2012 log (9)

(4 Sep) Bernie (2012, Richard Linklater) 83
[ I knew next to nothing about this one before seeing it beside the fact that it was directed by Linklater, reuniting with “The School of Rock” star Jack Black. So when it said at the top that it was a True Story, I didn’t know whether or not to believe it (the Coen brothers’ “Fargo” has forever made me suspicious of films claiming to be based on a true story). Likewise, I was never sure whether the documentary-style interview bits with folks from Carthage, East Texas were the real deal or not. But these fact-or-fiction? tensions were not a drawback, quite to the contrary. All through “Bernie”, I felt engaged by them, wondering if I should laugh or not at these people/characters. Once Matthew McConaughey shows up, about half an hour in, in another hilarious turn this year (see also: “Magic Mike”) I started to suspect this was all a big bunch of straight-faced silliness à la Christopher Guest. One thing’s clear from the get-go: Jack Black is a treat as a super-sweet funeral parlour employee who may or may not also be a bullshit artist and may or may not be gay. Oh, and he spends nearly as much time singing here than he did in “School of Rock” (gospel, mostly)! Much of the story deals with his unhealthy relationship with a mean old widow played by Shirley MacLaine, which is ambiguous like the rest of the movie. Who’s exploiting whom there? And there are more such questions we ask ourselves further down the line, as things grow more dramatic. The kicker? This actually IS a true story! Reality can be stranger than fiction, eh. ]

(5 Sep)   Young Adult  (2011, Jason Reitman) 72
[ I always find it amazing how art in general and movies in particular can get their finger on the pulse of something in such a clear, eye-opening way. I mean, not everything in “Young Adult” spoke to me (I’m nowhere near either the mess or the hottie that is that film’s hottie/mess protagonist), but there’s a beat early one where Charlize Theron’s character Mavis wakes up, fools around a little bit, then sits down to write her novel. Chapter One. Blank page. She writes two lines, then switches to one of the other windows open on her computer and skims a bunch of new emails. Ha! That’s so what’s it’s like! Is there anyone in these 21st century lives almost always centred around one’s computer/internet…  Procrastination has always been a thing but nowadays, it’s monumentally easy to put aside writing the Great American Novel or whatnot to tweet, update your status, Google something, etc. Another thing: a tad later in this post-”Juno” reunion of writer Diablo Cody and director Jason Reitman, Mavis goes on a road trip and brings an old mixtape, and she keeps rewinding it just to listen to that one song. That made me nostalgia so hard! Not that I miss-miss cassette tapes, but I spent so much time listening to them that I kinda do, actually… Same thing for the way Mavis is going back to the suburban town where she grew up: I can’t say that I *like* the suburbs, but they are part of what made me who I am so, again, nostalgia. It’s so weird…  I just looked up Diablo Cody’s Wikipedia page and yup, she was born around the same time that I was (less than 2 years apart), which explains the 1990s stuff littered all over “Young Adult”. The film is all about arrested development, a huge generational issue obviously, what with all these folks in their 30s more or less clinging to their youth – Theron’s Mavis being a particularly pathetic example of it. It’s okay to still be fond of the music and stuff you liked back in the day, like Patton Oswalt’s endearing geek character, but to still be obsessed with your ex from high school even though he’s now married and has a newborn kid. Eesh! It starts out funny, but eventually grows mostly cringeworthy to watch this trainwreck happen. Great performance by Theron, in any case.  ]

(6 Sep) Cyrus (2010, Jay & Mark Duplass) 70
[ Having enjoyed “Jeff, Who Lives at Home” a great in spite of some obnoxious directorial tics on the part of the Duplass brothers, I was looking forward to discovering their earlier work. “Cyrus” for one is very much in the same spirit as “Jeff”, dealing as it is with a guy (the great John C. Reilly) having a hard time getting out there and doing something, anything. Except that in this case, he’s not a 30-year-old still living with his mom, but a divorced man feeling lonely and desperate to meet someone new. To paraphrase one of the non-Reilly characters from “Magnolia”, he has so much love to give, he just doesn’t know where to put it… This is the kind of raw emotion at the heart of “Cyrus”, which is also full of awkardness and quirks… And it’s really funny! It truly and forever won me over 10 minutes in with a quasi-musical number involving a super-drunk Reilly singing and dancing to The Human League’s Don’t You Want Me, embodying one of the greatest qualities someone can have, in my opinion, namely to just do what feels right and have some fun, damn it, without caring what other people will think. The wonderful thing here is that early on, just around the time of that number actually, he does meet somebody to love, a woman played by the adorable Marisa Tomei, and things seem to be looking up… Until he meets her son, a 21-year-old weirdo portrayed by Jonah Hill, which leads to a lot of the aforementioned awkwardness and laughs. It’s not always an easy watch, as you really wish Reilly could get a break and be happy with Tomei, but hey, that’s life I guess. ]

(7 Sep)  Capitalism: A Love Story   (2009, Michael Moore)
[  I used to love Michael Moore, but… Well, I still like him, but it’s telling that it took me three years before bothering to watch his latest. There are a few things at work here: for one, I feel that each Moore flick more or less seems to be lesser than the previous one. To me, “Roger & Me” is a stone-cold masterpiece. Skipping ahead a bit, “Bowling for Columbine” was pretty great as well… And “Fahrenheit 9/11” was rather memorable too, though by then we knew the formula (and shortcuts) rather well… Then came “Sicko”, which was good enough, but hardly as impactful in popular culture as the three aforementionned titles. And now (well, three years ago) we have “Capitsalism: A Love Story”, which doesn’t feel like a unique kind of documentary anymore, but like one of many, many films that similarly use satire, montage and filmmaker-as-character beats to get their message across. Even the subject is hardly original: how many documentaries have been made about the 2008 financial crisis? Too many to count, I’m afraid. All that being said, there’s no denying that Michael Moore can still be effective, if not as distinctive and refreshing as he once as. Take an early sequence drawing parallells between life in Ancien Rome and 2000s America: not the most original idea, but the execution is clever and pretty striking. Then you’ve got a bunch of heartbreaking footage of people being evicted from their homes.. Again, nothing we haven’t seen before, but it’s still painful to watch. Most impressive is the way Moore manages to get genuinely evil capitalist bastards to talk on camera about how it’s sometimes all about taking advantage of the weak and unfortunate – one guy litterally compares himself to a vulture! It’s everything we’ve grown to expect from Michael Moore movie… No surprises, but still good stuff! Every other sequence is a keeper, a brilliantly edited assemblage of archival footage, movie clips and home movies that can be both funny and sad, enjoyable and angering… Like capitalism, basically. Not a bad system per se, but boy can it be abused! According to Moore, it’s the Reagan administration that is to blame first, for the way they removed/crippled the things that made the U.S. economy viable, allowing banks and corporations to gut the middle class for quick profit. And then things got even worse under Bush, leading to the 2008 crash…  It’s all very depressing, even though Moore throws in gags here and there, and a hopeful message at the end. But it’s well worth watching nevertheless.  ]

