Showing posts with label Chantal Akerman. Show all posts
Showing posts with label Chantal Akerman. Show all posts

Wednesday, October 8, 2025

THE SMASHING MACHINE *UPDATED*



If you can put aside the fact that a 53 year old Rock is playing someone between the ages of 29-32, this movie is surprisingly good. I say surprisingly because I’ve never been a big fan of the Safdie’s films and I never expect much from a Rock performance outside of maybe being entertained. But this exceeded my somewhat low/non-existent(?) expectations. Benny Safdie made a solid movie after splitting off from his brother and The Rock (finally) gave a performance that wasn’t some version of his wrestling persona. To be clear - there are definitely some parts in the film where the pro-wrestler Rock starts to creep out but for the most part he keeps it at bay. And could you blame him? Part of the reason he was cast in this role was because of his pro-wrestling background. I’m sure he had to tap in to that persona for all the physically demanding parts.
Instead of trying to imitate Mark Kerr and do an impression of his unique high-pitched mid-western accent - he just acts. This is something a lot of veteran actors need to do when it comes to biopics. From Viola Davis as Michelle Obama to Sean Penn as Harvey Milk, it seems like actors are more focused on nailing an impression of the subject rather than give a genuine performance. And it usually ends up being an embarrassingly bad SNL skit-level portrayal. That’s not the case here.
At the end of the day this is a mostly single-performance driven movie and The Rock does a fine job of carrying everything on his back for the most part.

The Smashing Machine, based on the 2002 documentary of the same name, follows a 3-4 year period in the life of mixed martial arts legend; Mark Kerr. We follow the ups & downs of his fighting career and the toxic relationship between he and his girlfriend.
Again - most of this falls on the performance of the Rock but it isn’t the only highlight. The Smashing Machine is an interesting mix of brutal fighting scenes and the almost boring day-to-day routine of Kerr (arguing with his girlfriend, training, injecting steroids in secret, doing chores around the house etc). That formula worked for me. The movie goes back and forth between incredibly violent to mundane (the relationship between Kerr and his girlfriend was the most uninteresting part of the story for me).

The Rock wasn't the only performance of note here. I can already feel the snarky comments from the readers forming but I found Ryan Bader’s portrayal of Mark Coleman to be almost Bressonian (monotone, deadbeat, dry, etc). Prior to acting, Bader was a seasoned fighter (this movie only cast real life mixed martial artists). Because his forehead/brow and nose are so beaten up from years of fighting, his performance is lacking certain emotions because he can’t move his face like the average person. And it works! It adds to the realism of it all. There’s even sort of an entire second movie within the movie where we follow Coleman juggling his time between being Kerr’s cornerman/trainer/support system and an aging fighter with only so much time left.


Folks might roll their eyes at this one but all the scenes of Emily Blunt and The Rock doing chores around the house reminded me of Jeanne Dielman…

Jeanne Dielman... / The Smashing Machine

Jeanne Dielman... / The Smashing Machine

Goodfellas / The Smashing Machine

Punch Drunk Love / The Smashing Machine


There's a lot of nostalgia that comes along with The Smashing Machine. Throughout the movie Safdie reminds us that The UFC was a relatively new organization. I remember renting UFC vhs tapes with my friends in the early/mid-90's and following it early on. So when the film namedrops folks like Don Frye and Dan Severn, I'm reminded of my friends, the sleepovers and all the people telling us how UFC will never come of anything. I don't follow UFC at all these days because it's such a massive entity that's too multifaceted to follow. But every time Safdie hints at the early days of UFC I'm reminded of how I was one of the earlier followers decades ago.  

I kind of criticized the casting of The Rock earlier on due to his age but who else could have played a physical role like this? The Rock and Mark Kerr both fall under that racially ambiguous category. When it comes to known/established actors - The Rock was the only person that could have done this. Sure, Benny Safdie could have taken a chance on a no-name and/or up & coming actor but right now it’s about putting butts in seats at the movie theaters and we all know The Rock is going to do that. Even for an "indie" film. This is a separate conversation that’s much bigger than this one movie but we really have no big/physically imposing young leading men right now. Decades ago, 6’-1” actors like Anthony Quinn, Robert Mitchum or James Earl Jones played boxers & wrestlers and made it look believable. Unless I’m forgetting someone I can’t think of too many physically imposing young actors right now. There's also a venn diagram between modern pro-wrestling and mixed martial arts. It makes sense that a former pro-wrestler would play the part of Kerr.
Given how guys like Bautista, Cena and The Rock are used in films today, I can’t help but think how much the ball was dropped by the movie industry by not utilizing old school wrestlers like Harley Race or Nick Bockwinkel as tough guys in the 70’s & 80’s. Imagine Killer Kowalski or Buddy Rogers squaring against Clint Eastwood or Burt Reynolds. I know we had the occasional old school pro-wrestlers like Tor Johnson and Kola Kwariani pop up every now and then but the well was untapped (guys like Hogan & Piper paved the way but they weren't exactly draws). 


