Posts Tagged “6.9”
July 18, 2010
Camera Cinema Club
Ireland / Sweden
Kylie = Kelly O’Neill
Dylan = Shane Curry
Kylie’s goldfish has died. We see the color drain out of it until it appears, in closeup, a decaying gray. Kylie is an eleven-year-old girl, with an abusive older sister, an angry mother, and a despicable uncle, among other members of her family. Next door to her lives Dylan, a peer who spends his time avoiding his violent father, a man who in the opening scene appears to be losing a fight with his toaster. Dylan plays his videogames, sometimes hidden in cupboards, while his father drinks and yells at him until his mother comes home from work at which point his parents target each other instead.
Dylan is teased by some boys on those asinine tiny motorcycles while Kylie is taunted by older, experienced girls in the neighborhood (pushing a baby carriage), who wonder how far she’s gone sexually with Dylan. These two kids appear destined to spend their winter holiday avoiding their families and wandering the streets of their dismal Irish town.
Returning from a walk, Kylie’s face reflects horror as she sees a motorcycle parked in her driveway–”look who’s come to see you,” her mother says. It’s her Uncle and a series of heavy-handed filmmaking tricks including an ominous shadow, a shot of his boots while she hides under the bed, and her reaction to “give us a kiss” tell us all we need to know about what kind of man he is.
Dylan puts in headphones after his mother comes home to silence the her screaming at his father. The fight escalates and Dylan finds himself in between his parents as they trade punches. He throws his beloved Nintendo at dad, breaking it on his forehead. And then he runs upstairs for his life.
Kylie has been listening in to the argument and because she’s the coolest next door neighbor girl ever, finds a ladder and puts it up to the bathroom window where Dylan has hidden himself. A narrow escape, followed by some property damage, and the two kids are running off vowing to never return to their dismal and depressing home lives.
Though the neighborhood rumor tells the tale of a father murdering a son, Dylan is sure that his runaway older brother is living in Dublin and they set out to find him. They are 11-years-old. They have about $100, which Kylie found in a sibling’s shoe.
Getting away from their homes, even just a few miles, seems to lighten their spirits, the soundtrack, and the audience’s mood. It isn’t for another 20 minutes or so that we realize that color has been added to the film in slow, subtle ways. Like the further they get away from their side-by-side houses, the brighter the world seems. Your subconscious will feel something changing before your eyes notice something changing.
They hitch a ride with a reluctant waterway captain who in the space of an afternoon, provides more parental warmth than either child has probably experienced in their whole lives. This is also a part of Ireland that we’ve never seen. The captain is moving a dredge from their small town waterway to the mouth of a river in Dublin. Along the way, Dylan will learn about and hear his first Bob Dylan song performed with a strong accent by the boat captain. They will learn how to tie knots and how to work the boat locks and the proper impression of a monkey. It is magical. They might not have a plan once they reach their destination, but getting there is nothing short of soul-cleansing. Fictional characters have been taking trips down rivers by boat for centuries. It always seems to do the trick.
The almost unbelievably-kind boat captain gives Dylan his official jacket and off the two kids go to find his older brother on the bright, but harsh streets of Dublin.
But first, they have money and time on their hands. A haircut, sweatshirt, and his and her heelies are important enough to spend money on. Scenes of the two (who quite frankly are more accomplished at this skill than any real-life kids I’ve seen) rolling quickly and gracefully through a crowded shopping mall are beautiful and fun. They are just kids after all. And being kids, they spend their last money on gummy snakes, neglecting to plan any future meals.
There are long passages of the film without dialogue, using hand-held cameras and fantastic music which make us forget the brutality the kids have left behind, if only for a few minutes. When one of them gets down, the other picks them back up. When Dylan thinks their search is hopeless, Kylie continues knocking on doors. When Kylie has a very serious scare, it’s Dylan who rises up to save her.
