I TRAVEL BECAUSE I HAVE TO, I COME BACK BECAUSE I LOVE YOU

'I Travel Because I Have To, I Come Back Because I Love You', is now my favorite movie of the year so far (even though it was made in 2009). Sorry 'Heartbeats'. I'm always up for a good road movie, and i think this film pushed the genre one step further, just when it was starting to get a little stale. Believe it or not, I think the 'Brown Bunny' may have been the last ROAD movie to try something new, even with all the problems it may have had. 'I Travel Because I Have To, I Come Back Because I Love You', which is part fiction/part documentary, is about a recently divorced geologist, who's sent on an assignment to survey rocks through out Brazil. Although he does do his job, he also uses this trip as a mini-vacation to try and forget about his ex-wife. He does this by hooking up with various prostitutes in each town he surveys, but it doesn't seem to do anything because all he does is talk about his ex-wife through out the entire movie. Like any great road movie, 'I Travel Because I Have To' does a great job of capturing both; boredom and self reflection. Anyone who's taken a long road trip before knows that after a while you can go through long stretches of absolute boredom, which cause you to think about life and all that other stuff one thinks about when you have all the time in the world. Some critics have compared the film to the work of Chantal Ackerman. I could see how someone would quickly make that comparison, but Chantal Ackerman would never have scenes of random prostitutes (some attractive, some snaggle-toothed) dancing seductively to techno music like 'I Travel Because I Have To' does.
'I Travel Because I Have To' is part of an on-going, loosely connected, unofficial series of road films that focus more on the landscape around the main characters, the road/highway and self reflection, rather than getting in to one wacky adventure after another which is a route that many traditional road movies tend to go (not that I'm criticizing films that do that. I'm a huge fan of films like 'Wild at Heart', 'Two Lane Blacktop' and 'Roadside Prophets'). From the first few minutes of 'I Travel Because I have To' until the end, i couldn't get wim wender's 'Alice in the cities' out of mind (along with wender's other classic road movies like 'Kings of the road' and 'Paris Texas'). Luckily, one of the directors of 'I Travel Because I Have To' (Karim Ainouz) happened to be at anthology film archives for a quick Q & A, and he confirmed my suspicion that he we was in fact inspired by Wim Wenders, specifically; 'Alice in the cities'. So i didn't pull that comparison out of my ass. The director himself confirmed it.

THE ROAD MOVIES OF WIM WENDERS (kings of the road, alice in the cities, paris texas): We all know that 'Easy Rider' inspired a ton of great slightly unconventional films. But i think Wim Wender's work was just as influential. From the 70's up until right now, i seem to notice an evolution in the road movie genre. In Wender's films of the 70's and early 80's, we see our characters shot from a typical distance. However the viewer still shares a closeness and intimacy with the characters. They aren't shot from too far away (i mean, you can only shoot someone from so far away when a big portion of a film takes place in a car), but there's still a considerable distance between the camera lens and the characters.

THE BROWN BUNNY & TASTE OF CHERRY: over time, as road movies evolved, filmmakers gave a closer, almost claustrophobic look to the point where we literally felt like we were in the car with the characters. Anyone who's seen 'The Brown Bunny' should agree. Some scenes in the movie felt like i was sitting right next to Vincent Gallo. The same goes for some scenes in Abbas Kiarostami's 'Taste Of Cherry'.

                                          

I TRAVEL BECAUSE I HAVE TO...: Today, filmmakers; Miguel Gomes and Karim Ainouz take more than just a closer look, but actually put the viewer inside the main character so that we experience everything they do. That's right, the most unique aspect about this film is that you never see the main character at all. The entire film is POV. Because we never see the main character, the dialogue/voice over almost feels like a diary as he curses and at the same tame reminisces about his ex-wife who clearly broke his heart.

