  Separated by his apartment door, they both cry over an opportunity gone.

“Griff the Invisible” is brief, fun, smart and semi-innovative.

621 days ago Short URL Comments

Australian/Film/foreign/romance/Uncategorized

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17

Aug

“Passione” for John Turturro’s documentary take on Neapolitan music

“Passione” is musical, but it’s not a musical.  This is an independent project of love for actor John Turturro.  Most documentaries share a trait: an agenda, mission, personal or political story.  They employ a narrative structure; not “Passione.”  It’s a movie but has neither a plot, nor a story, nor stars.

It opens at Minneapolis’ Lagoon Cinema on August 19th.

Sparring over love

A series of music videos, with interview sound bites cut in, most of “Passione” has groups or soloists performing in-place.  It documents Naples’ musical passion.  It emphasizes the performances over any expert’s historical points-of-view.

With neither a plot nor an obvious story to recount “Passione” is a series of music videos Napoli-style.  Maybe Italy’s MTV still bothers with its namesake programming unlike in America.

This’s John Turturro’s love letter to Naples, he says, and its music.  Maybe it’s like 1977′s “New York, New York” was for Martin Scorsese, as he has described it in interviews.

A couple of scenes stand out: one, early on, has several women writhe and gyrate on a multilevel building – a striking site – for what seems to be one of the few songs, without an on-screen singer.  Another one, half way into the film, has a trio of disparate sounding vocalists, including Peppe Barra and M’Barka Ben Taleb, take on “Lay that Pistol Down.”  It’s remarkable.  An engaging dissonance, which jars as much as it charms.

If “Lay that Pistol Down” is new to your ears, you might have to be patient, approaching it with an open, sonic palate or just await its finish.  It’s a vocal assault, which is none-the-less compelling if you can go beyond how foreign it might be to your ears.

Ms. Taleb alternates between singing and doing a tribal-sounding shout, the name for which escapes me!  Mr. Barra alternates between singing and rapping, aggressively.  A third vocalist, whose presence Barra and Taleb overshadow, completes a noteworthy trio.

If you like Neapolitan music, or even Italian style or architecture, this might suit you.

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641 days ago Short URL Comments

documentary/Europe/Film/foreign/independent

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12

Aug

“Vincent Wants to Sea” is a charming German roadtrip about escape, both real and imaginary

“Vincent Wants to Sea” is a German-made story of escape and healing, both real and imaginary from director Ralf Huettner.  The original German title: “Vincent will Meer.”   Vincent’s a young man with the socially isolating Tourette Syndrome,  who’s mourning his mom’s death, and also has to deal with his dad.  A dad whom he barely gets, and who barely gets him.  With all this in his head and heart, he simply wants to escape or vacation to the sea.  In Italy.  Where his mom finally wanted to be.

Troubled young people on a roadtrip in "Vincent Wants to Sea" (courtesy Boston.com)

But he’s left with his dad.  Vincent’s (Florian David Fitz) tics seem to be worse with his mom gone and his dad not.

This worthwhile small German story is showing at the Lagoon Cinema from August 12th.

Vincent’s Alpha-male dad, Robert (Heino Ferch), fits a stereotype.  He doesn’t understand, how to help his son, or even want to.  When life events clash with his plan, as with a dead wife and a troubled son, he acts like a child: picture Gordon Gekko’s infantile outbursts in 1987′s “Wall Street.”  Robert  finagles a spot in a therapeutic clinic, and drops his son there.

Soon after, Vincent clashes with his obsessive-compulsive and anti-social roommate, Alexander (Johanne Allmeyer) and might click with a curious, coy anorexic woman, Marie (Karoline Herfurth).  But the clinic is too much for this odd, needy fledgling couple.  Vincent and she decide to seize and flee in the doctor’s car, and take the at-times man-child Alexander with them so, he doesn’t tattle.  They become a surprising team.

A healing, erotic connection? (courtesy fanpop.com)

After the clinic’s doctor, Dr. Rose (Katharina Muller-Elmau), tells Vincent’s dad about the incident, he comes to help her bring them back.  The duo cooperates to find the trio.  They also become a team of sorts.  Their teamwork is the sort, which we’d expect to amount to kisses and more.  But maybe not.

