Wednesday, June 1, 2016

THE CINEMA OF ABDERRAHMANE SISSAKO TOLD THROUGH IMAGES & STILLS



There's a very disorienting quality about the cinema of Abderrahmane Sissako. His work is soothing on some level. I imagine the average movie-goer unfamiliar with his films would refer to him as boring, but I turn to his work to relax & chill out in the same way some people turn to a Brian Eno album to calm their nerves (a few years ago his 2002 film Waiting For Happiness was my go-to movie to fall asleep to).
But after I'm finished watching one of his films it always hits me way later on how depressing some of his content is...
Sure Bamako (2006) is a beautiful work of art with rich colors, amazing music and lots of great scenic shots, but that movie ends with a guy blowing his brains out (poverty, exploitation, colonialism & oppression are also some of the underlying themes in that film).
On the surface Waiting For Happiness (2002) is a nice semi-lighthearted film about the day-to-day lives of various residents living in a close-knit African village. But that movie ends on a sad note as well (one of the main character's father figure/legal guardian passes away unexpectedly and he's left alone to fend for himself).
Timbuktu (2015) has tons of spirituality, African art & music but its probably his most harsh/depressing ending to date).

This is what makes Abderrahmane Sissako's movies so unique. They provide a sense of beauty but they also convey the pain & oppression that's sometimes associated with certain parts of Africa.
Thank god this man exists because had the representation of Africa been left to mainstream cinema, we'd still be getting Dry White Season & The Power Of One in 2016 and beyond...


VARIOUS SHADES OF AFRICA
Abderrahmane Sissako manages to capture every shade, skin tone and distinct feature that Africa has to offer (sometimes all within one film). This isn't common in most prominent/mainstream African films. Look at any popular/well known film that features Africa as the centerpiece. Nine times out of ten you're going to see one common skin tone, one ambiguous accent, one religion, etc. Africa is the largest continent on the planet and it should be represented as such.
In the last decade, filmmakers like Abderrahmane Sissako (west and central Africa), Mahamat-Saleh Haroun (central Africa) and Abdellatif Kechiche (northern and southern Africa) have taken audiences all over the continent of Africa whereas mainstream/Hollywood films seem to be fixated on just one or two countries in Africa.
Timbuktu
Timbuktu
Bamako
Le Jeu
Le Jeu
Waiting For Happiness
Waiting For Happiness
Waiting For Happiness
Waiting For Happiness
Tiya's Dream




"MULTINATIONALISM"
This is sort of an off-shoot of the previous section, but Sissako's films show Africa's connection to obvious countries like America & France (Bamako) to countries not often associated with Africa like Taiwan (Waiting For Happiness) & Russian (October)...
Waiting For Happiness
Bamako
Bamako
October



AFRICAN LANDSCAPES
Although it's understandable why so many modern/more well-known African films are rooted in sadness and/or struggle, this still causes outsiders to have a simplistic understanding/borderline misunderstanding of the continent's beauty. I've never stepped foot anywhere near Africa but I know it's filled with an endless amount of beauty that doesn't always make it to the big screen. Abderrahmane Sissako's filmography counters a lot of the misconceptions perpetuated by mainstream cinema's representation of Africa...
Bamako
Life On Earth
Le Jeu
Le Jeu
Timbuktu
Tiya's Dream
Tiya's Dream




ABDERRAHMANE'S COLOR PALETTE
The colors in his films are sometimes overlooked which really boggles my mind because the fabrics & patterns he shoots/dresses his actors in are pretty eye-catching in my opinion (and, going back to the first section, notice all the various skin tones from person to person in the pictures below)
Waiting For Happiness
Waiting For Happiness
Waiting For Happiness
Waiting For Happiness
Waiting For Happiness
Life On Earth
Bamako
Bamako
Timbuktu
Timbuktu
Tiya's Dream





(POSSIBLE) INFLUENCES ON ABDERRAHMANE SISSAKO...
Bamako/Xala
Waiting For Happiness/The Lovers
Amrita Sher-Gil
Le Jeu/Ivan's Childhood
*This is obviously a common shot but Abderahmane studied film in Russia it's not too far-fetched to imagine that he was influenced by one of Russia's most influential filmmakers
Bamako/The Passion O Joan Of Arc 
October/Ivan's Childhood
Waiting For Happiness
Bamako/Powaqqatsi
Waiting For Happiness/Alphaville
Le Jeu/The Seventh Seal
October/The Mirror
October/Nostalghia




MEMORIES
The past sometimes plays the background in a nice chunk of Sissako's films which adds a cryptic layer to everything (both Waiting For Happiness & Bamako feature very important flashback scenes, while the documentary Rostov-Luanda is about Sissako himself trying to track down an old friend from the past). Old, yet meaningful, pictures are often seen just off camera or they flash by quickly which makes the viewer more curious...
Rostov-Luanda
Waiting For Happiness
Bamako
Tiya's Dream




FAMILY/COMMUNITY...
Putting aside the plots in all of his movies, the documentation of community and day-to-day living is probably the most important element in the cinema of Abderrahmane Sissako...
Timbuktu
Waiting For Happiness
Waiting For Happiness
Bamako

The communities in his movies are made up of the following prototypes...