FEAR X: MISUNDERSTOOD MASTERPIECE

***MAKE SURE TO CHECK OUT MY MUCH MORE IN-DEPTH WRITE-UP ON FEAR X OVER AT THE PINK SMOKE CLICKING HERE***

'Fear X' is part of a group of films that I consider to be "misunderstood masterpieces". Not to be
confused with underrated.  Others include; 'Trouble Everyday', Steven Soderbergh's 'Solaris' remake, 'Claire Dolan' (wow @ Vincent D'noffrio's performance in that) and 'Ghost Dog'. These are films directed by great directors that received either bad or mixed reviews upon their initial release, but are finally starting to getting the recognition they deserve now. Nicolas Refn is an interesting director. The John Cassavetes-style 'Pusher' and the Tarkovsky-esque 'Valhalla Rising' are probably his best films. Even his movies that I think are a bit problematic like 'Bronson' or the 2nd & 3rd 'Pusher' movies still have somee redeeming qualities. They cant just be totally written off as "bad". And to be honest, my opinion of 'Bronson' seems to be in the minority. Most people like that movie. It rightfully draws (some) comparison to Kubrick, specifically Clockwork Orange so its understandable why 'Bronson' is slowly turning in to one of the new cult-ish movies of this era.
'Fear X' is Nicholas Refn's most peculiar film. People who have seen this movie look at me like I'm crazy when i tell them how much i love it. After hitting the festival circuit in 2003 and ultimately going straight to DVD, this movie pretty much fell in to obscurity. False advertising played a huge part in people's disliking of it. Ads for it were ran in fangoria magazine (which makes no fucking sense), so people were expecting some kind of a horror/thriller movie. 'Fear X' does fall in to the 'thriller' category, but its not your typical thriller. Another thing about this movie was that it was the first and only screenplay written by 'Requiem for a Dream' author; Hubert Shelby Jr, so naturally people assumed 'Fear X' would be similar (lol, they couldn't have been more wrong).
The movie still sparked a few people's interest due to John Turturro being in it and Brian Eno working on the soundtrack. But even those two elements couldn't save 'Fear X'. I first discovered this movie working at a video store in 2004. I don't think any of the 3 people who rented it had one nice thing to say upon returning. Even today, with more people who are starting to come to terms with the fact that this movie isn't as bad as people make it out to be, many people still haven't come around. LOL just look at some of the comments this movie gets on crackle.com where you can watch it for free... (i realize this doesn't help my case, but i found it to be very funny)

If you're a fan of neo-noir, i really don't understand how you cant like this movie (no matter how "slow" it may be). Its one of the best films to come out of that genre in recent years. I consider 'Fear X' to be on par with other great recent noir films like; 'Memento' and 'Irreversible'. And John Turturro's performance is just as powerful as Guy Pierce or Vincent Cassell. Coincidentally, all three actors play similar characters with the same motivation: an ordinary man trying to find the person responsible for hurting or killing their wife. Actually, 'Fear X' and Andrea Arnold's 'Red Road' (another movie i always speak highly of, but no one ever seems to realize its true brilliance except me) share a lot similarities now that i think about it. With the exception of the genders being reversed, both movies involve characters working as a security guard trying to find the person who killed their spouse by investigating old security tapes where they believe the crime was captured. Both movies are extremely atmospheric, have similar music and are shot with minimal light in many scenes. A big difference between the two films however is that 'Red Road' got a lot more praise than 'Fear X'. And on a side note, anyone who's a fan of Andrea Arnold's most recent feature; 'Fish Tank' (which came out on criterion 2 months ago), should really check out 'Red Road'. Its a much better movie as far as I'm concerned.

FEAR X:

RED ROAD:

Acting is another unique element about this movie. I already mentioned John Turturro's performance, but the supporting cast does an excellent job as well. In 'Fear X', the actors create a real paranoid vibe. All of the other characters in the movie look suspicious, creepy or like they have something to hide. This is good for a noir film, because it adds to the mystery and makes everyone a suspect. A lot of the performances in the actors are delivered through the expressions on their faces. Almost anyone that John Turturro comes in contact with in the movie has this strange, almost unspoken aggression. They all have a stone face. I'm not even sure anyone smiles in the movie. One scene in particular where Turturro is being questioned by the police highlights this well. Almost at the drop of a hat, the policeman questioning him start to act a bit mysterious and a little off. Of all the supporting characters, James Remar, the man we're eventually lead to believe is the person who killed Turturro's wife, gives the best performance. You can tell he knows something and is a suspicious person (once again, he delivers a lot of the performance on his face), but you get that he's not the "villain" that we're used to in most conventional movies. In fact, James Remars character makes me wish the movie was a lot longer, because i think they should have delved in to him a little more. It may take a few views to realize how well the acting is, but if you watch it enough times, you'll get it. The performances are "cold". Some may mistake the acting as "flat", but that's an incorrect label.