(8 Sep) The Queen of Versailles (2012, Lauren Greenfield)
[ Another film about the 2012 financial crash, in this case as experience by a filthy rich family who hits a wall after years of living a ridiculously decadent lifestyle. A riveting depiction of how even the most arrogantly wealthy can be humbled once their luck run out. ]

(9 Sep) Wedding Crashers (2005, David Dobkin) [ review ] 69

(10 Sep) Superman (1978, Richard Donner) 71
(11 Sep) Superman II (1980, Richard Lester & Richard Donner) 77
(12 Sep) Superman III (1983, Richard Lester) 18
(13 Sep) Superman IV (1987, Sidney J. Furie) 3
[ A look back at the Superman Tetralogy ]

(14 Sep) L’affaire Dumont (2011, Daniel Grou-Podz) [ review ] 62

(15 Sep)   Shark Attack  (1999, Bob Misiorowski) 45
[ Here’s a rare shark movie that’s NOT a “Jaws” knockoff. Instead it’s a pretty cool little action flick packing a bunch of explosions, fights and shout-outs, as well as a series of shark attacks. The plot is too silly to summarize, the best thing about it being how it revolves around Steven McKray, a character who, as portrayed by the great Casper Van Dien, has got to be the most badass marine biologist of all time! Also of note is the fact that the film features a lot of real footage of sharks in action, even though this sometimes makes for incoherently edited sequences mixing said real footage with shots of actors (or stuntmen) pretending to be attacked by off-screen sharks. Still, this remains an enjoyable enough B-movie. ]

(17 Sep)   Bronson (2008, Nicolas Winding Refn) 49
[ Tom Hardy may be the ultimate chameleon in movies today. It’s like he looks and sounds different in every film of his I see. I mean, even though he plays brutish forces of nature in “The Dark Knight Rises”, “Warrior” and this here “Bronson”, each character is distinctive in the way he speaks, moves and, well, fights. Because like in the other two titles, Hardy spends a lot of time beating the shit out of other people in “Bronson”, a film inspired by the life of a notorious British convict who went by the borrowed name of action movie star Charles Bronson. Here’s a bloke who actually enjoys being in prison, which he finds to be the perfect place for a guy like him who likes to deal with every situation with his fists! Director Nicolas Winding Refn tells his story by using a lot of colorful visual flourishes, a mix of classical music and pop / techno on the soundtrack, and transitions featuring Hardy in character talking to camera or performing on stage. A lot of effort to keep the thing feeling lively, basically, to no avail. You see, even though Hardy is riveting in the lead part, “Bronson” suffers from a shapeless narrative, wonky pacing and rampant self-indulgence. It feels long and deeply uneven at 90 minutes. The 20 minute version would be insane, though. ]

(18 Sep) The Master (2012, Paul Thomas Anderson) [ review ] 94  

(19 Sep) Winnie (2012, Darrell Roodt) 40
[ For most of this biopic, it feels like a hagiography, a sappy, simplistic, by-the-numbers retelling of the life of Winnie Mandela and, inevitably, her longtime husband Nelson, and the way they fought against apartheid in South Africa, both of them (especially him of course) being imprisoned for extended periods and whatnot. It’s relatively well put together, but the writing is shaky, too on the nose, with Winnie and Nelson coming off like saints while characters like the security police officer played by Elias Koteas are cartoonishly villainous. If it wasn’t for how amazing an actor Terrence Howard, who plays Nelson Mandela, is, I’m not even sure I wouldn’t have walked out. For the longest time, this really feels like a mediocre TV movie… But then comes the third act and suddenly, it becomes all kinds of complex and ambiguous and idiosyncratic as Winnie Mandela, played strongly enough by Jennifer Hudson, seems to turn into almost a Blaxploitation character, what with the afro and funky music on the soundtrack, plus the “Football Club” entourage of young thugs. All of the sudden, we’re not sure what to think of Mama Winnie, who becomes a rather extreme and controversial figure. Ultimately, the film hedges its bets a little bit, trying to justify her actions or at least balance them against all the good she did do before in her life, but still, she’s hardly a purely heroic protagonist. Too bad the whole film doesn’t reflect that. ]

(20 Sep) This Film Is Not Yet Rated (2006, Kirby Dick)
[ Since the late 1960s, Hollywood, or more precisely the MPAA, has been rating movies instead of censoring them. At least, that’s the official story. Because when they give a film a NC-17 (formerly X) rating, that’s a death sentence at the box-office, so filmmakers tend to censor themselves in order to get to resubmit to the MPAA and hopefully get an R. That’s one thing, but the worst part is that the MPAA is ridiculously secretive and their decisions are often hypocritical, like, they’ll allow all kinds of violence, but they’ll get their panties in a bunch over any sex stuff. Especially, it seems, when a movie depicts female pleasure, as if that was offensive! This documentary explores the history of censorship in Hollywood and the way Jack Valenti’s MPAA works, via interviews with former ratings board members, various industry observers and a bunch of filmmakers (Kimberly Peirce, Wayne Kramer, Kevin Smith, Matt Stone, John Waters, Mary Harron, Darren Aronofsky, etc.). ]