“Vincent Wants to Sea” is a simple, amusing road trip with wit.  Laughter marks the teams’ run-ins with car theft, petty gas station robbery and car accidents.  There are touches of 1986′s “Stand By Me,” albeit with different brush strokes on power, self-discovery and adventure from that.

646 days ago Short URL Comments

criticism/Europe/Film/foreign

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04

Aug

“Life Above All” is a simple, but potent story about coming-of-age in the face of a taboo plague

In South Africa we have the story of a girl, Chanda (Khomotso Mankaya), who has to confront stigmas that hurt her small one-parent family, which is led by her mother, Esther (Keaobaka Makanyane). It’s “Life, Above All,” by Oliver Schmitz.

We start when Chanda runs an errand to take care of her youngest sister, Sarah’s, funeral.  She died from a plague that no one discusses.  Above all, in dealing with life, theirs is a story about survival: how they pay their bills, deal with  shameful rumors and the sneers from their neighbors are open questions.

Mom and daughter keep hope tight between them (courtesy Sony Classics)

This simple story, about a complicated fight to survive disease and ignorance, both willful and desperate, will show at the Lagoon Cinema starting on August 5th.  This story is interesting, beginning too slowly, and getting and giving us its bearings about half-way through.

Chanda, headstrong and critically thoughtful, lives in a provincial, barely educated culture that’s more invested in religion and superstition than in education.  She succeeded in school until her family’s burdens, especially Sarah’s death, began to weigh on her.  She stands-up for her mom’s health, and stands up to the rumors, deadbeat dad and her traditional family’s scorn, and superstitious neighbors who disdain her.

The plague finally takes the steam out of Chanda’s mom, who is moved away, out of view of gossip mongers.  After what seems like weeks without parents,  Chanda tracks down her mom, having to ignore some neighbors’ misdirection on the way.  Chanda’s smart enough to understand that some questions and topics are beyond herself; she needs her mom.

It's hard for an 11 year-old to lead a family (courtesy Sony Classics)

This simple, but gripping coming-of-age story is worth watching.

As with Ree Dolly, from 2010′s splendid “Winter’s Bone,” Chanda must grow-up too early and too quickly, around people for whom education is simply an extra.  For her it promises an array of freedoms.   She faces a short, but hard journey as she tracks down her mom and needs to suck comfort from that.

Ms. Mankaya’s performance as Chanda is potent; her talent is either natural or her craft so formidable that her nuances and touches make Chanda live, be real.  Just as with Jennifer Lawrence’s extraordinary, under-appreciated performance in “Winter’s Bone,” Mankaya her character a similar subtlety.

Broader takeaways: “Life, Above All” is a decent film about a simple family, who must deal with a merciless, taboo disease and neighbors who won’t picture themselves beyond superstitions.  These people’s lives are basic.  They’re prepared for no questions more ambitious than “how do I feed myself and children?”

One reason to watch Chanda’s and her family story: she is prepared for those ambitions.  That’s a different kind of hunger.

654 days ago Short URL 1 Comment

Africa/Film/foreign/rural

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22

Jul

“If a Tree Falls” preaches to the leftist choir as it tells us about a group of “environmental terrorists”

“If a Tree Falls” is a feature-length documentary, by Marshall Curry and Sam Cullman, about a group of environmental activists who go way beyond the call of duty – to a violent edge of it.  They are the Earth Liberation Front. “If a Tree Falls” clearly sympathizes with this group, which the FBI calls “domestic terrorists.”

The Environmental Liberation Front acts (courtesy Oscilloscope Laboratories)

This film doesn’t run down a history of the movement, or even the psychology behind that.  It describes some incidents that led to the domino-effect arrests of a cell.  The film concentrates on the cell’s principal personalities: Dan McGowan, Suzanne Savoie, Jake Ferguson, and one or two other outstanding ones.  This story tells of the offenders on the extreme left, and not the offended.  Those offenders may feel that the mainstream media had taken their foes’ side.  The question of who’s the offended may be disputable.  But those whom the ELF attacked are barely heard.