I think because we aren’t seeing The Rock pull off the same performance we’ve seen in almost everything he's been in, a lot is being made of this so-called “gritty” performance that's out of his comfort zone. Some are even talking Oscar-worthy. I don’t think The Rock’s acting was that good, but it works. 
If you're a fan of The Safdie's and weary of Benny going off to do his own thing, rest assured that The Smashing Machine has the same style as their previous movies (just slightly more subdued). If you're indifferent towards or not a fan of The Safdie's, I'd still give this a chance even out of curiosity.

Wednesday, October 1, 2025

THE SCHOOL OF CHANTAL AKERMAN: ANDREW BUJALSKI

Jeanne Dielman... / Support The Girls

Nobody else makes a movie like Akerman. They just have that extraordinary strength of vision. To see and be near that as a 20-year-old made me see how deep and committed an artist could be - Andrew Bujalski, thefilmstage.com

Andrew Bujalski was not only a huge fan of the late great Chantal Akerman but he was also a student of hers so it only makes sense that he took a thing or two from her films and put them in his.
It wasn’t until I started watching more of his movies that I caught some major visual similarities between the two.

On the last entry (click here to read) I caught this…
Saute Ma Ville / Mutual Appreciation


But after watching and rewatching a some of his films I caught a few more similarities that I found interesting.

I know I’ve opened myself up to people calling these similarities vague and/or not very unique. Fair enough. How many movies have scenes of people lying around or standing in a kitchen? But I think the fact that Bujalski was taught by Akerman and has shouted her out on a number of occasions means something a little deeper.

(This post will be ongoing and updated)

  • It is perhaps a little unfair to Chantal, who has the most diverse (yet consistent) portfolio of masterpieces of any auteur, that I still gravitate to her raw first feature. I can’t help it. At an impossibly young age, she’s got everything working already. Fully formed voice, piercing gaze, fearlessness, humor, invention, and—with apologies to Delphine Seyrig, Aurore Clément, Sylvie Testud—her finest leading lady - Andrew Bujalski, criterion.com



Jeanne Dielman... / Mutual Appreciation

Je Tu Il Elle / Computer Chess

Les Rendezvous D’Anna / Computer Chess


Jeanne Dielman... / Mutual Appreciation

Je Tu Il Elle / Mutual Appreciation

Saute Ma Ville / Mutual Appreciation

Je Tu Il Elle / Mutual Appreciation

Jeanne Dielman / Beeswax

Jeanne Dielman... / Computer Chess

Les Rendezvous D’Anna / Beeswax

Je Tu Il Elle / Mutual Appreciation


Wednesday, November 13, 2024

A FEW WORDS ON JANET PLANET *UPDATED*



For those that don’t know - I’m not only from western Massachusetts but I’m a former classmate of Janet Planet director Annie Baker (not trying to name-drop. I just think it would be odd to not mention that). I don’t think my opinion on this movie holds more weight than anyone else who’s seen it, but I think I know the basic material more than the average person. Not the deeper coming of age story of an 11 year old girl and the close relationship with her quietly eccentric mother. But all the ancillary elements are very near & dear to my heart. It’s impossible for me to not feel nostalgic watching this. The first time I saw it I spent half the time pointing out to all the very real places I grew up in & around. Amherst is a very unique place. I know everyone with some kind of hometown pride always says that about wherever they’re from but people that aren’t even from Amherst that have spent time there have confirmed that it’s unlike anywhere else. It’s incredibly liberal (sometimes laughably liberal when compared to the rest of the world) and sometimes pretentious but well-meaning at the end of the day. I couldn’t imagine growing up anywhere else. Amherst is where I learned about weird movies and music which is a huge part of who I am today. I can confirm that this movie captures the vibe of early 90’s Western, Mass. The wooded areas, the architecture, the clothes, the aging hippies — all of it. 

It’s just nice to see specific landmarks that you grew up with in a movie directed by someone that’s actually from where the story takes place. If you’re from places like Toronto, Los Angeles, Boston, Philadelphia, Chicago or New York City - it’s fairly common to see familiar landmarks show up in movies. That’s not the case when you’re from Western Massachusetts. We’re usually an afterthought or incorrectly attached to the other side of the state. So much of our personality is based on telling non-new England folks that we aren’t from Boston or that we’re different from Boston people. …At least that’s how it was for me post-high school (to be clear - we are very different from the people on the eastern side of the state in that we’re less aggressive and aren’t as angry).