(21 Sep) Thunderbolt and Lightfoot  (1974, Michael Cimino) 75
[ I’d never heard of this film until recently, and boy am I glad I took the time to check it out! Right from the opening 10 minutes, it grips your attention, as it introduces its two title characters. Clint Eastwood’s Thunderbolt is first seen in a church out in the country, dressed as a priest and addressing his flock – until a man barges into the church and starts shooting at him then chases him into a field! Meanwhile, Jeff Bridges’ Lightfoot is out in a nearby used cars lot, from which he steals a muscle car, which he drives through the same field where Thunderbolt is running for his life. Right there, we love those two guys and are looking forward to spending a couple of hours with them. I mean, just on paper, the Man with no Name paired with the Dude sounds like a great time, doesn’t it? Well, it is! 70s road movies are a dime a dozen, but this one is particularly enjoyable, as written and directed by a pre-”Deer Hunter” Michael Cimino. It’s full of charm and humor, plus some action and suspense since our anti-heroes are being hunted down by Thunderbolt’s former partners while they drive through the Midwest, and the film eventually turns into a heist flick. Oh, and there’s some insane stuff happening as well, like the scene where they hitch a ride with a basket case with a caged raccoon in the front seat and a trunk full of live rabbits! Good times. ]

(21 Sep) New Year’s Eve (2011, Garry Marshall) 33
[ While moderately better than Gary Marshall’s previous holiday-themed ensemble rom-rom, 2010’s “Valentine’s Day”, this remains a rather dull and forgettable picture that goes out of its way to waste an all-star cast. There are cute moments sprinkled throughout and even some decent ideas here and there, but barely any actual laughs or touching moments. Best in show are Robert De Niro and Halle Berry in my opinion, and I also dug Michelle Pfeiffer and Zac Efron of all people, as well as some of the material involving Ashton Kutcher and Lea Michele, Seth Meyers and Jessica Biel (and Til Schwiger!) and some others. But most of the flick is flat, flat, flat, if still watchable enough on an uneventful, turn-your-brain-off evening. ]

(22 Sep) Spring Break Shark Attack (2005, Paul Shapiro) 17
[ The Spring Break is super lame: badly written, badly directed, badly acted, plus no gratuitous sex or nudity whatsoever! The shark attack scenes aren’t too bad, though. ]

(26 Sep) Batman: The Dark Knight Returns, Part 1 (2012, Jay Oliva)
[ While there’s no substitute for the lasting impact of Frank Miller’s classic 1986 miniseries, this animated adaptation, the first of two parts of which was just released on DVD and Blu-Ray, is a good to way to get reacquainted with it. It’s such a damn powerful story, that of an aging Bruce Wayne who’s retired The Batman for 10 years when a crime wave involving a street gang known as the Mutants and the old demons from his past force him to put on the cape and cowl again. I love how they kept the way the narrative is framed by excerpts from TV newscasts and talk shows that form a Greek choir of sorts, analyzing the resurgence of the Dark Knight in often fascinating ways. As for the action scenes, they are swift, brutal, and bloody effective. I’m already looking forward to Part 2! ]

(28 Sep) Looper (2012, Rian Johnson) 90
[ Here’s a brilliant sci-fi flick that’s at once relatively small in terms of fireworks (though it does feature some of the best action scenes of the year), with its 2044 main setting having only a few sketched in futuristic flourishes, but that’s downright epic when it comes to ideas. From the trailers, you know that it involves loopers, i.e. hitmen who kill targets from the future who’ve been sent back in time in order for their bodies to be impossible to trace, and that an early twist has the protagonist played by Joseph Gordon-Levitt having to shoot his older self, played by Bruce Willis (the way JLG is made-up to look like Willis is a bit stuntey, but convincing nevertheless). But that’s only the tip of the iceberg. I’m glad I didn’t know what this leads to, so I won’t spoil it for you, but it’s exhilirating the way the film builds and builds and builds, twisting itself in all sorts of fascinating knots. Now, is it completely unique? I guess not, since you could say it juggles elements from “The Terminator”, “Back to the Future”, “12 Monkeys”, “The Matrix”, “Memento”, “Minority Report” and whatnot. But it still feels original and exciting in the end and, in any case, all those other movies are awesome so why not borrow a thing or two from them? Strikingly shot and tightly edited, “Looper” features many cleverly designed sequences that play present and future against each other, but ultimately, the “time travel shit” doesn’t matter so much in a superficial way: what’s great is the way it raises thought-provoking philosophical questions about the way we live our lives, the way our older and younger selves can clash against each other figuratively, the “fuzzy mechanism” that is our memory and the way we put together our own personal timelines, often forgetting other people’s point of view and the way our actions affect them in the process… It’s a film constituted of all these intriguing setups and riveting payoffs, as it conveys a message of sorts about the need to not close loops or patterns, but to change them. ]

(29 Sep) Cedar Rapids (2011, Miguel Arteta) 61
[ “What isn’t wrong with me? I talk too much, I drink too much, I weigh too much, and I piss people off…”
I’m quite fond of these little indie comedies, which may not be all in-your-face, laugh-a-minute, but which let comic performers do their thing in a somewhat more grounded, nuanced manner. In this case, we have the great Ed Helms as a nebbish small-town insurance salesman trying to get his bearings in the big city during a convention, plus the always enjoyable John C. Reilly as a loud, brash, fun-loving bear of a man who Helms ends up rooming with. A classic odd-couple set-up, but it works, thanks to the way the two actors make each of their part more than one-dimensional – Reilly’s character is actually a real standup guy, while Helms’ all too easily slides into dark places once his naive illusions are broken… Well worth checking out. ]

(29 Sep) Mermaids (1990, Richard Benjamin) 60
[ An enjoyable middle-of-the-road coming-of-age / mother-daughters dramedy set in the early 1960s, most notable for the winning performances by Cher, Winona Ryder and an itty-bitty Christina Ricci. Oh, and Bob Hoskins as a the poor guy trying to make sense of this crazy family! ]

(30 Sep) Pitch Perfect (2012, Jason Moore) 43
[ A sort-of enjoyable “Glee”-type quasi-musical, this movie about a cappella singing competitions between groups of college kids could have been much better if the lead actress had more charisma and comic chops than the just-okay Anna Kendrick. It’s still watchable enough thanks to a bunch of fun song performances, plus the priceless, scene-stealing Rebel Wilson. ]

August / October

2012 log (8)

(9 Aug) Strike! a.k.a. All I Wanna Do (1998, Sarah Kernochan) 70
[ Somehow I’d yet to see this rather provocative, witty and naughty high school movie about teen spirits raging playfully raging against the machine in a conformist prep school which, amazingly enough, predates the somewhat similarly themed and/or toned “Rushmore”, “Lost and Delirious” and “The Trotsky”, among others. If anything, it’s a must-see for the wildly enjoyable cast that includes Kirsten Dunst, Gaby Hoffmann, Monica Keena, Heather Matarazzo, Merritt Wever and Rachel Leigh Cook, as well as the venerable Lynn Redgrave. Good times! ]