PROUD/STOIC WOMEN
Bamako
Bamako
Timbuktu
Timbuktu
Le Jeu

PRECOCIOUS CHILDREN
Le Jeu
Le Jeu
Waiting For Happiness
Waiting For Happiness
October
Bamako
Timbuktu
Tiya's Dream
Abderrahmene hanging with the young stars of Timbuktu
surrounded by children during the filming of Bamako

WISE ELDERS
Life On Earth
Bamako
Bamako
Waiting For Happiness

MUSIC
Bamako
Waiting For Happiness
Timbuktu




DEPRESSION & SADNESS AMONG BLACK MEN
We already touched on this in The Cinema Of Charles Burnett but black men really are the last to be explored when it comes to depression & sadness. Abderrahmane Sissako's exploration of depression in (black) men ranges from fear of aging and the loss of close friends (Waiting For Happiness) to feeling useless and inadequate (Bamako)

Tiya's Dream
Bamako
Timbuktu
Waiting For Happiness

Thursday, May 26, 2016

MY FATHER'S VIETNAM (CutPrintFilm)

Check out my latest review for CutPrintFilm on Soren Sorensen's latest documentary My Father's Vietnam (click the image below to go to the review)



Wednesday, May 25, 2016

FLIXWISE: THE CABLE GUY

It's always awesome to appear on a podcast that you listen to on a regular basis. I'm honored that I got the chance to appear on the flixwise podcast to try and defend what I consider to be one of the greatest comedies EVER - The Cable Guy (no...seriously).

Click the image below to listen to our conversation and be sure to listen to their back catalog.

enjoy...



also stay tuned as I will be making another appearance on a future flixwise episode...

Sunday, May 15, 2016

THE GREAT VILLAIN BLOG-O-THON: FRANK (HALF NELSON)



In this particular blog-o-thon full of Darths, Hannibals & Jokers, I’m sure this character is bound to have some of you scratching your heads and questioning if this character is even a villain (he most certainly is). But just hear me out (I was close to picking Noah Cross form Chinatown but I thought this choice was more interesting). Despite my frustration & anger with some of Anthony Mackie’s semi-recent comments regarding (his own) race, I still have to give it up to him for his supporting role in Half Nelson which remains the best thing he’s done so far in terms of full-on acting (like most of you I enjoy his presence in the Marvel comic universe as Captain America’s sidekick Falcon but his role as Frank is pure acting). And sidenote – this wasn’t Mackie’s first foray in to playing a villain or a “bad guy”. He first gained notoriety as the main antagonist to Eminem’s “B. Rabbit” in 8 mile and he played a bully in Clint Eastwood’s Million Dollar Baby. So he had some practice at playing different types of bad guys before Half Nelson.

Half Nelson is the story of an unlikely friendship between high school freshman “Drey” (Shareeka Epps) & her drug addicted teacher/basketball coach “Dan” (Ryan Gosling). One of the many monkeywrenches in their relationship comes in the form of “Frank” (Anthony Mackie) – a shady friend of Drey’s older brother. I still hold this film in high regards because it not only showcased three incredible performances, but a story concerning the friendship between a teenage girl and her older male teacher could have easily veered off to an obvious path (especially within independent film) and director Ryan Fleck chose not to. Gosling would go on to earn an Oscar nomination for his performance in this film while Epps won an independent spirit award for hers. Some might say Half Nelson was the movie/performance that truly put Gosling “over” with audiences (I know The Notebook was a huge for him but this sleeper Oscar-nominated performance got him recognition beyond swooning young women, which, strangely enough, continues to be his primary fanbase).