Kelly O’Neill and Shane Curry are so fantastic in these roles that it’s almost scary. O’Neill plays Kylie as a brave, wise, talkative, fiercely loyal best pal to Dylan. It is impossible not to fall in love with her. Every boy wants someone like Kylie watching over them. Her home life may be the only one worse than Dylan’s and she vows much more strongly than he that she’ll never return. Curry plays Dylan as an asthmatic boy who turns his pain inward, having no friends but Kylie, and no enjoyment besides his videogame. He spends a great deal of time pouting and it usually takes the energy and work of Kylie to get him to break out of his funk. These two actors are crazy talented for being so young.
The story on paper seems incredibly depressing. Abused, poor kids run away and become targets for all manner of adult malfeasance in the big city of Dublin as they try to find a ne’r do well older sibling without money or a roof over their heads. But somehow, kids make it through hardships of all kinds.
There are plot issues I had trouble with. Let’s just say that the boy’s skill using his new shoes ends up probably saving Kylie’s life. And most adults they come into contact with are more than nice to the pair, they all seem to be able to impart a bit of wisdom, perhaps some food, and maybe a few coins and a song. Bob Dylan even gives them a beer to share as he waits to return to a stage for an encore.
Besides the manipulation of color based on the characters’ mood, we also got swirling camera work when the kids were playing, and scary dark alleys when the kids weren’t playing. The music was uniformly great and included a few Bob Dylan songs performed by both actors and the man himself. Also, for the first time that I can remember, there were subtitles, but only intermittently. When they stopped about 10 minutes in, I thought it was another film maker manipulation whereby he thought that we were comfortable enough and could follow along from that point forwards. But then they returned in most cases, and I began wondering if he only subtitled the most important dialogue. By the end I came to no great understanding of why they were sometimes there and other times they weren’t. Luckily, the actors’ faces really told us everything we needed to know.
The feeling of the film, the child-like wonder that is still evident, regardless of past experiences–the optimism and energy of youth, and the idea that with one loyal friend, the world can be taken conquered. All of this was in the faces of the two young leads. The conversations were realistic and age-appropriate. The ending left some questions unanswered. There was hope hidden within all the bad stuff we see.
Even the final scene which included a clenched fist that turned into a hug, a shared smile, and a blown kiss, were perfectly paced.
Go see it.
, Lance Daly
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Sweden / Ireland
Comedy / Drama
Sort of a Swedish “Real Women Have Curves” where an overweight, but bubbly teenager shows the audience that she has feelings too. Just because this film was predictable from the first frame to the last, doesn’t make it any less enjoyable.
The title character, Maja (Zandra Andersson), is an 18-year-old aspiring actress. She is also huge. She takes acting workshop classes where it’s clear she takes her craft much more seriously than the other, bored members of the troupe. She also is the butt of jokes at her school, and is bumbling in the way that only the cinematically big-boned can be. At a wedding (where she trips into the wedding cake, catches it before it collapses, and then licks the base of the bride & groom figures before quickly reconstructing the top tier, all without anyone noticing), she strikes up a conversation with the wedding videographer. Like all wedding videographers, Erika (Moa Silén) believes that she’s destined for greater cinematic glory. As she’s reviewing her video from the wedding, she stumbles upon Maja speaking directly to the camera about wanting to be an actress and declaring her availability for any projects that Erika might have.
Erika is at first intrigued by Maja’s klutziness and her seeming disconnection between her dreams and her body-type. She begins filming a thrilled Maja while shopping the footage around and being turned down at most production companies, except for one which wants to make her the basis for a comedy film called “Phat”.
When a call comes in about a role in a sitcom, Maja jumps at the chance, Erika does the driving, and a “sensitive” male classmate sneaks out of his house to go along so that he can meet with his “brother”. As this film holds no surprises, we know that Maja’s role will be described as a “hideously obese creature” who set up a blind date with the sitcom star. Erika will struggle with her conscience after setting up the part for Maja with an ex-boyfriend who has become much more successful than she has. The boy from school will learn how men posting ads online will often not, gasp, be exactly who they say they are. Maja will be in heaven as she spoons with the hot, but “theatrical” boy while they share a bed in the big, exciting, city.