(10 Aug) Dinoshark    (2010, Kevin O’Neill) 43
[ This Roger Corman-produced, made-for-TV Syfy production is yet another silly “Jaws” rip-off, but with some enjoyable twists. It involves a prehistoric shark that has been frozen for millions of years before it’s freed (thanks, global warming!) and goes on a killing rampage, which somehow climaxes during a Fiesta Week all-girl water polo match in a Mexican canal! The CGI “dinoshark” is ridiculous yet still pretty badass and its attack scenes are rather enjoyably sudden and bloody, plus the movie is filled with hilariously dumb one-liners. The weakest link has got to be the cast, which is mostly godawful, though tall, square-jawed Eric Balfour makes for a cooler than average B-movie protag and I also dug the extended cameo by Corman himself.   ]

(12 Aug) The Dark Knight Rises  (2012, Christopher Nolan) [ review ] 95

(13 Aug)   Real Steel (2011, Shawn Levy)        60
[   I consider Shawn Levy to be one of the better working directors of middlebrow Hollywood family movies. Doesn’t sound like much of an endorsement, but when you see some of the unwatchable crap that targets kids these days, you have to appreciate the easygoing charm, giddiness and occasional wit of films likes Levy’s “Big Fat Liar”, “Cheaper by the Dozen” and especially “Night at the Museum”. There’s an old-fashioned quality to Levy’s movies, including his latest, “Real Steel,” which often feels like a throwback to the 1980s work of one of its executive producers, Steven Spielberg. Set in the near future, “Real Steel” stars Hugh Jackman as a former boxer who’s now moved on to the next big thing: managing fighting robots. Loosely based on a Richard Matheson short story, this sci-fi tale doubles as a drama about a deadbeat dad trying to make good with his son (Dakota Goyo) after his mother’s death, which makes it a virtual remake of the Sylvester Stallone arm-wrestling flick “Over the Top.” Levy says he hasn’t actually seen that one, but he admits that films like “Rocky” and “The Champ” were influences, much more than, say, “Transformers”.  As such, even though the rousing robot boxing sequences do play an important part in the film, don’t be surprised if you find yourself unexpectedly moved by the climax.  

Note: this is a repost of a blurb written in September 2011 after I first saw the film.   ]

(15 Aug)   Camion (2012, Rafaël Ouellet) 91
[ In many ways, this feels like what Quentin Tarantino calls a “hang-out movie,” i.e. a film that displays some clear storytelling, but that isn’t plot-driven – it’s all about spending time with some wonderful characters, namely Julien Poulin’s aging trucker Germain Racine and his two sons, janitor Samuel (Patrice Dubois) and wannabe-songwriter Alain (Stéphane Breton). The structure interestingly has us hanging out with each of them separately first, then we take a ride with the two brothers, before they get to their old man’s house in Dégelis and we finally see the three of them together. And then… Well, not to spoil anything, but let’s just say that I was pleasantly surprised to find that the expected big emotional breakthrough or catharsis never came along. Things happen during the film and the characters do evolve, but in a very subtle, subdued, true-to-life way. This might also have something to do with the fact that men, in Quebec anyway, often have trouble expressing what they feel, or else it comes out all wrong… In that way, “Camion” is a companion piece of sort to Robin Aubert’s astonishing “À l’origine d’un cri,” while also sharing some elements with Sébastien Pilote’s “Le Vendeur.” But most of all, this is a Rafaël Ouellet movie through and through, even though he’s not dealing with young women like in his three previous features. And while there’s pretty much more dialogue here than in the other films (combined!), Ouellet, who also edited “Camion”, still takes the time to allow for some of his signature lyrical, contemplative moments where the visuals -and music, often- take over. Speaking of which, cinematographer Geneviève Perron must be praised for her masterful, expressive work – this is a superb looking film, which makes great use of interiors draped in darkness and exteriors bathed in natural light, finding grace notes all along the way. I also loved the score by Viviane Audet and Robin-Joël Cool, as well as the songs by Richmond Fontaine, Will Driving West and others, who all share a certain conception of Americana/country/folk music which fits perfectly with the universe of “Camion,” which could more or less be described as a stalled road movie – the titular truck spending most of the running length parked and rusting away. Which describes the three proganists rather aptly, too. Okay, this sounds super depressing, but the three leads are too engaging and enjoyable for the film to ever become a total bummer. Breton in particular is downright hilarious. It’s a real treat that we get to hang out with these guys, and I’m looking forward to doing so again soon.  ]

(17 Aug) The Expendables 2 (2012, Simon West) 90
[ The original The Expendables was enjoyable enough, but… Well, it was a great idea – let’s put a bunch of old-school action stars together and let them go to town – but the execution was flawed at best. As I wrote at the time, “If it had come out in the 1980s, during the golden age of the genre, it wouldn’t be held up as a classic, nor would it have been forgotten. It’d be just another one of these titles that’s fun to rent or catch on TV once in a while for a good dose of testosterone.” Whereas this here sequel would indeed classify as an action cinema classic, then and now. It brings back everything that was good about the first movie and makes it truly great, then it adds a whole bunch of extra awesome on top of it. The plot (which involves Cold War relics, fittingly enough) is more streamlined, the characters are better defined and the cast members showcased more efectively, and the actual action scenes are way more fun, bloody and memorable. Simon West has directed a lot of crap over the years, but with The Expendables 2, he finally fulfills the promise he showed in Con Air, his badass 1997 ensemble flick. The action set pieces in his latest film are inventive, skillfully staged and consistently thrilling. Now that he doesn’t have to worry about being both in front and behind the camera, Sylvester Stallone seems more at ease in the lead role of Barney Ross, the grizzled big poppa of the Expendables. For instance, I got more out of his rapport with right-hand-man Lee Christmas (Jason Statham), and I also loved the way Barney interacted with his other guys: Gunner Jensen (Dolph Lundgren, who may just deliver the best performance in the movie!), Hale Caesar (Terry Crews), Toll Road (Randy Couture) and especially newcomer Billy the Kid (Liam Hemsworth). The six of them work great as a team, whether they’re driving trucks into enemy lines, flying their plane in and out of danger, blowing all kinds of shit up, shooting, stabbing, punching and kicking their way through hundreds of motherfuckers, or just indulging in some good old male bonding. Oh, there’s a lady thrown in there too, Maggie (Nan Yu), who’s fine, but let’s not kid ourselves: macho men are the name of the game here. One of the best moments in the first movie was the scene putting together on screen Stallone, Arnold Schwarzenegger and Bruce Willis, even though all they did was talk. Not only is the trio reunited in the sequel, they actually go around blasting away bad guys this time around, all the while trading wonderfully cheesy one-liners! This is the stuff geek-boys-who-grew-up-in-the-1980s’ dreams are made of. Imagine: John Rambo, John Matrix and John McClane, together in battle at last! As if that wasn’t enough, they bring in another very special guest star in The Expendables 2, none other than Chuck Norris! They also went all out in the villain department, casting Jean-Claude Van Damme as a real mean, crazy son of a gun terrorist, plus the always imposing Scott Adkins as his main henchman. Just writing all the above feels unreal for me, diehard old-school action movie fan that I am. But actually seeing it all on screen is even better, it all lives up to expectations and then some. As LexG might say, EXPENDABLES POWER. ]