If you don’t pay close enough attention to Anthony Mackie’s performance in Half Nelson you might forget that the character of “Frank” is kind of a scumbag. I know some of you who are familiar with this movie would argue that it’s not that simple and his intentions are a bit more complex & complicated (he does have a warped sense of care and/or brotherly protection towards Drey), but at the end of the day he’s not only a scumbag but he’s also a predator. Those two characteristics equate “villain” to me. And not only is he a predator & a scumbag, but he’s also spineless. In the film his character is responsible for Andrea’s brother going to prison because he couldn’t own up to the ambiguous/unspoken crime that he committed. Mackie’s performance in the film takes on an additional dimension because he not only tricks Drey in to thinking he’s a good guy, but he also has some of us, the audience, fooled in to thinking that as well. I can’t tell you how many time I’ve expressed my disdain towards Frank to my friends who have seen Half Nelson only for them to go; “huh? He wasn’t that bad.” Then I have to remind them that he’s a drug dealer that tries to recruit Drey to sell drugs (and at one point he puts her life in potential danger). But that’s the beauty of the performance. Frank/Mackie is charming, playful and kind of childlike. We never see him act violent or use a weapon. He doesn’t really raise his voice in anger (with the exception of one scene). The only time we see him use his presence for intimidation is to help Drey get her bike back that was stolen by a bigger kid (a typical/acceptable big brother move). Throughout most of the film he flashes this seemingly genuine smile and up until the final act of the movie you really feel like he’s concerned for Drey’s well-being. I mean, if you put aside the fact that Frank is a piece of shit, anyone would question and even try to intervene in the relationship between a young latchkey kid and her unstable older male teacher. But when Frank finally succeeds in (temporarily) dividing them, we see he really just wanted to use her (in the climax of Half Nelson we see Frank initiate Drey in to the world of drug dealing which immediately turns her off as her first client turns out to be Dan).


Frank isn’t a villain in the traditional sense like the other antagonists mentioned at the start of this piece (and the characters I encourage you to read about in other entries part of this blog-o-thon), but he is a villain – a drug dealer that preys on younger innocent kids to do his bidding because he’s too much of a coward to do it himself. He’s certainly more dangerous than any villain written about in this blog-o-thon (not to take anything away from all the great entries in this blog-o-thon). Frank isn’t based on anyone in particular but he does represent a type of human being that is very very real. That, in my opinion, makes him more frightening than any villain I could think to write about. A kid like Drey might potentially deal with or walk past a hundred Franks in this world and never come across a comic book supervillain or a heartless John Ford gunslinger. Is he a “Great Villain” on par with any of the other entries? Nope. But he’s certainly the most real.

This is one of the more complex/strangely-acted (strangely in a good way) villainous performances since Craig Berko in Long Kiss Goodnight (one of the most smiley/nicely spoken villains in modern film) or Paddy Considine in a Room For Romeo Brass (at the end of the day Considine’s “Morel” is a “bad guy” but given he is a developmentally disabled on some level, it isn’t all his fault which makes his character complicated). Given the hype surrounding the two lead performances (Gosling & Epps), it’s understandable that Mackie would go somewhat unnoticed. But now that it’s the 10th anniversary of Half Nelson maybe it’s time to go back and give his performance a reexamination.


don't forget to check out all the other entries in the Great Villain Blog-O-Thon over at Speakeasy (click on the image below)


Friday, May 13, 2016

SUPER



If you dislike the seriousness of the Christopher Nolan Batman films but still want a slightly more realistic comic book-based super hero film (that still retains a comic sensibility), Super is the perfect compromise. There are obvious jabs at the more serious & "gritty" superhero/comic/graphic novel-based films that have surfaced in the last decade, but James Gunn still holds no punches when it comes to the gruesome punishment of pedophiles, drug pushers & generic "thugs".
And if you're looking for a strong/memorable (and slightly unhinged) female character (something that's suddenly in high demand these days), then look no further than Ellen Page's "Boltie" (Crimson's sidekick). With projects like Mad Max: Fury Road (Princess Furiosa), The Fast & Furious Franchise, Haywire, Spy and the all-female Ghostbusters reboot, it's almost like Super just missed its target audience as it was released about a year or two before the surge of prominent/ass-kicking female characters. Boltie would have fit right in with the characters from the aforementioned films had Super been released in 2013 or 2014. But at the end of the day I guess everything worked for James Gunn. His 2014 superhero film Guardians of The Galaxy pushed what he tried to do with Super even further. The difference between then and now is Gunn has a much larger platform with Guardians being in the Marvel Comic Universe (it should be noted that Gunn is one of the only directors in the MCU with previous superhero/comic book movie experience).

Open-minded fans of Kickass and/or Bobcat Goldthwait's God Bless America would also appreciate this (Super is kind of like a guilt free version of Kickass). If you look below you'll see the color scheme of the outfits in both movies even match...


I can see how Super & Kickass being released less than a year apart from each other could raise some eyebrows but Gunn has a unique (less forced) brand of dark humor that cant be found in something like Kickass.
He also seemed to draw some serious subconscious inspiration from Daniel Johnston's artwork to more serious films like Hannibal...




In Super Rainn Wilson plays an average citizen ("Frank") who's pushed over the edge after his drug addicted wife leaves him for local drug kingpin: "Jacques" (played masterfully by Kevin Bacon). After a sign, from who he believes is god, Franks takes on the superhero alter ego of "The Crimson Bolt" (equip with an outfit that looks like a bastardized Daredevil costume). With the help of his sidekick "Boltie" (Page), Frank/Crimson Bolt works to not only rescue his wife, but to put an end to crime in their town. And the greatest thing about Crimson Bolt's brand of justice is that he treats everyone equally. From drug dealers & child molesters to people who cut in line at the movies -  they all get their faces beat in with the same monkey wrench (Crimson Bolt's weapon of choice).