Mount Pollox Conservation Area, Amherst Massachusetts

The parking lot of the Hampshire Mall, Hadley Massachusetts

Tobacco barn in Hadley

Masonic Street Mural, Northampton Massachusetts 

A huge chunk of this movie's personality is the result of watching & appreciating a wide range of cinema and paying homage to it. I mean that in a good way. There’s lots of visual references in this. It wouldn’t be out of line to program Janet Planet on a double bill with something like Fanny and Alexander or Welcome To The Dollhouse (a film that co-stars Amherst alumni; Eric Mabius). Annie Baker subconsciously borrowed from movies in that lane. That’s actually what I liked most about her film. If you’re familiar with this blog then this shouldn't come as a surprise. That's all I seem to care about with movies these days. This is very much her own unique vision but she’s been very open about her cinematic inspirations. I caught some immediately without having to do any research. Others I learned about through reading interviews and listening to Q&As.
Some of the comparisons below might seem a little forced or vague, but I think I captured the ones that are most key/important:


Watching it gets you in touch with all the times you've felt horribly depressed and also overwhelmed by the beauty and color of everything around you - Janet Planet, Criterion
Documenteur / Janet Planet


I’ve seen this movie [Fanny and Alexander] more times than I can count. I think it’s the best movie about being a kid ever made. It’s a fairy tale and a nightmare and a totally believable portrayal of a Swedish family in Uppsala at the turn of the twentieth century, all at the same time. It has always reminded me of one of my favorite novels, Thomas Mann’s Buddenbrooks. It’s also a movie about the weird magic of theater . . . Both the opening sequence and the reading from Strindberg at the end kill me. And the way Bergman shoots inanimate objects . . . The statues and the toy angels and the clocks and the puppets and the lamps . . . They’re all watching Alexander, the whole movie - Annie Baker, Criterion
Fanny and Alexander / Janet IPlanet

Fanny and Alexander / Janet IPlanet

Fanny and Alexander / Janet Planet


I saw this when I was twenty-five or twenty-six and really confused about my work. I was so discouraged and had stopped writing, and this movie made me excited to start working again. Akerman was doing something with pace and composition and time that I'd always wanted to do but had been too chicken to acknowledge or go toward. Watching this made me realize that you should make the kind of art you want to see, which sounds kind of obvious but was a big revelation to me at the time - Annie Baker, criterion
Jeanne Dielman... / Janet Planet

Jeanne Dielman... / Janet Planet


growing up in Amherst, Mass., in the '80s and '90s, you see a lot of political puppet theater - Annie Baker, The New York Times
The Meadows Green / Janet Planet

The Meadows Green / Janet Planet

Dead Man Rises / Janet Planet



The filmmaker I would say my D.P. and my editor and I discussed the most was Maurice Pialat, especially his film "L'Enfance Nue." Another movie that is very important to me is [Victor] Erice's "Spirit of the Beehive." We also talked about [Abbas Kiarostami's films about children, and my sound designer Paul and I talked a lot about [Apichatpong] Weerasethakul, and went to see "Tropical Malady" together - Annie Baker, The New Yorker
The Spirit Of The Beehive / Janet Planet

The Spirit Of The Beehive / Janet Planet

Uncle Boonmee / Janet Planet

Uncle Boonmee / Janet Planet

Uncle Boonmee / Janet Planet

L'enfance Nue / Janet Planet

Ten / Janet Planet

Tropical Malady / Janet Planet

Uncle Boonmee / Janet Planet



Tuesday, October 1, 2024

A FEW MORE WORDS ON EARWIG (2022) *UPDATED*

Hotel Monterey / Earwig

After repeated viewings over the last year I can say that Earwig has grown on me quite a bit. To be clear – I always liked the film but I didn’t consider it a "masterpiece" or anything like that. The bar was already set at “good” or “solid”. Just not great I guess. A lot of that has to do with its predecessor Evolution (2015). That film made such a huge instant impact on me that I put unfair expectations on the follow-up. But Lucile Hadzihalilovic’s latest is the definition of a rewarding slow burn, right down to some of it's slow burn influences (not every Earwig reference point is slow but she's always made it clear that Chantal’s slower paced films were an influence).

I don’t want to repeat myself too much (click here to read my initial thoughts). I Just wanted to share some additional influences I never posted in my original review and let folks know that what I once considered a “solid” film I now consider to be a great one…


One was JEANNE DIELMAN (1975), the Chantal Akerman film, because of all these ordinary actions that Delphine Seyrig carries out in the film and that our protagonist, Albert, also carries out - Lucile Hadžihalilović, BFI
Jeanne Dielman... / Earwig

Jeanne Dielman... / Earwig

Jeanne Dielman... / Earwig

Jeanne Dielman... / Earwig

Jeanne Dielman... / Earwig



A few more (non-Jeanne Dielman) Akerman-esque moments from Earwig...
Hotel Monterey / Earwig

Hotel Monterey / Earwig

Hotel Monterey / Earwig


The other one was The Embryo Hunts in Secret (1966) by Koji Wakamatsu. It’s a Japanese film from the 60s about a man who kidnaps a woman and keeps her in an empty apartment with no furniture - Lucile Hadžihalilović, BFI
The Embryo Hunts In Secret / Earwig

The Embryo Hunts In Secret / Earwig


I was influenced by Cronenberg -  Lucile Hadžihalilović, film comment
Dead Ringers / Earwig

Dead Ringers / Earwig

The Fly / Earwig


Another nod to Don't Look Now?
Don't Look Now / Earwig


This is one of the most beautiful films about the magic of cinema -  Lucile Hadžihalilović, Vice Magazine

The Spirit Of The Beehive / Earwig

The Spirit Of The Beehive / Earwig


LinkWithin

Related Posts Plugin for WordPress, Blogger...