(21 Aug) New Kids Turbo (2012, Steffen Haars & Flip Van der Kuil)
[ This supercharged shock comedy about a gang of spectacularly and sleazy mullet-sporting assholes who decide not to pay for anything anymore (great plan, geniuses!) would be best described as the Netherlands’ answer to Troma movies. It’s all about piling on the most aggressively offensive gags you can imagine and, every time you figure it can’t get worse (or better, depending on the viewer), it does, oh, how it does… And it also gradually turns into a batshit insane, ultraviolent action flick, not unlike Edgar Wright’s Hot Fuzz, with elements from the Coen brothers’ Burn After Reading thrown in for good measure.  “Truck driver. Honk, honk!” ]

(22 Aug)   The Sitter (2011, David Gordon Green) 69
[ Why did I skip this one in theatres again? Oh yeah, near-unanimous rotten reviews. But as is often the case with almost universally panned flicks, it’s actually not so bad. In fact, if like me, you’re a fan of 1) Jonah Hill and 2) David Gordon Green in comedy mode, this is actually a really fun watch. It’s no “Superbad” or “Pineapple Express” (Seth Rogen and Evan Goldberg didn’t write it after all), but as an homage to lowbrow, everything-goes 80s comedies, it works more often than not. “The Sitter” takes place over one crazy night, as Hill stumbles into babysitting three problem children (neurotic Max Records, wannabe-celebutante Landry Bender and juvenile delinquent Kevin Hernandez) then finds himself having to deal with drug dealers (Sam Rockwell and J.B. Smoove, who just about steal the movie), black thugs and dirty cops. Hilarity ensues (it really does!). There are pacing issues and it’s all over the place, but that shaggy-dog quality is part of the fun for me. I particularly enjoy the over-the-top oddness, like the scene set in a bodybuilder-experiment emporium (you’ll see!). I’m also still very fond of the mix of funny and unsettling that is also present in “Pineapple Express” and “Your Highness” (and on TV’s “Easbound & Down,” that insane HBO series co-directed by Jody Hill and David Gordon Green), and which of course can be traced back to the likes of David Lynch, the Coen brothers, Quentin Tarantino, Paul Thomas Anderson, etc. You know, when a series of fucked up things happen and you’re not sure whether you should laugh or not? Love that shit.   ]

(23 Aug)   POM Wonderful Presents: The Greatest Movie Ever Sold (2011, Morgan Spurlock)
[ Morgan Spurlock is sort of a less incendiary creative step brother of Michael Moore. His “playfuyl / mindful” brand is somewhat similar to Moore’s, but he tends to go for less controversial, though still interesting subjects. In this case: product placement and movie tie-ins, or How Morgan Learned to Stop Worrying and Love Selling Out! Sounds crass, but it’s actually really fun, thrilling even to watch how Spurlock manages to convince a bunch of corporations to sponsor his movie. And since he’s going for full transparency, it’s not like he’s bullshitting us and hiding the fact that he’s shilling for them, that’s the actual point of the project. This gives the film a meta quality that I loved; the deeper he/we get into it, the more apparent it becomes that “The Greatest Movie Ever Sold” is turning into a feature-length commercial – intentionally! It’s kinda like that scene in the first “Wayne’s World” movie, but for 90-some minutes. One of my favourite sequences, obviously, is the one where Morgan talks to other filmmakers about their experiences with product placement: JJ Abrams, Peter Berg, Brett Ratner… and Quentin Tarantino! The latter has actually been turned down by companies more often than not – did you know that the opening scenes of both “Reservoir Dogs” and “Pulp Fiction” were written as to take place at Denny’s but the restaurant chain refused to allow them to shoot there? Fascinating stuff. ]

(24 Aug)   It Might Get Loud (2008, Davis Guggenheim)
[ “On January 23, 2008, three musicians came together to discuss the electric guitar.” That’s the simple but effective premise of this rock documentary. Might not sound like much, but wait until you hear who the three musicians are: Jimmy Page from Led Zep, The Edge from U2 and Jack White from the White Stripes! Each of these guys is basically the best goddamn guitarist of his generation, which makes it all kinds of awesome to get to hear them talk about -and play, of course!- the ole six-strings. All three of them are masters of the instantly recognizable riff – they only have to play a few notes for you to recognize not only their style, but also the specific song they’re doing. But they also differ in some ways: White is often the absolute purist, who’d rather play with an old, broken guitar, whereas The Edge is all about the hi-tech effects pedals. As For Page, he falls somewhere in between – his sound is generally pure, but he achieves it by using some of the best guitars ever crafted. In addition to reuniting them in a room, the movie also follows these guitar heroes on their own, in the places that molded who they are and how they play, respectively England for Jimmy Page, Ireland for The Edge and Tennessee for Jack White, and we also get to enjoy archival and concert footage relevant to their recollections. Fascinating stuff (my new catchphrase?).  ]

(26 Aug)  The Avengers  (2012, Joss Whedon)  [ review ] 93

July / September

2012 log (7)