This movie is more comedy than action but shouldn't be grouped in with stuff like Mystery Men  Meteor Man, Blank Man or other movies in that follow a similar blueprint. Besides the more adult themes & humor, Super has some surprise gut-wrenching moments.
*SPOILER ALERT*
Take Boltie/Ellen Paige's death scene for example. I honestly didn't see that coming. Not only had I grown attached to her character but I also didn't think James Gunn had the guts to kill off a young/"cute" character in such a gruesome way (this is probably Gunn's best crafted standalone scene to date).

Super is still streaming on Netflix so there's really no excuse to not give this is a shot if you haven't already). And if comics, violence & indie films aren't your thing, at least give Super a chance for Kevin Bacon's underrated/under appreciated performance as the film's villain.

Saturday, May 7, 2016

*UPDATED* PINK SMOKE SUMMER MOVIE PREVIEW (PART 1 & 2)



Make sure to check out both parts of our summer movie preview over at The Pink Smoke (click image above to read). Enjoy...

PART ONE
PART TWO

Monday, May 2, 2016

NO HOME MOVIE


No Home Movie is a low-key love letter to Chantal Akerman's family. Specifically her mother. Akerman's sister Sylviane makes an appearance at one point and there are constant references to her father, aunts, uncles, cousins, etc. But at the end of the day this is a film about her mom. In No Home Movie Chantal Akerman places cameras throughout her mother's apartment and observes her over the course of what seems like a few months. It should be noted that Akerman's own presence in the film is rather cryptic. We never see a full-on shot of Chantal but rather half shots of her face through Skype chats, her voice off camera, or shots of her back. What's even more cryptic (and a little heartbreaking) is that there are a few lines of dialogue in this film where she mentions her unhappinesss & depression to her mother through casual conversation (for those that don't know, she took her life late last year).
It's difficult for me to not be a little bitter towards certain circumstances surrounding her death. My love of Akerman's work is documented on this site going back to almost day one. That's something a lot of these bandwagon film sites & publications can't say. I find it funny reading all these pieces dedicated to Akerman after her death yet when she was alive her worked had been trashed and bad-mouthed by some of the very same publications in recent years (obviously not all, but still...). And what's even more frustrating is that her career spans over 40 years yet the main/only film people focus on is Jeanne Dielman... when, in my opinion, isn't even her best work. It's certainly iconic and worthy of all the praise it's gotten (and as you'll see in a few moments I use quite a few images from the film) but there's so much more to discuss (her semi-autobiographical Rendezvous D'Anna is a film worthy of the same over-analysis & dissection in my opinion).

Putting aside all the obvious influences that Jeanne Dielman... has had on art house cinema throughout the years...
Jeanne Dielman.../Safe (Todd Haynes)

Jeanne Dielman... / Safe 

Jeanne Dielman... / Silent Light (Todd Haynes)

Akerman has also influenced Claire Denis...
Rendezvous D'anna / Vers Nancy
Tout Une Nuit / U.S. Go Home

Abdellatif Kechiche...
Je Tu Il Elle / Blue Is The Warmest Color

Lodge Kerrigan...
Jeanne Dielman / Clean, Shaven

And I feel like Jim Jarmusch has a spiritual connection to Akerman as well...
News From Home / Permanent Vacation


No Home Movie has an additional layer as it's kind of an unofficial sequel to her 2002 film La Bas (like No Home Movie, La Bas takes place primarily in an apartment, we hear Akerman's voice off camera a lot, they have the same up close & personal/claustrophobic vibe, and both films reference Judaism and the same family members).

Not to make this too much about myself but No Home Movie made me contemplate the lives of the loved ones around me. My Grandmother passed away a few months ago (not that much soon after Chantal Akerman passed away). Actually, Akerman's mother reminded me of my late grandmother. They have some of the same mannerisms, they're around the same age, and they have plenty of stories to tell (who wouldn't have stories to tell when you reach your late 80's/early 90's). As I watched the elder Akerman tell stories of World War 2, escaping Poland, and overcoming anti-semitism, I was reminded of my Grandmother's stories concerning civil rights, "colored's only" sections and tales about my dad as a kid.
No Home Movie also doubles as a comment on how we sometimes treat the elderly. Not to ruffle any feathers but the way Akerman's sister speaks to their mother in certain scenes is a little bossy & lightly patronizing. But she's certainly not the only adult to speak to their elderly parent that way. A lot of folks are guilty of it which is why this film is so important & relevant.