There will be drama as Maja’s mother invites a large party over to watch the show, as Erika’s plans for a film at Maja’s expense are exposed, as the boy tells Maja a secret that the rest of us have known about for 45 minutes.
There are some things that the film surprised me about.
1) The boy did go to the big city, meet a man, and have some form of sex with him. Maja: you didn’t do things you didn’t want to do, did you? Boy: [no answer--then tears]
2) The acting troupe is putting on The Twelfth Night (I believe) which includes a character who is so hideous that the rest of the cast pretends to be attracted to him, until he realizes and has a speech about how evil they are by playing with his heart. This role will be played, of course, by Maja, who will wow the community theater crowd to the point of tears with her heartfelt acting talent. But the thing is, Andersson is a really good actress. We want to applaud along with the rest of the auditorium during their curtain call.
3) The film said some things about the actual chances of someone of Andersson’s build becoming famous at anything. There were scenes that were reminiscent of PRECIOUS when she pretends she’s at the BET Awards with her light-skinned boyfriend. There are dream sequences here as well.
The moral of the story I suppose is that if you’re a filmmaker, don’t make fun of your subject, find their inner soul and show it to the audience. And if you’re an overweight aspiring actress, simply find a gay man to hitch your wagon to and he’ll design a graduation gown that will be talked about for years and years. Or something.
I’d let kids of any age see this. It’s empowering. It’s crowd-pleasing. And completely predictable.
The Cinequest Program Said:
Everyone wants to be seen, everyone wants to be noticed.
Finding the perfect balance of comedy and drama, Teresa Fabik’s Starring Maja inspires with a poignant, coming-of-age tale that examines our hopes and fears, about discovering ourselves and about following our dreams.
Meet Maja, an 18-year-old girl from a small town in Sweden. She dreams of becoming an actress and getting the world to see her for the beautiful person she is. But it’s difficult to get anyone to look past her portly physique, her awkward social skills, or her clumsiness. Along comes Erica, a struggling documentary filmmaker, who sees an opportunity to create some comedy and make some money by recording Maja’s daily antics. As time passes, Maja’s warm-hearted enthusiasm wins Erica over and has her questioning her motives. Maja’s journey is riddled with comedy and sadness as she struggles to find the self-esteem and courage to live her dream—on her own terms.
, Teresa Fabik
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Crime / Drama / Mystery / Thriller
Joon-ho Bong [The Host]
The closing night film of Cinequest 20, was a film by Joon-ho Bong, who also directed the much-better HOST in 2006.
This is basically the story of a mother’s loyalty to her mentally-retarded son. I’ve read a bit about this film and the phrases that continually come up are “challenged,” “simpleton,” and “slow” which I dismiss. The boy in this story is a barely functioning retarded youth who hangs out with a small-time criminal who uses him for whatever bad idea he can think up. I have seen hundreds of filmed portrayals of mentally challenged characters and few dramas have asked me to believe as ludicrous a character as Do-joon who stares at people with his mouth open and answers questions in slow motion. He forgets events and activities the second they are finished. But when he needs to be, he appears to add IQ points instantly. I almost couldn’t get past him. But Hye-ja Kim, who plays the mother, kept me at least partially entertained.
As did director Joon-ho Bong, who may have created a terrible, long, and frustrating mystery, but who can’t possibly be accused of not having the technical skill to pull of beautiful scene after beautiful scene. In one, a police interrogator karate kicks the apple out of the son’s mouth. This had nothing to do with any of the other 127 minutes, but it sure looked awesome! The opening scene showed Mother dancing, with abandon, in a field for reasons that we hope will be made clear by the end, but in actuality never are. But it was still hilarious, stunningly beautiful, and strangely emotional to watch this actress look at the camera and dance as if no one was watching.
