2003 log (9)

(2 Sep) Starman (1984, John Carpenter) 65
(4 Sep) Prince of Darkness (1987, John Carpenter) 36
(4 Sep) They Live (1988, John Carpenter) 84
[ Part of the Directors Series ]

(5 Sep) Casablanca (1942, Michael Curtiz) [ review ] 100

(5 Sep) Even Dwarfs Started Small (1971, Werner Herzog) 57
[ Herzog’s nucking futs. How else to explain his making a movie about nothing but midgets messing around, midgets riding motorbikes and cars, midgets tearing down trees, midgets laughing hysterically, midgets chasing chickens and pigs, midgets looking at porno mags, midgets teasing blind midgets, midgets burning stuff, midgets smashing dinner plates, midgets talking a lot of nonsense in German and, of course, midgets crucifying a monkey. This is all pointless and insane and disturbing… But it does make for a memorable dwarfsterpiece. ]

(6 Sep) Moulin Rouge! (2001, Baz Luhrmann) [ review ] 98

(6 Sep) Casablanca (1942, Michael Curtiz) [ review ] 100

(7 Sep) 21 grams (2003, Alejandro Gonzalez Inarritu) [ review ] 53

(8 Sep) Mariées mais pas trop (2003, Catherine Corsini) [ review ] 40

(9 Sep) In the Mouth of Madness (1995, John Carpenter) 80
(10 Sep) Village of the Damned (1995, John Carpenter) 27
[ Part of the Directors Series ]

(12 Sep) Once Upon a Time in Mexico (2003, Robert Rodriguez) [ review ] 71

(12 Sep) Matchstick Men (2003, Ridley Scott) [ review ] 47

(12 Sep) Memoirs of an Invisible Man (1992, John Carpenter) 13
(13 Sep) Escape From L.A. (1996, John Carpenter) 67
[ Part of the Directors Series ]

(13 Sep) Ghost World (2003, Terry Zwigoff) [ review ] 91

(14 Sep) Vampires (1998, John Carpenter) 75
(15 Sep) Ghosts of Mars (2001, John Carpenter) 39
[ Part of the Directors Series ]

(16 Sep) Four Rooms (1995, Anders, Rockwell, Rodriguez & Tarantino) [ review ] 34

(17 Sep) Reservoir Dogs (1992, Quentin Tarantino) [ review ] 93

(17 Sep) Pulp Fiction (1994, Quentin Tarantino) [ review ] 100

(18 Sep) Sur le Seuil (2003, Éric Tessier) [ review ] 66

(18 Sep) Terminator 3: Rise of the Machines (2003, Jonathan Mostow) [ review ] 90

(18 Sep) Chouchou (2003, Merzak Allouache) 57
[ An offbeat fairy tale about a young transvestite (Gad Elmaleh) from Maghreb staying illegally in Paris who crashes in a church, gets a job working for a shrink (Catherine Frot) and finds Prince Charming (Alain Chabat). Elmaleh’s character is endearingly naïve and high-spirited and I liked the witty wordplay, absurd flourishes and drag queen numbers. This is like an updated “Cage aux Folles”, complete with gay-friendly priests. Messy but sweet. ]

(20 Sep) Comment ma mère accoucha de moi durant sa ménopause (2003, Sébastien Rose) 51
[ A treatise on the male identity in a post-feminist world, it revolves around a skirt-chasing man-child (Paul Ahmarani) trying to deal with his overbearing mother (Micheline Lanctôt), sister (Sylvie Moreau) and shrink/lover (Anne-Marie Cadieux). The shared sex lives between family members is a surprising, interesting twist, but the story feels increasingly disconnected, with overwritten dialogue and characters that are less like people than plot devices that the filmmaker uses to prove his point. Still, the film is quite amusing and sexy (Lucie Laurier in a thong? Yes, please!) and while Paul Ahmarani is not quite convincing as a supposedly irresistible seducer, he does make for an enjoyably offbeat lead. ]

(21 Sep) Vénus de Milo (2002, Diana Lewis) 9
[ You gotta love Simon Boisvert. He’s like Quebec’s Ed Wood, writing, producing and acting in his movies with as much enthusiasm as he lacks talent. Diana Lewis, who co-writes, co-stars and directs, completes him perfectly, rushing through scenes without stopping for details like missed lines, bumpy camera moves or bad lighting. This story of a rock band that goes from obscurity to stardom overnight is kinda like “Almost Famous”, except that it was shot in 10 days on a 35 000$ budget, with less than 15 extras for the concert scenes and songs that sound like leftovers from a Worst Of Foreigner album. ]