No Home Movie is classic Akerman in the sense that time is taken very literally, the pacing is very slow and Akerman isn't concerned with editing or keeping the attention of the casual viewer. At the screening I went to there were quite a few walkouts which not only pissed me off, but also confused the hell out of me. I mean...Akerman's films aren't the kinds of movies you just casually stumble upon. By 2016 you should know what you're getting in to when it comes to one of her movies. Walking out of one of her (recent) films because it was "boring" kind of makes you look a little stupid in my eyes (just like people who still get worked up over the style in modern-day Terrence Malick films. Again - what the fuck were you expecting?)
I know this all sounds harsh and a little pretentious but Akerman's work meant a lot to me so it's hard to not take things personally. She not only influenced some of my favorite filmmakers (both directly & indirectly) but she had the kind of guts that you don't see in too many filmmakers (male or female). (Two-face) Publications like indiewire are always clamoring for strong female voices in film as if Akerman hadn't been around since the late 60's (maybe stop writing so many articles on Melissa McCarthy, Tina Fey & Cate Blanchett and shine a spotlight on Akerman's work).

Friday, April 22, 2016

FRANCOFONIA


I think Peter Greenaway’s Belly Of An Architect (1987) has finally met its match in terms of architecture on film in the form of Alexander Sokurov’s Francofonia - an experimental feature concerning the preservation of important cultural artifacts during World War 2. I’m sure there are folks who feel that there have been movies to come out since 1987 that have done architecture on film justice, but in my personal opinion most films on the subject of architecture and/or design (documentary, biopic or fiction) often times only scrape the surface or, even worse, come up short (I think my opinion holds a little more weight in this specific instance as I not only immerse myself in film but I also studied architecture & design for five years and have continued to work in the field for 11 additional years and counting). Francofonia is kind of an unorthodox history lesson that captivates rather than bores. In the same way 24 Hour Party People is a chaotic yet organized history lesson on the Manchester music scene of the 80’s & 90’s, Francofonia is a chaotic yet organized look in to World War 2-era architecture, “European guilt” and the importance of art preservation during times of war.
To be honest, Francofonia focuses more on art preservation than it does Architecture & design (I wouldn’t want to give the wrong impression that this is solely about architecture).

I know it’s pretty lazy to compare Alexander Sokurov to Andrei Tarkovsky in the year 2016 (it’s so easy & obvious) but the comparison goes much deeper than similar shots of a withering tree in the middle of an open field. At times Fancofonia feels like a heavily reworked/remixed version of the middle segment within Tarkovsky’s Mirror where we see real archival War footage mixed in to the semi-fictional story that is The Mirror. The only difference is that Francofonia mixes fiction & non-fiction much more seamlessly than Tarkovsky did in The Mirror. 
There's also a subconscious connection to Elem Klimov's Come & See (another Tarkivsky-esque movie).
In the final moments of Klimov's 1985 war film we, the audience & the film's protagonist, are presented with the question as to weather or not we'd go back in time to kill Hitler as a baby in an effort to undo everything he did as an adult...


These types of crazy questions aren't presented to the audience in Francofonia but Come & See's representation of Hitler through art seems to have rubbed off on Sokurov.

And I know this is another cliché/obvious statement, but Sokurov’s latest feels like the kind of dream you’d have while taking a mid-day nap. It’s weird, confusing, foggy, beautiful and (recent) real life elements creep in to your sleeping subconscious. Not only does Francofonia chronicle the plan/agreement to preserve pieces of art in the midst of World War 2 (played out through the on-screen relationship between French civil servant Jacques Jaujard & Nazi officer Franz Metternich) but there’s an additional layer as Sokurov inserts himself into his own movie in a separate (yet loosely related) story (these segments were very reminiscent of the opening sequence in Holy Motors where we see Leos Carax insert himself into his own film). There’s a lot more to the film (which clocks in at only 80-something minutes) but in an effort to not give too much away (or over-explain) I would go off of that for now.

Art appreciation seems to be a thing in cinema these last couple of years more than usual (Portrait Of The Artist, National Gallery, Museum Hours, Mr. Turner, Monuments Men, etc) and Francofonia is like a hybrid/amalgamation of it all. The art preservation angle is a callback to George Clooney’s Monuments Men. All the scenes of Sokurov’s camera wandering aimlessly through the Louvre are reminiscent of Portrait Of The Artist & Fredrick Wiseman’s National Gallery.
Scenes set in the Louvre also bring to mind Anna Karina & Co. running through the halls of the very same museum in Band Of Outsiders...