(1 Jul) Wanderlust (2012, David Wain) 72
[ My expectations were modest for this Judd Apatow production, which the wife and I wanted to watch mostly because we’re big fans of Paul Rudd, but it turned out to be not only killer entertainment, but a genuinely good little film as well. From a simple enough premise – straight-laced New York couple tries out the hippie commune lifestyle, hilarity ensues – writer-director David Wain and co-writer Ken Marino develop a witty, insightful, engaging character comedy about a married couple being put to the test in many ways. Paul Rudd is awesome of course (his dirty-talk scene is simply uproarious ) and as his wife, Jennifer Awesome completes him wonderfully. But in many ways, it’s the ensemble cast of supporting characters that makes “Wanderlust” such a hoot: Justin Theroux, Malin Ankerman, Alan Alda, Lauren Ambrose, Joe Lo Truglio, Kathryn Hahn, Jordan Peele, Kerri Kenney-Silver… They’re all really funny, man. Good times! ]

(2 Jul) Katy Perry: Part of Me (2012, Dan Cutforth & Jane Lipsitz)  
[ Has there been a better bubblegum-pop album released since 2010’s Teenage Dream? I actually didn’t even listen to it until earlier this year when I was sent a promo copy of the Complete Confection special edition, but over the past two years, I’d been grooving to the sound of such ubiquitous hits as California Gurls, Teenage Dream, Firework, E.T. and Last Friday Night, and I can’t even count the number of times I’ve watched the accompanying music videos, and not just because Katy Perry is basically a cheesecake version of Zooey Deschanel, as I once wrote. Needless to say I was dying to see Katy Perry: Part of Me, Dan Cutforth & Jane Lipsitz’s concert movie/documentary about her 2011 California Dreams tour, which I had the chance to catch today during one of its “fan sneak previews,” and I wasn’t disappointed. Now, I guess you have to like her and her music to fully enjoy it, but why would you bother to go to her movie if you don’t? Then again, fan or not, you’d have to be really grumpy not to have a smile stuck on your face during much of Part of Me, what with it being, in its most jubilant moments (all the live song numbers, basically), a live-action cartoon of a Technicolor musical, in eye-popping 3D! The candy-colored costumes, the bright lights, the dancing cat, the fireworks, the bubbles, the confetti… It’s a veritable sensory overload. Intercut with the concert scenes is a bunch of interesting behind-the-scenes footage, plus old home videos and new interviews with Katy, her family and her friends that allow us to relive the life story so far of this preacher’s daughter turned Alanis Morissette wannabe turned goofy sexpot pop star. The structure of the film is quite similar to that of Justin Bieber: Never Say Never, with which it also shares an understanding of the importance of social media in today’s pop culture and a willingness to include the fans themselves as much as possible. What makes Part of Me even better than the JB doc is, unfortunately for her, the way fate set up a truly dramatic arc in her life while the cameras were rolling. As you must know, while she was doing her big international tour and scoring a record five #1 singles in a row, her still-recent marriage with Russell Brand crumbled and eventually ended. That personal heartbreak must have been a bitch and a half for her, but it makes for really compelling cinema, especially because of the way it leads to Katy impressively embodying that famous phrase: the show must go on.   ]

(11 Jul) Sushi Girl (2012, Kern Saxton)

(14 Jul)    Batman Begins    (2005, Christopher Nolan)    [ review ]          90

(14 Jul) The Dark Knight  (2008, Christopher Nolan)         [ review ]  93

(18 Jul) The Dark Knight Rises  (2012, Christopher Nolan) 95
[ Having recently revisited the first two episodes of Christopher Nolan’s trilogy about the Caped Crusader’s journey in and out of Gotham City over multiples decades and realized more than ever how each was about an overarching theme (overcoming fear in “Batman Begins”, maintaining hope in the midst of chaos in “The Dark Knight”), I went into “The Dark Knight Rises” looking for one…  But of course, the first time you watch a movie, you’re mostly processing the twists and turns of its story – only after multiple viewings can you really look beyond the plot.  Still, right now, I would say this final film is about anger… or death… or redemption… or all three, and more. One thing’s for sure: this is one hell of an ambitious, provocative, epic picture.  I don’t want to spoil the countless surprises it holds, but you’re probably aware of the first gutsy move Nolan made: setting this sequel 8 years after “The Dark Knight”, establishing that after Commissioner Gordon covered up Harvey Dent’s psychotic Two-Face episode and allowed the Batman to take the blame in order to preserve the late district attorney’s legacy, the masked vigilante hung up his cape and cowl and hasn’t been seen since. What’s more, Bruce Wayne has also become a recluse. What will it take to make both his identities go out into the world again?  I’ll let you discover the details, but let’s just say it involves supervillains Catwoman (enjoyably played in full-on femme fatale mode by Anne Hathaway) and Bane (interpreted with imposing menace as well as a sly, wicked sense of humor by Tom Hardy)…  As well as Bruce Wayne/Batman (Christian Bale in what may be his strongest, most complex turn as the Dark Knight)’s growing entourage, including the returning Alfred (Michael Caine), Lucius Fox (Morgan Freeman) and Gordon (Gary Oldman), who are all more endearing than ever, plus earnest young cop John Blake (Joseph Gordon-Levitt, delivering one of the film’s most powerful performances) and romantic interest Miranda Tate (Marion Cotillard). After opening with an insane high-altitude set piece, “The Dark Knight Rises” takes its sweet time catching up with its cast of characters and introducing new ones, and it takes a whole act before the Batman even shows up! Through developments I won’t reveal, he’s soon enough forced into the shadows once again, as things grow darker than ever for Gotham, which is saying a lot. Even if you’ve seen glimpses of the explosive mayhem and terrorism that occurs then in the trailers, you have no idea how grand the scale of it is. It’s truly fascinating the way this all plays into the 21st century sociopolitical zeitgeist, while also brilliantly tying up story threads that were set up in “Batman Begins” then built upon in “The Dark Knight.” Is it the best film in the series? Not quite. [Since it opened a few weeks ago, the movie has kept growing and growing in my mind and has even become a powerful source of inspiration for me. So yeah, it’s totally the best of the trilogy for me, even though…] As written by Christopher and Jonathan Nolan, and especially as played by Heath Ledger, the Joker towers above everything else in these three films. That being said, there’s still tons of mind-blowing, heart-pounding stuff in “The Dark Knight Rises.” Again, I don’t want to just spoil a whole bunch of stuff before you get a chance to see the flick, but allow me to just share how thrilled I was to find that, to me anyway, some of it plays like one of my favourite movies, “Rocky IV”, what with a seemingly washed up Batman having to train harder than ever to fight a seemingly unbeatable monster of a man. How awesome is that?  ]