The film is full of such moments. A building is engulfed in flames off in the distance as Mother walks through some woods. An incredibly tense scene follows a gratuitous sex scene (nothing wrong with that), in which a spilled bottle of water and it’s resulting puddle make you hold your breath as it spreads toward the dangling fingers of the bad guy.
Plot-wise, not much there. Mother runs a herbal store and moonlights as an illegal acupuncturist. She lives with her 20something son, who would forget to feed himself if she wasn’t around. Son is hit-and-runned by rich guys in a Mercedes. Boy and Thug drive out to the golf course to confront them and end up in the police station where Mother bails Son out and gives out free samples of some sort of herbal drink. Later, after a night of drinking, Boy is accuses of killing a loose schoolgirl and then displaying her for the neighborhood to see. Mother begins an investigation to find the real killer, going so far as to enlist bad guys to beat confessions out of people.
After all, her son couldn’t have possibly done what he’s been accused of, right?
And on and on. For more than two hours. Once the “mystery” has been solved, we are still subjected to another 20 minutes of slow-paced often inexplicable scenes which seem to have no connection with the original story.
I am a huge fan of Asian cinema. I enjoyed The Host and most of the creepy Korean horror films of the past decade. But this one just sucked. I don’t care if it’s from an established and much-heralded director, if this had been made in the US, no one would be giving it a second glance. Somehow it garnered an 8.1 at IMDB and a not-terrible 6.9 at Metacritic. There’s no accounting for taste.
The Cinequest Program Said:
Some secrets can only be uncovered by a determined force of nature…
For twenty years Cinequest has empowered the Maverick via innovation and discovery. It fits this tradition to close a milestone program with a Maverick moment that will truly electrify…and give you one of those special moments when you leave the theatre knowing you’ve discovered something very original, very powerful.
There are many forces of nature. Perhaps the most organic and committed force is that of a mother for her child. And this power and experience of motherhood carries a universal understanding, respect and community. What would you do if your child were accused of a brutal crime?
Mother delivers a breathtaking and hugely entertaining mystery, delving into the realms of truth within the shadow side of humanity.
When it comes to her mentally challenged adult son, Do-Joon, there is nothing this middle-aged matriarch won’t do. Her devotion is put to the ultimate test when a schoolgirl is found murdered and all signs point to Do-Joon as the killer. Denied help by the authorities, she sets out to prove her son’s innocence. Using her amateur sleuthing skills, she uncovers a host of unpleasant secrets among the tormented townspeople. As the quest deepens, the heroine’s own maternal instincts become increasingly blurred.
Rather than stun with shocking sequences, director Joon-ho Bong (director of the hit film The Host) emphasizes and amazes with detailed cinematography. Shots of open fields and mystifying landscape are equally dazzling and fundamental to the mother’s journey. While her eternal love for Do-Joon may come across as shameful and outrageous, the powerful performance of the matriarch overshadows all else on screen.
, Joon-ho Bong
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July 17, 2009
From housewife to porn star.
A documentary about Stacy Valentine, a porn star from the late 90s. “Encouraged” by her husband, she sent nude photos of herself to a men’s magazine which printed them and then flew her to Mexico for a nude photoshoot with some Adonis. Upon her return to her small town in Oklahoma, she packed up her things, and left her husband and town behind to start her new life in Los Angeles.
There are a whole slew of documentaries like this, both full length, and as a part of HBO’s Real Sex or some other titillating cable series. Besides the obvious, the reason I continue to watch them is twofold: 1) are there really any well-adjusted, non-abused or addicted women who get into porn; and more importantly, 2) How does a porn actor or actress ever have a normal romantic relationship. Most of these kinds of documentaries try to answer both questions. PORN STAR: THE LEGEND OF RON JEREMY; WADD: THE LIFE AND TIMES OF JOHN C. HOLMES; SEX: THE ANNABEL CHONG STORY; THINKING XXX all tried.