“If a Tree Falls” may be righteous.  But also self-righteous.  This film shows at Minneapolis’ Lagoon Cinema for a week starting on July 22nd.

A clear bias toward the extreme leaves the film’s point-of-view weak. The bias is about 60-40 or even 70-30 in voices in favor of the extremists or terrorists.  The centrist viewers, who are against violence with this cause, are left with valid, yet open questions. Those centrists won’t be convinced by a tale of how a docile McGowan slipped into this conviction.  Objective, non-partisan voices would keep viewers’ attention.  How will they respond when they find that in fact, with one battle, McGowan, Savoie and their compatriots torched a lumber location based on false information?

Mr. McGowan describes a few cracks in his reasoning and decision-making.  Several voices, including his, explain why he, the focal character, decided that confrontation was a superior, more potent path to waking-up the offenders than mid-20th-Century tactics: marching, singing, chanting, picketing and the like.

Poster image (courtesy of Oscilloscope Laboratories)

Only a few voices discuss the innocents who are bunched in with the worst violators, and hurt.  Only a couple of voices consider the lumber industry’s efforts to do good.  Some of the best documentaries may not carry an agenda, but instead a reportorial, objective point of view.  This one informs, entertains and might enlighten viewers, especially in terms of “preaching to the choir.”  The want for a moderate and balanced voice is disappointing.

With the film’s faults, it’s a good, clear, almost well told story of this sect’s work.  This film is worth watching, but DVD will suffice.

It’s easy to sympathize with the zealots’ desire for faster, more satisfying results: those, which are more progressive and aggressive than typical 20th-Century tactics.  Faster than diplomacy.  But it takes a certain gut and heart to move from the fantasy of revenge to urban or guerilla combat.  I doubt that many or even most viewers share that one with these former ELF members.

“If a Tree Falls” uses interview footage with the characters almost exclusively.  It’s a late 20th-Century story of violent protestors; other than news clips, there isn’t archival or behind-the-scenes footage.  It provides reenactments of specific details shots; it uses animation, in lieu of banal, traditional live-action reenactments of some criminal scenes, in an amusing, playful, refreshing way.

This film poses large ideological, legal and moral questions: who is a terrorist?  What is terrorism?  Does each form of terrorism pose an equal threat.

668 days ago Short URL Comments

criticism/documentary/Film/independent

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15

Apr

“The Human Resources Manager” is a strange trip, from Israel, to bury a body

“The Human Resources Manager,” is an Israeli drama, from Eran Riklis, about a Human Resources Manager (Mark Ivanir), without a name, but a title.  He works for a large commercial bakery and has to go above and beyond when a former temp worker is found among the dead at a suicide bombing site.  But when no one claims her at the morgue, a muckraking print reporter rails the bakery for not claiming her.

The bakery chief, concerned about how that story hurts the business, presses the manager to look into a small payroll question that led to the worker having a bakery paycheck on her, but her not being in their other systems.  The HR Manager finds that he’ll have to go with the body and help bury it.  This brief journey for public relations and peace making winds up taking longer than expected and creeps into a set of mid-life-like questions.

Minneapolis’ Lagoon Cinema plays this for a week starting on April 15th.

With each step he takes to fix this PR crisis, he winds up attracting yet one more person, and one more wrinkle, to a simple matter of identifying and burying remains: first he has to satisfy his boss, then after doing that, he finds that she’ll have a bigger problem for him when he returns.

Then he has to find and deal the victim’s widower.  There’s a problem, so he can’t give consent.  Above all, a series of sillier and stranger events make this road to better PR deeper.  They have to see about the woman’s son…  And then there’s a Consul, and a Vice Consul and then their official driver.   But his driver’s license isn’t in order.  Oh, and that muckraking reporter who starte this is also tagging along.  But wait, there’s more…

If this’s a comedy, it’s dry.  Eitan Gorlin’s “The Holy Land,” also Israeli, and from 2001, is funnier, and has more wit.  Similar, equally profound life-deciding questions pop up in this film.  While the characters in “The Human Resources Manager” are only colorful, those in “The Holy Land” are vibrant and more fully drawn.