(20 Jul) Resolution (2012, Justin Benson & Aaron Moorhead)
(22 Jul) it’s such a beautiful day (2012, Don Hertzfeldt) 100
(22 Jul) Lloyd the Conqueror (2012, Michael Peterson)
(22 Jul) The Devil’s Carnival (2012, Darren Lynn Bousman)
(23 Jul) The Victim (2012, Michael Biehn)
(24 Jul) Starship Troopers: Invasion (2012, Shinji Aramaki)
(30 Jul) Singham (2012, Rohit Shetty)
[ Part of our F a n t a s i a 2012 coverage ]

June / August

2012 log (6)

(1 Jun) C.R.A.Z.Y. (2005, Jean-Marc Vallée) [ review ] 85

(9 Jun) Jersey Shore Shark Attack (2012, John Shepphird) 32
[ There’s this whole subgenre of cheapie made-for-TV B-movie knockoffs of “Jaws” involving various species of killer fish or reptiles. The latest is this shark slasher flick that, as its title implies, doubles as a spoof of MTV’s already self-parodic reality TV show about spectacularly moronic, trashy and obnoxious guidos who, in this version, must fend against a pack of laughably unconvincing CGI sharks during the 4th of July weekend. Oh, and former *NSYNC member Joey Fatone cameos – as himself! It’s all very silly, but it’s too entertaining in a so-bad-it’s-good way to dismiss entirely. ]

(11 Jun) Moonrise Kingdom (2012, Wes Anderson) 85 
[     The year is 1965. A “troubled girl” (Kara Hayward) and a nerdy orphan boy (Jared Gilman) run away together in the wilderness. Chasing them are the girl’s parents (Bill Murray and Frances McDormand), the boy’s Khaki Scout master (Edward Norton), a local cop (Bruce Willis) and Social Services (Tilda Swinton). That’s about the gist of Wes Anderson’s second collaboration with co-writer Roman Coppola (following the underrated The Darjeeling Limited), but as is always the case with Anderson’s movies, the plot is just the framework for an endless series quirky, witty, trippy traits and touches, starting with all these Scouts who take themselves way too seriously and recklessly toy with violence and danger…  Then of course there is the hazy, 60s-movie quality of the cinematography, the impeccable shot composition and perfectly timed camera movements,  the meticulous, dense art direction, the typically great soundtrack (the use of Françoise Hardy’s Le Temps de l’amour during the underwear dance/gawky teen make-out scene being the most priceless music cue), not to mention the wonderfully arch dialogue and all those priceless non sequiturs (“I’ll be out back. I’m gonna find a tree to chop down.”). The only slight drawback, for me, is how the two young leads (both first-timers) seem to be having trouble with line delivery. They look the part and their characters remain adorable nonetheless, but they’re just not that great as actors, not yet anyway, especially compared to the incredible adult cast, which also includes Jason Schwartzman, Bob Balaban and Harvey Keitel. Still, Moonrise Kingdon remains a major treat, packing big laughs and building up to an unexpectedly touching resolution. ]

(15 Jun) Rock of Ages  (2012, Adam Shankman) 38 
[     Adam Shankman may be a good choreographer but man, is he a bad director! It’s pretty amazing how he manages to make a jukebox musical about the 1987 L.A. rock scene feel so flat, then he doesn’t seem to have any sense of what story he’s trying to tell, the pacing is off, the tone is all over the place (from campy to sappy to pseudo-trashy, in no consistent way)… Still, I got a kick out of all the cheesy 80s hair metal and power ballads (Def Leppard, Bon Jovi, Poison, Foreigner, etc.), even though some of it has been put to better use by “Glee” (Journey anyone?) and some of the performances are entertaining, if uneven, including those by Tom Cruise as a cross between Bret Michaels and Axl Rose, Alec Baldwin and Russell Brand as the owner and manager of a legendary rock club, Paul Giamatti as a sleazy manager and Malin Akerman as a reporter for Rolling Stone. Oh, and the monkey is awesome! Not faring so well are Catherine Zeta-Jones as the self-righteous, hypocritical Mayor’s wife and Mary J. Blige as a strip joint owner, mostly because their characters feel superfluous. And then there are the two young leads, Julianne Hough and Diego Boneta, who are okay I guess, but not nearly charismatic enough to make up for how trite everything surrounding their characters is. Your mileage may vary, etc.  ]

(21 Jun) Chronicle   (2012, Josh Trank) 74 
[ I missed this when it played in theatres in February, and I’m glad I caught up with it. Obviously I love superheroes; found footage movies, not so much, but I was impressed with how cleverly this particular film used this technique. Found footage is most often used for horror because it supposedly makes it feel more real, so I guess it makes sense to apply that to a sci-fi concept which is meant to instill a sense of what-if? wonder. Writer Max Landis and director Josh Trank, both first timers as far as features go, seem to have an innate comprehension of comic book storytelling, following the codes of the genre while also subtly subverting them, not unlike M. Night Shyamalan did in Unbreakable. Chronicle starts out like a high school movie, as Andrew (Dane DeHaan) gets his hands on a camera and starts documenting his everyday life, at home with his abusive alcoholic of a father and bedridden mother, and at school where he either gets bullied or rejected. Then one night when he’s brought to a party by his cousin Matt (Alex Russell), the two of them and popular kid Steve (Michael B. Jordan) stumble upon what seems like a meteorite that has carved a crater into the ground. This encounter gives them super powers, kinda like the Fantastic Four except they didn’t have to go into space for this to happen. Then they start fucking around with their newfound telekinetic abilities, until they more or less realize that with great power comes great responsibility, Spider-Man style… And then it goes to some dark, twisted places… While not revolutionary or anything, both the screenplay and direction of Chronicle display ample resourcefulness and inventiveness, and the use of quasi-seamless special FX is especially impressive. I also dig how it takes its time setting up the characters and showing them learning to use their powers, before building up to the big crazy climactic battle. ]