As to question 1, this film claims that while Stacy was adopted (gasp, so was I) and her father had a temper, she was never abused in any way. She also claims to love sex (as every porn star in recorded history has claimed) and be good at it. Although it’s easy to hide, her wholesomeness makes me believe that she has no drug addictions. In fact, she’s sort of a square.
As to question 2, that’s where this film is pretty well-done. At the beginning she’s interviewed on her bed and she says that if she’s horny, she goes to work and if she wants someone to talk to after work, she has her cats. But towards the end, she’s tried to start a relationship with another porn star, Julien (who I did recognize, the pool of men in the business being much smaller than the pool of women). They seem, dare I say, cute together. Both dumber than dirt, both look every bit the porn star they are. They talk about handholding being more intimate that intercourse, and how they don’t care if their work involves sex. There is a scene towards the end that could only happen in the adult business. For the first time, Stacy agrees to shoot a scene with Julian and another man. The other guy goes first and we zoom in on Julian as he watches the woman he claims to love having sweaty sex with another man. Though he knows that it’s just work, the look on his face is heartbreaking. He literally curls up in a fetal position with a pillow on his lap, unable to perform while his wife acts like she’s having the best sex of her life. They break up soon afterward, though he appears to really care about her.
Another angle this film tries to hit is Stacy’s complete lack of esteem about her body, which is a pretty important part of being a porn star. She got her first boob job soon after marriage and the film includes three pretty gross scenes of breast reduction, liposuction, and lip augmentation. She is never satisfied, thinks that she’s fat, and often laments that her co-stars won’t be aroused by her body. How weird for a person who is in the most exposed vocation on earth to be so unsure about how she looks.
Stacy seems like a nice enough young woman. Her mother is aware of her chosen profession and even accompanies her to the AVN awards in Vegas. When Stacy is shut out of the five categories she’s nominated for, you’d think her life were over. Equally upsetting to we the viewers, when she wins Star of the Year at a knockoff parallel Cannes Film Festival for porn, she can hardly contain her joy and rushes back to the hotel to call her mother back in Oklahoma “Mom, you are talking to the Best New Starlet of 1998!” Exactly how does a parent respond to such a call?
We watch her at conventions where men have no trouble just putting their hands on her, and we see her arrange a date with a rich fan. She comes back and throws the money in the air, just like in a Hollywood romance.
A post-script tells us that she left porn after four years and got a job as a “model recruiter” at Penthouse.
Girl Next Door @ Amazon
THE GIRL NEXT DOOR
, Christine Fugate
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March 31, 2009
Campbell CA — Camera 7
USA / Germany
125 Minutes — March 20, 2009
Crime / Thriller
Tony Gilroy [The Devil's Advocate; Armageddon; The Bourne Identity; The Bourne Supremacy; The Bourne Ultimatum; Michael Clayton]
DUPLICITY is the subject of Cinebanter Podcast Number 68. After you’ve seen the movie, listen to the spoiler-filled review by Tassoula and I by clicking the play button right here:
• 00:00 Intro
• 00:32 DUPLICITY Discussion
• 22:14 To Sum It Up
• 22:46 The Last Five®
• 45:15 Listener Feedback (3)
• 59:56 Credits and Outtakes
6.6 Critical Consensus
Duplicity @ Amazon
, Tony Gilroy
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Campbell CA — Camera 7
USA / UK
119 Minutes — December 26, 2008
Drama / Romance
Sam Mendes [American Beauty; Road To Perdition; Jarhead]
How Do You Break Free Without Breaking Apart?
REVOLUTIONARY ROAD is the subject of Cinebanter Podcast Number 66. After you’ve seen the movie, listen to the spoiler-filled review by Tassoula and I by clicking the play button right here:
• 00:00 Intro
• 00:32 THE WRESTLER Discussion
• 23:58 To Sum It Up
• 24:54 REVOLUTIONARY ROAD Discussion
• 45:06 To Sum It Up
• 45:35 The Last Five®
• 1:03:53 Credits and Outtakes
7.4 Critical Consensus
Revolutionary Road @ Amazon
, Sam Mendes
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