If you don't like slow movies or open endings, which is somewhat understandable, this movie may not be for you. Although as far as I'm concerned, the mystery of 'Fear X' is not so open ended as people make it out to be. I think the movie is clearly solved as the credits role (similar to Michael Haneke's masterpiece; 'Cache'). You just have to pay attention. If you like any of the movies i mentioned earlier (irreversible, memento or red road), or even David Lynch's noir stuff like; 'Lost Highway', 'Mulholland Drive' or 'Twin Peaks', you'll dig 'Fear X'.

Flud Review: 'Super'

'Super'

HARMONY KORINE'S RECENT WORK ('Living Proof' through 'Umshini Wam')

I know Harmony Korine is an acquired taste, but as far as I'm concerned hes a really good director. This may sound like bullshit to some of you guys, but the older i get the more serious i take his stuff (...some of it). Sure, no matter what he does I'm always going to smirk and laugh at certain elements of his work, but he has definitely matured as a director over the years. And his recent work clearly shows that. This "revelation" hit me after watching 'Mister Lonely' for the first time a few years ago. Some of the dialogue in that movie may seem kinda corny, but coming from a director like haromey korine, it was a little unexpected and it seemed kinda genuine:
I don't know if you know what it is like to want to be someone else, to not want to look like you look, to hate your own face and to go completely unnoticed. I have always wanted to be someone else. I have never felt comfortable the way I am. All I want is to be better than myself, to become less ordinary and to find some purpose in this world. It is easier to see things in others, to see things you admire and then try and become that. To own a different face, to dance a different dance, and sing a different song. It is out there waiting for us, inviting us to change. It is time to become who we are not. To change our face and become who we want to be. I think the world is a better place that way.
Maybe its me, but before 'Mister Lonely' I woulda never expected that to come outta one of his movies. If any other director had written that, you'd probably roll your eyes, but from a guy like Korine, you kinda appreciate dialogue like that. Then, a few weeks ago i saw his latest short film; 'Umshini Wam'. It stars the eccentric "rap" group; Die Antwoord as wheelchair-bound gangstas trying to get some new rims for their wheelchairs (i think that's what its about). A lot of that movie is obviously satirical, but its also shot really well and nice to look at.
I think 'Gummo' will probably always be considered Harmony Korine's defining film, followed by the screenplay for 'Kids'. But in the last few years, i really think he's found a new "colorful" style. He still only seems to be concerned with documenting the "strange & weird", and getting in to the dirty crevices that other directors wont go, but his recent stuff has a much nicer feel and look to it. Ever since cat power's 'living proof' music video, he seems to be fascinated with both; bold/striking colors as well as extensive slow motion shots (like some scenes in 'Mister Lonely' and the 'Living Proof' video). The look of his earlier stuff like; 'Gummo' and 'Julien Donkey-Boy' gave off a very depressing and drab feeling. That doesn't mean those movies are bad ('Gummo' is one of my favorite movies as a matter of fact), but there was a lotta emphasis on darker, dreary colors. And lets not forget his first 2 movies were grainy-looking as well (especially 'julien donkey-boy', which was a dogma95 film). But in recent years, no matter how strange, weird, creepy or dark his newer movies may be, i still don't get the same feeling as i did before, because they are nicer to look at.

From ('95-'99):

To ('06-present):