“The Human Resources Manager” is a good, interesting story that’s well worth a look.

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766 days ago Short URL 2 Comments

criticism/Film/foreign/Israeli/Jewish

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18

Mar

“Of Gods and Men” a sleepy, spiritual movie stands its ground

“Of Gods and Men” is the story inspired by true events, from director Xavier Beauvois, about French monks, who stand firm in 1996, against and between two violent forces: Algeria’s corrupt soldiers (along with their offers of protection), and local guerillas.  As adventuresome as that could be, this film demands patience.  This story based on true events comes to Minneapolis’ Lagoon Cinema for a week beginning March 18th.

Head priest Christian among the villagers (courtesy Sony Classics)

“Of Gods and Men” is full of chanting, praying and basic theological discussions among the monks. They are not only men of the Word, but also of words, not of action.  They face dilemmas and discussions.  It must be safer to flee from their monastery, rather than clash with either army.  But they feel called to stay, represent the Word, and a haven for their village.

The priests’ clash with their elected chief priest, Christian, [Lambert Wilson] who is resolute about standing firm against either set of soldiers, for and before God.  His brothers are far less sure about this, or their safety, than him.  He is one of this story’s obvious stars taciturn, self-assured, a man more of thought than of act.  And then there’s an older monk.  He’s the aging doctor, Luc, [Michael Lansdale] who’s sage and witty, but is becoming less agile and ill.

This’s a contemplative film: the story emphasizes pauses and context, giving us poetic shots of the village landscape.  While many movies are “showy,” providing a lot of drama and activity – consider “Black Swan,” and how its showiness snatched those Oscars! if not action, this’s not one of those.  There’s a difference between a story that’s patient and one that’s slow.  Patient is 2003′s “The Station Agent,” where you click with the characters and how their stories intersect.  It’s fun.  They become friends to we viewers, even if that’s only on-screen.  But that’s not “Of Gods and Men.”  That’s slow, but not entirely boring.

The most dramatic scene comes within the first 30-minutes: the lead rebel, Ali Fayattia, [Farid Larbi] comes to the monastery with his squad demanding Christian, and medicine.  Christian eyeballs him and lays down the facts:  what they have is for the villagers, and they have very little.  Surprisingly Ali respects that response.

More discussions (courtesy Sony Classics)

There’s a moving and symbolic scene of spiritual “action” later in their story where and hear a helicopter arrives and loiters above while the brothers sit in their sanctuary while – the din is intimidating and loud.  The brothers rise and begin chanting, more and more loudly.  The juxtaposition is contentious and profound.  Between those, this quiet monks’ story shows how they deal with the impending peril or even their murders.

If you don’t demand action or a lot of mano–a–mano drama among the monks or between they and the soldiers, this might satisfy you.  The story’s so quiet, so subtle, you might not notice.  It might not pop for you.

If we were to score this: 3.5 out of 5.

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criticism/Film/foreign

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18

Mar

“Poetry” is a subtle South Korean drama that’s easy to miss, but hard to forget.

Some movies just fool you, or at least their posters do.  When you see the one for “Poetry” with an old Asian lady basking in a vibrant, refined feast of flowers, you probably figure you can skip that! – if you want popping drama.  Well you’d be missing out, even though it starts out in an understated way, except for a peculiar shot of a floating body.

“Poetry,” (“Shi” in South Korean) from director Lee Chang-dong, gives us a 60-something South Korean retiree, Mija, [Jeong-hie Yun] whose life with a part-time job is interrupted by circumstances that push her to explore moral and family questions.  But her story only grazes heavy plots such as Alzheimer’s, aging and rape & culpability.  instead of openly raising them, as an American film will.  What doesn’t happen and what isn’t made explicit, and which would be in an American film, works here.

Minneapolis’ Lagoon Cinema will show this for a week beginning on March 18th.