Band Of Outsiders / Francofonia

Outside of cinema, popular artists like Kanye West, Jay-Z & Beyonce like to show their interest in arts outside of their own (or they just want to take nice photo opps and name drop painters, designers & architects that folks might not give them credit for knowing). Much of the art featured in Francofonia is often cited or associated with the aforementioned artists these days…
Kanye West's Yeezus tour set design seemed to be inspired by elements of the Louvre (the pyramids would be the most obvious inspiration but in the last 5 years Kanye has sited the Louvre a lot more than he has the pyramids)
Jay-Z & Beyonce visit the Louvre (left). Much of the art they checked out on their much-publicized visit to the museum is featured in Francofonia (right)

Francofonia also ties in to Sokurov’s older stuff. It goes without saying that Russian Ark & Francofonia go hand in hand as both movies are essentially warped history lessons on the subject of European art, architecture, politics, etc. If my earlier assessment of Sokurov’s latest film being an offshoot of The Mirror doesn’t work for you, picture Francofonia as a sequel to Russian Ark (I know Russian Ark is specific to Russian history, but it’s still a branch off of the very large tree of European history). The fascination with the likes of Adolf Hitler that we saw in Sokurov’s Moloch (2002) continues in Francofonia. Through subtle voiceover narration placed on top of archival footage of Hitler in certain scenes, Sokurov in turn makes Hitler a “character” in the movie. We see a fictitious version of Napoleon which brings to mind Sokurov’s "Trilogy Of Power" (Moloch, Taurus, The Son). Napoleon’s presence in Francofonia makes the film feel like a new chapter in the saga. Without meaning to, Sokoruv breathed new life in to some of his older films. Francofonia made me dust off my Sokurov DVD's that I hadn't thought about in a while.

Normally Alexander Sokoruv is the kind of filmmaker I have to suggest to people with caution or some kind of disclaimer. Not because his movies are bad (quite the opposite), but because his work is often times an acquired taste. But Francofonia can be enjoyed by even a casual movie fan. You don’t have to be a super cinephile or arthouse aficionado. All you need to have is an appreciation or fascination with art, history, war or all of the above. Even in all of Fracnofonia’s experimentation & non-traditional/non-linear storytelling, this is still an accessible movie for people outside of its intended audience (this might be one of the most non-off putting feature-length experimental films to come out in quite some time).

Wednesday, April 20, 2016

WRONG REEL EPISODE 127: UNCLE BOONMEE & POST TENEBRAS LUX

Post Tenebras Lux / Uncle Boonmee...

Anyone who knows me well knows that this edition of Wrong Reel is a dream discussion. In this episode I join James & Martin Kessler to chat about these unofficial cinematic 1st cousins that also happen to be two of the best films of the decade so far (and, on a more personal level, are the last two films that made me shed a tear).

Reygadas & Weerasethakul are also PINNLAND EMPIRE favorites so perhaps it would be a good idea to scroll through both; The Cinema Of Carlos Reygadas & The Cinema Of Apichatpong Weerasethakul as you listen (click the italicized text).

Enjoy...


Don't forget to check out all the back episodes of Wrong Reel and to also stay up on James' Tribeca Film Festival coverage going on right now.

Thursday, April 14, 2016

ILLUSION TRAVELS BY STREETCAR EPISODE 98: "THE RADICAL COMEDIES OF BRIAN DEPALMA"

I made a appearance on the Illusions By Streetcar podcast (an offshoot of the Syndromes & A Cinema Podcast) to discuss the early/not-so talked about work of Brian Depalma. Click the image below to listen to the episode.


https://archive.org/details/IllusionTravelsByStreetcarepisode98

Monday, April 11, 2016

INSIDE THE PHOENIX EPISODE 86 (MTUME GANT, SHAKA KING, SCOTT THOROUGH)



Late last year I had the pleasure of sitting in on another episode of the wonderful Inside The Phoenix podcast. This one is an another all-star lineup made up of Mtume Gant (S.P.I.T.), Shaka King (Newlyweeds & Mulignans), Scotty Thorough (Manos Sucias), myself & ITP host Warren Wade Anderson.
Listen as we discuss everything from cinema & the (sometimes) hilarity of racism to underrated hip-hop music.

Enjoy...




Friday, April 8, 2016

MIDNIGHT SPECIAL


For the last five years leading up to Midnight Special Jeff Nichols has toyed with science fiction (Take Shelter), tall tales & fairytales (Mud) and just all around ambiguity (Take Shelter), so it was just a matter of time before he went all in and made a full-on science fiction drama (southern-based/Terrence Malick-ian Christianity & spirituality has also played the background in every one of Nichols' films so it wasn't a surprise that those elements showed up in Midnight Special as well). What's funny is that Midnight Special kind of picks up where Take Shelter left off in an abstract/slightly reworked way. It's like Michael Shannon's paranoid opinions in Take Shelter came to be true and now he has to act on them in the next film.

Midnight Special is the story of a "gifted" little boy (Alton) with magical powers that has to get to a special/significant place (with the help of his parents, played by Michael Shannon & Kirsten Dunst) before the FBI and/or a religious "organization" get to him first (of course the FBI wants to use him as a weapon, while the religious cult, led by Sam Sheppard, believes he's the messiah reincarnated in the form of a seven year old boy come to take all believers up to heaven).