See what i mean? Some of you may not see a difference, but i sure do. Nowadays there seems to be an emphasis on the color; red, yellow and pink (i realize there was the bunny kid in 'Gummo', but there's always an exception). No matter how many funny and silly parts there are in his first two movies, theres also some seriously dark shit in them too (a guy pimping out his retarded sister, incest, schizophrenia, etc). And the darker/somber/grainy look of those movies make those things seem even more depressing and disturbing. Today, Korine still has plenty of serious stuff in his movies (suicide, murder, depression, etc), but at least his new found love for colors and pretty landscapes (highlighted in 'Mister Lonely') make it easier to stomach that stuff.
An exception within Korine's recent work was his latest feature; 'Trash Humpers'. A movie about a gang of mentally deranged friends who wear old people masks that go around teaching kids to put razorblades in apples, kidnapping a baby, getting drunk, banging BBW prostitutes and ...humping trash. I (somewhat) enjoyed this movie, but Korine seemed to go back to his "old" style of directing with this one. The look, the atmosphere, everything. It almost seems like a loose sequel to 'Gummo'. 'Trash Humpers' gave me the most uneasy feeling out of anything Korine has done (mostly due to the ending). Also, as a little side observation, some of the imagery from 'Trash Humpers' reminded me of Diane Arbus's photography, which can be quite dark and creepy too. And i have to add, i don't think anyone has compared 'Trash Humpers' to Diane Arbus's work, so I'm just gonna claim that i did it first. Anyway, check out these images below of both; 'Trash Humpers' and some of Arbus's photos.

But still, outside of 'Trash Humpers', I think Harmony Korine continues to move in a new direction. I'm sure this blog will be proven even further with Korine's next film which is set to star Marlon Wayans (as far as i know that movie is still on). I understand if some of you were turned off by 'Gummo' or 'Julien Donkey-Boy', but if you gave up on Korine after those two movies, maybe its time give him another chance and check out his more recent work.
as a matter of fact, here's two of his new shorts right here:


Umshini Wam from Kawika T on Vimeo.

DO PEOPLE REALLY REALIZE HOW FUNNY 'GHOST WORLD' IS? SERIOUSLY...

This isn't so much a "review" as it is me just rambling about how great terry zwigoff's 'ghost world' is. For those of you who kept up with my myspace page, you should remember that i always spoke highly of 'Seymour', played by Steve Buschemi, but i never really got in to HOW great the whole movie is. There are so many little details in this movie, that i wonder if Terry Zwigoff, a director i consider to be part of the unofficial school of; 'Todd Solondz', was totally conscious of how genius his directing in this movie was. Coming from only 2 documentaries ('louie bluie' and 'crumb') to working with actors for the first time (one of those actors being the great Steve Buschemi) must have been a challenge. As a matter of fact, rumor has it that Zwigoff approached some acting coach before starting work on 'Ghost World' and flat out asked her: "how do i direct actors?" (or something like that). The way he captures hilarious details and funny real life situations always seem to blow me away every time i watch this movie. Seriously, when you get past the main plot of the movie, which is also great, you can clearly tell that Zwigoff's agenda was to just poke fun at middle america/"anywhere usa".

The video store scene:

Masterpiece Video Clerk: Hello, welcome to Masterpiece Video. How may I help you this afternoon, sir?
Masterpiece Video Customer: I'm looking for a copy of 8 1/2.
Masterpiece Video Clerk: Is that a new release, sir?
Masterpiece Video Customer: No, it's the classic Italian film.
Masterpiece Video Clerk: Yes, sir. I'll just check that on the computer for you, sir...Yes, here it is. 9 1/2 Weeks with Mickey Rourke. That would be in the Erotic Drama section.
Masterpiece Video Customer: No, not 9 1/2, 8 1/2. The Fellini film?

During the heyday of Blockbuster & Hollywood Video, i know a lot of you have had a similar conversation with a clueless video store employee. And please note, I'm sure you've had issues with movies that aren't even as "obscure" as a Fellini movie. In fact, in college i almost caused an entire Blockbuster to shut down, just for asking if they had a copy of 'Raging Bull' ("HUH?! WHATS THAT?!). Thank god 'Tommy K's' video had an employee like myself (along with my other awesome co-workers) who actually knew a thing or two about movies. LOL, and lets not forget the guy (or girl) in that same scene just standing around in the store watching the movie on the TV. This is funny on 2 levels. One; as a former video store employee, i can tell you its a fact that people really do just come in to the store with a soda, and make themselves right at home and watch a good portion of a movie that's currently playing on the TV and then just leave. Two: that guy/girl kinda represents that middle america/anywhere usa that Terry Zwigoff is clearly poking fun at (fat, sporting a mullet and drinking a big gulp soda)

Those funny little details that i spoke about earlier:

Am i the only one who finds it absolutely hilarious that the dude in the first picture (taken from the scene when Enid gets a job at the movie theater) has a fucking rat tail style ponytail? Only 9 year old bad kids named: "Dillon" have rat tail haircuts. This guy is a fucking adult. Sorry, but Terry Zwigoff clearly put that in there for a reason, yet i rarely hear anyone mention how funny it is. Also not to mention the fact that he asked for a medium drink. That speech that Enid gives him about medium beverages is pretty true. Who orders a medium drink? Lets be real. And take the guy in the 2nd picture. Why would you go out in public looking like Roy Orbison? Whats funny is, this guy is only on screen for seconds, but long enough for you to notice how much of an ass he looks like. And finally the art teacher (third picture). This makes me laugh personally, because it reminds me of my hometown of Amherst Massachusetts. For those of you unfamiliar with this awesome town that birthed Dinosaur Jr, Amherst is a very liberal/P.C. place. Don't get wrong, i love Amherst to death, but growing up there, you're almost bound to find someone wearing sandals, "earthy" looking jewelery made outta granola bits and Brazilian/African clothes that usually look awkward on the people who wear them. You know how there are sayings like; "Only in New York" or "That's So L.A."? Well, the art teacher in 'Ghost World' is "So Amherst". I crack up a little bit on the inside every time i see her. And lets not forget the wheelchair guy, who gets the trivia question right in the coffee shop. Not only is he such a random person, but the trivia question that he gets right in order to win the free coffee is a little odd too: "where on the human body is the douglas pouch located?"

The Blues Hammer Scene:

As far as Terry Zwigoff's fiction films go, this is probably the best scene he has ever directed. For those of you not familiar with Zwigoff's background, he comes a folk/blues background. In fact, he was once in a band with his friend; Robert Crumb. A lot of the musicians that he grew up listening to and looking up to where old black blues musicians who never really got the recognition they deserved. The scene when Enid and Seymour go see the old blues musician open up for "Blues Hammer" is just as funny as it is sad. I mean, the editing is just brilliant. Zwigoff cuts in and out of this obscure old musician (who seymour clearly idolizes) with scenes of douche bags and other scummy people watching a sports game, being loud and just not paying any attention to him play. Then after he finishes his set, even though no one in the bar besides Seymour could care of his existence, he still takes a bow and humbly walks off stage. That part is fucking heartbreaking. The heartache of that scene soon comes to an end, when "Blues Hammer", a group of frat boy-looking white guys take the stage, and start singing an old blues song about "picking cotton all night long". And as they sing, everyone in the bar starts to dance and have a great time.

Comic Book Store Nerds and "Pathetic Collector Losers":
Another great thing about 'Ghost World' is that Terry Zwigoff is not only above making fun of himself, but pretty much the entire "scene" that he comes from: Record collecting, out of style clothes wearing, comic book readers in their 40's (or older). Or as Seymour puts it; "Pathetic Collector Losers". Because Zwigoff comes from this world, he paints a perfect picture of what these people look like, the conversations they have and all the other little details. The scene when Enid and Rebbecca go to Seymour's "House Party" pretty much highlights this. A bunch of lonely, sad men talking about records. Yet its still OK to laugh at them. Or Take the scene when Enid and Rebbecca go in to the comic store. What the fuck kind of conversation are those two guys having at the beginning of the scene lol?

Zine-O-Phobia Creep: Whoever told you that bullshit about boiling is out of his mind. Carpet beetles are the only way to get flesh off a corpse.
Zine-O-Phobia Creep: I'm just telling you what he said.
Enid: Don't you creeps ever talk about anything nice? Don't you ever talk about fluffy kittens or the Easter Bunny?
Zine-O-Phobia Creep: Look who's talking, Little Miss Badass.
Zine-O-Phobia Creep: Yeah! Nice outfit. Who are you supposed to be, Cyndi Lauper?
Enid: Blow me, doofus.

LOL, seriously who the fuck has that kind of a conversation? Getting flesh off of a corpse? Little awkward moments and random conversations like that make me love 'Ghost World' so much. And speaking of awkward and random, how great is the graduation scene? Its so random that a bootleg, local, all girl pop group would perform at a high school graduation. Did the person who booked them think that a bunch of high school seniors would take them seriously?