(23 Sep) Family Guy (2000, Seth MacFarlane) 76
[ It seems today that all you see is violence in movies and sex on T.V.
But where are those good ol’ fashion values on which we used to rely?
Lucky there’s a family guy! Lucky there’s a man who positively can do all those things to make us laugh and cry! He’s, A, Family, Guuuuuuuuuuuy! ]

(24 Sep) Lost in Translation (2003, Sofia Coppola) [ review ] 49

(24 Sep) Je n’aime que toi (2003, Claude Fournier) 62
[ Claude Fournier has spent a career making wildly popular but critically reviled sex comedies, from 1970’s “Deux femmes en or” to 1997’s “J’en suis”. His latest initially strikes you with its seriousness, opening with Maude (Noémie Godin-Vigneau), a young woman attempting suicide, then introducing George Guérin (Michel Forget), a middle-aged writer whose inspiration is running short. The two meet and something happens, they’re fascinated by each other and that gets Guérin writing again. Ok, Maude happens to be a prostitute unafraid to talk about blowjobs, butt sex and her pussy, but Fournier’s writing here is surprisingly good and while the characters’ coffee shop conversations can be crude, I never found it vulgar or excessive. Nelly Arcan’s “Putain” is obviously an inspiration, but Fournier adds an older man point-of-view, which brings creepy but interesting Freudian overtones to the central relationship. Forget is a bit too stiff, but newcomer Godin-Vigneau is very touching in a performance that reminds of Marie-Josée Croze’s in “Les Invasions Barbares”, with its balance of melancholy and playfulness. And then there’s the absolutely marvelous score by JoRane, who fills every frame with heart and soul through her cello and voice. The film is not without flaws (the third act is particularly uneven) but like his protagonist, Fournier reinvents himself, still obssessed with sexuality but in a more thoughtful way. ]

(25 Sep) Equilibrium (2002, Kurt Wimmer) 54
[ Christian “Batman” Bale is a top cop in a post-WW3 world where emotions and the things that trigger them (art, notably) have been outlawed in an attempt to maintain peace. Part “Minority Report”, part “1984”, part “The Matrix”, this sci-fi flick uneasily blends philosophical discourse and explosive mayhem. It’s as if after saying that “Those willing to give up a little freedom for a little security deserve neither”, Ben Franklin had taken out twin handguns and gone Chow Yun-Fat on his audience! The fights and shoot-outs are pretty awesome and Bale is surrounded by many great faces (Sean Bean, Taye Diggs, William Fichtner and especially Emily Watson), but the film strives too bluntly for significance in between massacres. The premise is contrived in the first place – badass cop from the future gets soft when a puppy licks his face? Well-meaning, but a little ridiculous, especially when the next scene has him gunning down ten dudes without blinking. ]

(25 Sep) Detroit 9000 (1972, Arthur Marks) 50
[ After masked thugs hold up a swanky fundraiser for a black candidate for governor, racial tensions heat up in Motown and it’s up to two mismatched cops (one black, one white) to break the case. Propelled by a funkalicious score and rough action scenes, this Tarantino-approved exploitation flick doesn’t reinvent the wheel but it delivers enough cheap thrills and righteous indignation towards political corruption to keep one engrossed. It’s no “In the Heat of the Night”, but it’s a solid effort. ]

(26 Sep) The Rundown (2003, Peter Berg) [ review ] 55

(29 Sep) Filles Uniques (2003, Pierre Jolivet) 51
[ After liberating her on parole, a judge (Sandrine Kiberlain) befriends a young shoplifter (Sylvie Testud). The two women become like the sisters they never had, going out, fooling around, talking about shoes and even breaking cases together. The film starts from a sitcomish premise and doesn’t really go anywhere with it, but it’s full of deadpan humor and the lovely lead actresses have a lot of chemistry. ]

(30 Sep) 100% Bio (2003, Claude Fortin) 44
(30 Sep) Nobody Someday (2002, Brian Hill) 29
[ Part of our FCMM 2003 ]

August / October