What's frustrating about Midnight Special is that it gives off this vibe that it's not going to be like all those other science fiction movies where a special alien kid with magical powers has to escape the government that wants to use it/him/her as a weapon and/or test subject. But not only did Jeff Nichols end up making a modern/revamped version of E.T. or Mac & Me or The Boy Who Could Fly or any other movie that generation X & generation Y grew up on, but at times it felt like a feature length back-story for one of the X-Men...
(*SPOILER* the final climactic scene where Alton makes contact with other worldly beings is literally right out of the ending of Close Encounters and/or The Abyss *SPOILER*)




Look...I’m not the biggest Jeff Nichols fan but I do appreciate that a filmmaker of his ilk got the opportunity (and budget) to make Midnight Special rather than someone like Brett Ratner, Zack Snyder or Bryan Singer, but still - this film forces me to use cliché critic terms & keywords like "hack", "retreaded material", "slightly unoriginal", etc (it even forces me to do the cliché critic thing by taking shots at obvious targets like Zack Snyder, Brett Ratner & Bryan Singer). 
But perhaps it wasn't Jeff Nichols' goal to make an "original" film. There's only so much you can do with the basic source material that is Midnight Special. What this film does have going for it is that it is a true family film in the sense that it can be enjoyed by most ages. With the exception of two isolated moments of quick gun violence (with minimal bloodshed) there isn't any nudity, harsh language or inappropriate subject matter for little kids. As for the adults, Midnight Special isn't fluffy or made for 5-13 year olds. The dramatic aspect in Midnight Special is enough to keep the attention of any adult. Imagine elements of early David Gordon Green, Goonies, Badlands, live action Disney films, all the other aforementioned movies in this review thus far mixed together in a giant pot. While that may not sound appealing to some of you, to others I imagine the combination of all those things sounds pretty intriguing.

And maybe it was Nichols’ intention to tip his hat to all those classic movies in the same obvious way Refn, Jarmusch & Tarantino pay homage to films & filmmakers in their respective works.

Midnight Special / Starman

Along with the dark-ish/bottom heavy synthesized score (courtesy of David Wingo) Joel Edgerton’s performance as Shannon’s best friend “Lucas” is the only aspect of Midnight Special that I enjoyed without any criticism. Lucas is an interesting supporting character in that we didn't get his entire story, but we’re given enough information about him to know he’s an incredibly loyal person. It’s not so much that Lucas aids Dunst & Shannon on their mission to save their son by putting himself in danger numerous times, but it’s the fact that he puts his life on hold at the drop of a hat to help his best friend (Shannon) without any reservation. There’s no question that once the credits rolled on Midnight Special that Lucas has essentially ruined his life just to help people he has no obligation to (he broke quite a few laws; one of them being the possible murder of a state trooper) but that’s the kind of loyalty & friendship that I appreciate on a personal level as fucked up as that sounds (at no point in the film does Lucas expect anything in return for his services either). Some people might find Lucas’ motivation to be a little weak and I totally understand that. However, in the unlikely situation that my best friend showed up at my door unexpected with his young daughter (my goddaughter) and needed my help in the same way Shannon needed Lucas’ help, I’d probably drop what I was doing to help my friend. So no matter how many negative things I have to say about Midnight Special (and there are plenty), it obviously touched me on a personal level if it got me to think about people like my best friend and my goddaughter, so this isn’t a total “failure”. Edgerton’s role is easy to overlook in a film like Midnight Special with all the grandiose moments of glowing eyeballs & craters falling from the sky, but if you haven’t seen this movie yet I urge you to try and pay attention to the Lucas character.

I guess Midnight Special is the best thing Nichols has done so far but that doesn’t mean much coming from me (I’m not that crazy about his movies). I will say that there is a progression with each of his films. He dips his foot in the water deeper & deeper with each movie, and there are multiple continuous/consistent elements that start with Shotgun Stories all the way through Midnight Special (the presence of Michael Shannon, the exploration of spirituality, sanity, the south, etc). I just have yet to be completely sold on him.

Monday, April 4, 2016

WRONG REEL EPISODE 122: CLAIRE DENIS!!



Instead of reading all my semi-incoherent gushings over Claire Denis' work, why not listen to me gush over her work alongside my good friend/pink smoke co-founder Chris Funderberg on the latest episode of James Colbrax's wonderful podcast (you can check out my writings on every one of her feature films on this very blog and The Pink Smoke).

In addition to Claire Denis we touch on comic book films, Chantal Akerman, a troll named "Nick", Pro-Wrestling and more. Enjoy...


Friday, April 1, 2016

FISHING WITH JOHN SEASON SEVEN


Sorry for the hiatus, but we're back!

It was brought to my attention that on all the previous seasons I never talked about the actual fish that John & his guests search for (an important aspect of the show that I completely ignored), so I'll be correcting that from this point on...