Seriously tho, if you haven't seen 'Ghost World', you should make it a priority. Its easily in my top 25 films of the last decade (and Thora Birch looks damn cute in this movie too).

OUTRAGE

Takeshi Kitano's latest, which was the closing film for the Japan Society film series; "Hardest Men In Town: Yakuza Chronicles of Sin, Sex & Violence", was a return to his unique take on the yakuza genre that most people know him for. A strange mixture of over the top violence, existentialism and dead-pan delivery reminiscent of Bresson. 'Outrage' is getting a lot of mixed reviews on places like rotten tomatoes and mubi.com, but take it from me; this movie is GREAT. For those of you who love Kitano's work like 'Sonatine', i can almost guarantee you will love this. While watching this movie, at any given point you will; die laughing, look away in disgust (see picture), or contemplate the life of the lead character. Rarely while watching a movie in a packed audience did i feel so much synchronicity with a group of people i would normally dislike had i not been in the same movie theater with them and enjoying the same thing.
'Outrage' is a movie about double, triple and quadruple crossing within a few closely knit Yakuza Families, and one man's ultimate rise to power by playing everyone against themselves. In fact, I'd say the films only 2 issues were the complexity of all the back stabbing (they seem to happen every 15 minutes or so) and the fact that it can be difficult to follow who is with what Yakuza clan at certain points in the film. Those elements didn't really bother me, but i can totally see how those aspects of the film would annoy people.
Takeshi Kitano also stars in the lead role as "Otomo", an under boss who gets caught up in the convoluted back stabbing and turf wars. At certain points in the film, it almost feels like Kitano is poking fun at the Japanese gangster genre. I think he knows that scenes of loud, overly dramatic acting Japanese men yelling at each other in a small room for 5 minutes at a time is kinda funny and that's why there's plenty of that in the movie. Something that also might get overlooked in the movie is Kitano's performance. Takeshi Kitano may have one of the all time greatest faces in cinema. He has one of the best expressionless faces. And this has always been the case, long before his reconstructive facial surgery. When he yells, smiles, laughs, whatever, theres still a bit of apathy and boredom in his face that always makes you crack up more than usual. Given Jim Jarmusch's fascination (at times) with Japanese culture, I'm surprised that he and Kitano have never collaborated on a film before. And honestly, these days, I would much rather Kitano act in a Jarmusch film instead of a Tarrantino film, who's notorious for his fascination with asian culture.
The existential nature of the film i mentioned earlier has to do with Otomo's seemingly growing apathy for the yakuza lifestyle. He seems to be sick and tired of the finger chopping, turf wars and other things that come with the life of being a Japanese gangster. One scene in the film does a great job a highlighting this. In the middle of a heated debate with a rival Yakuza boss, he just starts laugh arrogantly, as if to say "i honestly don't give a shit what we're arguing about" (a short moment of this scene is in the trailer below).The soundtrack to this film is done really well too. Very synth-heavy and moody. And as i stated in a facebook post last week, the drill scene in 'Marathon Man' has taken 2nd place thanks to this movie (once again...look at the picture above). Anyone who's a fan of Jarmusch, Tarrantino or Takeshi's previous gangster films will love this movie.
Since this movie played at Cannes, NYFF and other important film festivals last year, I'm almost certain that this will get some kind of a short release in nyc (most likely Walter Reade or BAM).
And on another note, I'd also like to stress that if there was ever time to Join a theater, NOW is the time. Through the summer, if you join Japan Society, half the proceeds of your membership go to the earthquake victims in Japan. And whats a little more unique in joining Japan Society over places like Anthology or IFC (not taking anything way from those theaters, because I'm a member at both places), is that Japan Society is more than just a movie theater. They have art exhibitions, lectures and plays as well.
Japan Society Membership Info
And if you haven't seen Sonatine, i HIGHLY recommend it. Its a great movie, with many of the same elements of Outrage; violence, humor, hypnotic music and existentialism. (sorry i couldn't find a good English trailer, but whatever, you'll get the gist of the movie). This movie is part a 2-disc special edition dvd with the Zatochi remake (also starring and directed by Kitano).