“Poetry” is a slippery story to peg on a type: it’s drama and intrigue are slow cookers and it’s a drama is barely apparent at first.  Really the most interesting drama, with the most potential, comes shortly after we learn that Mija’s forgetting words ­– she wants to learn to write poetry.  Well, that might be a feat if words are falling out of her head, like sand from a dump truck.  Some complexities and patient quirks, which emphasize the characters and their connections to one another, make Mija’s story special and personal.  She’s amusingly forgetful; even she scoffs at it, but of course that’s because it’s petty so far.  Considering her emotional straight, maybe there’s an upside to memory escape.

Grandma Mija looks at her grandson

Her life is simple, complicated by a few random events, which seem foreign from her.  The subplots are rich from subtlety and simplicity.

  • Mija acts on a leaflet advertising a poetry class.
  • Her nursing client makes a clumsy, semi-stealthy pass at her…so he can feel human, like a man again.
  • And then she learns from an utter stranger that her teenage slacker grandson is probably a sexual criminal.

She suffers so much how that a line from 1991′s “The Five Heartbeats,” of all films, comes to mind.  A music critic tells one of the singers …he’ll be a great writer after he’s suffered more.  While Mija yearns to write poetry, she’s blocked for a long time. That sums up the upside of her latest days.  But she might become a good poet.

On that path she sheds a layer of shell in order to give her aged boss the dignity and manhood that his condition have stricken them from him.  She searches her grandson’s face in vain for signs of mercy, for signs he knows and cares about what she knows he did.  She finds a new, different meaning to life as the strange events and forces change her.

Poetry won’t be for everyone.  Some viewers demand formula.  This evades it.  This is a satisfying human story.

If we were to grade this: 4.5 out of 5.

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794 days ago Short URL Comments

Asia/criticism/Film/foreign

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11

Mar

“I Saw the Devil” is a South Korean delight …if you adore gore

“I Saw the Devil” is a South Korean a blend of police story and horror movie, which shows just how far from the law an aggrieved investigator, Kim soon Hyeon [Lee Byung-hun], can go in pursuit of a Hannibal Lector-like sociopath, after his wife is found dead.  It opens when a helpless, fragile-looking young woman is depravedly attacked.

She is one of a series of similar college-age women, who this outwardly meek monster preys on.  This plays at Minneapolis’ Lagoon Cinema for a week from March 11th.

If Hannibal Lector became a detective or if “Dirty Harry” were Korean, lost his moderate moral compass, and he ignored the phalanx of laws, which he’d sworn to protect, that’d be our detective.  Our “hero” starts off with a presumed code of honor and universal righteousness.  But after his wife is violated and vivisected…he changes, along with his life and world.  What would Dirty Harry, or other heavy-handed detectives be like as badged avengers or vigilantes?  Would you compare Korean detective to Charles Bronson’s character in the “Death Wish” series from the 1970s and 80s?  Maybe.  But he wore no badge.  Plus, there was a load of other differences.

The way and style of the predator and prey’s cat-and-mouse game is great, but…by the middle of the movie it ventures beyond anything rational.

While there’s supposedly a market or a viewer for every film, “I Saw the Devil” is beyond this writer.  The many scenes where the original criminal attacks and tortures his victims are brutal and disturbing.  The detective gives him a run for his money in terms of depravity, brutality and predatory zeal.  That raises questions about those heavy-handed, high-calliber detectives from 1980s movies.  …But that’s for another time.

This experience raises a prickly, maybe enticing question: which one of them is more of the devil?  “I Saw the Devil” is like watching a feature-length and graphic version of “Criminal Minds,” but this police horror movie gives us far fewer insights into the characters than that TV show does.

Well, he's not the detective. Maybe he IS the "Devil?"

There are viewers who just love this stuff.  Apparently there are genres, which when a film critics discovers them, are a surprise and disappointment.  Some viewers don’t merely enjoy seeing senseless perverse gore on-screen, they crave and revel in it.  If story or character development test your patience, and you like scenes awash in blood, guts and brain matter and pathos, go enjoy “I Saw the Devil.”

With these faults, its high production values do satisfy.  It’s shot handsomely and has a great score.

If we were to grade this:  3 out of 5.

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801 days ago Short URL Comments

Asia/criticism/Film/foreign/horror/suspense & thriller

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