EPISODE 701: NICOLETTA BRASCHI
Braschi, her husband Roberto Benigni & Lurie promoting Down By Law
Relationship/Connection: 
1. Both worked together on Down By Law
2. Lurie did the soundtrack for a film in which Braschi co-starred in (Mystery Train)

Fish Species: Acipenser
Fishing With John is now officially a hit (seven seasons with two more on the way equals success to me). Because of the shows now crossover appeal, Lurie & IFC would end up getting a lot of viewer complaint mail about the lack of women on the show (up to now Claire Denis & Madonna have been the only two female guests). This season would align with the crossover success of Life Is Beautiful - a film co-starring Lurie's personal friend Nicoletta Braschi (wife of season two guest Robert Begnini). This is the perfect opportunity for these old friends to catch up, and for Lurie to get more international exposure for the show by going to Italy (Braschi's homeland). Besides last season's Lars Von Trier episode, which had to take place in Denmark as LvT doesn't fly, this entire show has taken place on North American soil.



EPISODE 702: FOREST WHITAKER
Smoke
Relationship/Connection: 
1. Nothing directly but Lurie did appear (briefly) in the sequel to Smoke (Blue In The Face)

Fish Species: Guadalupe Bass
This one is interesting. Forest Whitaker & John Lurie always seem to "miss" each other in the world of film. Forest Whitaker co-starred in Smoke yet didn't reprise his role in the sequel (Blue In The Face) which featured John Lurie (only a brief scene) as both an actor and music composer. Forest Whitaker worked with Scorsese on The Color Of Money and Lurie would go on to appear in Scorsese's follow-up film The Last Temptation Of Christ. Lurie stopped working with Jim Jarmusch in the 90's, and Forest Whitaker went on to work with Jarmusch in the late 90's (Ghost Dog).
This is probably around the time that Jarmusch & Whitaker started prepping for Ghost Dog, so naturally these guys would have plenty to talk about as they fish for Guadalupe Bass (a fish common in Forest Whitaker's hometown of Texas).



EPISODE 703: BENECIO DEL TORRO & JEFFERY WRIGHT
Basquiat
Relationship/Connection: 
1. Wright & Del Toro appeared in a film about Lurie's friend Jean Michele Basquiat
*Basquiat also features two original Fishing With John alumni (Willem Dafoe & Dennis Hopper)
2. Lurie would go on to score a film co-starring Del Toro (Excess Baggage)
3. Jeffery Wright would go on to work with Lurie's friend Jim Jarmusch (Broken Flowers & Only Lovers Left Alive)

Fish Species: Porgy
Will John Lurie embrace these two young actors who are on the rise? Or will he use this entire episode to correct them on what they got wrong about both Basquiat's life and the whole down NYC seen shown in Basquiat? You'll have to tune in to find out...




EPISODE 704: JOHN TURTURRO
The Big Lebowski
Relationship/Connection: 
1. nothing directly but both have worked with a lot of the same NYC-based filmmakers & actors. It just makes sense...

Fish Species: Blue Fish
The Big Lebowski would have been around this time so it's the perfect opportunity for Turturro to promote what would go on to become a future cult classic. Both guys are native New Yorkers so I see them travelling to some obscure fishing spot in Queens or Long Island (sidenote - my uncle, another native New Yorker like Lurie, is quite the fisherman so I know a lot of cool fishing spots to go between Queens & Long Island).
I envision Turturro taking this time to ask Lurie why Jim Jarmusch hasn't cast him in anything yet (I don't know about you but I find it odd that Turturro has yet to work with Jarmusch given they both travel in the same circles and have worked with a lot of the same people). John would probably get annoyed at the question because he's sick & tired of being associated with Jim (something that commonly happens in this series). 



EPISODE 705 & 706: TAKESHI KITANO
Fireworks
Relationship/Connection: 
1. Again - nothing directly but it just makes sense

Fish Species: Sanma
I know Takeshi Kitano doesn't need to work in "Hollywood" or English-speaking cinema. He has his own fanbase/following in Japan but I really think Hollywood/English-speaking cinema dropped the ball by not casting him as a villain in more mainstream films over the years. Perhaps his appearance on this now hit show could give him some more exposure to American audiences.
Kitano's homeland of Japan would serve as the perfect backdrop for this two-parter (parts of Japan are obviously big on fishing) yet the language barrier might cause some friction (if I'm not mistaken, Takeshi Kitano speaks little to no English).

LAMBERTATHON SUPPLEMENT: NO FEAR. NO DIE (PINK SMOKE)

Here's an additional piece of writing I did about Claire Denis' No Fear, No Die in conjunction with my recent write-up on White Material

enjoy (click the image to go to the review)



http://thepinksmoke.com/lambertathonnofearnodie.html

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