(27 Jun) The Amazing Spider-Man (2012, Marc Webb) 52
[ I’m sure every review will touch upon this, including the positive ones but really, why would they reboot the “Spider-Man” franchise barely 10 years into it? Because they expect to make tons of money with this new version, of course, but wouldn’t just recasting and making another Spidey adventure work? Do we really have to go through the whole origin story again? The first time around, I enjoyed how the filmmakers took their time before putting Peter Parker in the suit, but during this second go-around, it bugged me (pun unintended). I found act one (and most of two) rather dull, with a lot of it the beats being the same as in the original flick, but not as good, and whatever little twists and changes being made generally feeling wrong. Like, suddenly, Peter Parker, while still a science whiz who gets bullied, isn’t that much of a geek anymore, but a brooding skateboarding rebel. Andrew Garfield’s cool in the role – maybe too cool. To me, Tobey Maguire’s endearing dorkiness fitted the character much better. Emma Stone, on the other end, is perfectly lovable and goofy-fun as Gwen Stacy (didn’t care for Denis Leary as her police captain father, though). As for Sally Field and Martin Sheen as Aunt May and Uncle Ben , they’re okay I guess, but they’re hardly as touching as Rosemary Harris and the late great Cliff Robertson. One seemingly big difference is that they don’t go into the whole Norman and Harry Osborn thing, though much of the plot does revolve around Oscorp, where Peter Parker’s father used to work and which now employs Gwen Stacy, as well as Dr. Curt Connors, who eventually turns into the Lizard… i.e. another scientist turned psychotic super-villain after injecting himself with an experimental serum. He even hears voices like the Green Goblin! So again, been there, done that for the most part, except that Rhys Ifans is nowhere near as deliciously creepy as Willem Dafoe and that the Lizard looks rather ridiculous. So even when we finally get to the big super confrontations, they feel a bit off. Technically, a lot of the action is awesome, even though director Marc Webb is no Sam Raimi and the film as a whole isn’t that comic-booky, whatever that means. I could go into some other nitpicks, like how the plot relies on all these coincidences or the annoyingly amount of times Spidey unmasks himself (way to keep a secret identity, Webhead!)… But the main thing that bothered me was the rehash thing. Still: Emma Stone, man. ]

(29 Jun) Magic Mike (2012, Steven Soderbergh) 80
[ When I went to see Magic Mike on opening night, in a theatre full of groups of giddy ladies with just a few gentlemen sprinkled throughout, I was probably not only the sole straight male spectator in there, but also most likely one of the only ones who was there not to see hot guys work it, but to see director Steven Soderbergh continue his streak of great filmmaking. I must sound like a broken record by now, but I just can’t get over how prolific and versatile the man is. There’s really no one else like him, at least as far as contemporary American directors go. Following two astonishing genre movies – 2011’s sci-fi/horror/disaster thriller Contagion and this January’s badass action flick Haywire – we find him seemingly going back to doing a lower-budget, character-driven film. Then again, even though it has Soderbergh’s cinematographer alter ego Peter Andrews interestingly playing around with filters and oddball angles while editor Mary Ann Bernard (another Soderbergh alias) gives the film a somewhat atypical stop-and-start rhythm, Magic Mike is actually one of the most entertaining movies he’s ever made, further blurring the line between indie and Hollywood, auteur and commercial. It’s not Ocean’s Eleven-slick, but it’s certainly not a Godardesque experiment à la The Girlfriend Experience. And unlike that peculiarly sexless Sasha Grey-as-an-escort film, Soderbergh’s male strippers joint delivers the goods, skin-wise! I’m not gay, but I still have to admit that the stars of the film are incredibly cut and, for the most part, they certainly know how to move. Channing Tatum, whose own experiences as a stripper back when he was an 18-year-old in Tampa, Florida, is particularly impressive. He was the star of the first Step Up after all, so imagine that, but with him taking his clothes off! More importantly, Tatum oozes with easygoing charm as the title character of Magic Mike, getting a lot of laughs and also making us care for his character. In a way, it reminded me of Mark Wahlberg’s performance in Boogie Nights, and Soderbergh’s film in general reminds a bit of that early Paul Thomas Anderson directorial effort, in the way the first half conveys the excitement of the sex-industry lifestyle (“Women, money and a good time,” as Mike puts it) and the second shows the darker side of this world. Now, Magic Mike never gets all that dark and right up to the wonderful final scene, it remains a really enjoyable romp, notably thanks to the unforced quality of the flirtatious relationship Mike has with Cody Horn, who plays the no-nonsense sister of his protégé (Alex Pettyfer). The camaraderie between the strippers is also tons of fun, the whole ensemble (Matt Bomer, Kevin Nash, Adam Rodríguez, Joe Manganiello, etc.) grooving nicely together, on and off the stage. And then there’s Matthew McConaughey, who almost steals the film as Dallas, the owner/MC of the strip club, with his “all right, all right, all right” Texas drawl and Frank T.J. Mackey-style predatory machismo. At the risk of losing my comic book geek credentials, Magic Mike is so much more satisfying than The Amazing Spider-Man (Emma Stone notwithstanding) it’s not even funny. ]

(30 Jun) The Wedding Planner  (2001, Adam Shankman) 21 
[ Okay, this is junk, even by crappy Hollywood rom-com standards. Contrived, unconvincing, unfunny, boring, full of clichés and nonsense, ugly-looking, badly edited… Worst of all, stars Matthew McConaughey and Jennifer Lopez don’t even have chemistry! Still, this is a rather painless, harmless watch but… Blech. ]

May / July

2012 log (5)

(9 May) Aliens (1986, James Cameron) [ review ] 92

(11 May)  Casino  (1995, Martin Scorsese)  [ review ] 92

(16 May)  Laurence Anyways   (2012, Xavier Dolan) [ review ] 50

(17 May) Bloody Fight in Iron-Rock Valley (2012, Lee Moo Saeng)
[ As soon as he’s released from prison, a mysterious man (Lee Moo-saeng) sets out to find a series of shady characters with whom he has unfinished business. Carrying a music box as a reminder of what they took away from him years ago, the motorcycle-riding stranger returns to Gangwon, the South Korean province where it all began and where it will all end, one way or another. While tracking down the thugs led by the cruel Ghostface (Yoon Sang-hwa), our nameless hero crosses paths with an alluring young woman involved with both the local gambling house and a nearby Buddhist temple. She soon has reasons of her own to desire vengeance. In BLOODY FIGHT IN IRON-ROCK VALLEY, we see people get beaten up with a hammer, tortured, stabbed…One poor soul even has a blowtorch jammed in his mouth and lit up – and that’s just during the first ten minutes! Before the opening titles have even had time to appear on screen, first-time writer-director Ji Ha-jean has not only introduced his badass protagonist and the film’s loathsome villains, he’s also made sure to make us understand that we’re in for an intense, merciless journey. Set in in a corrupt province where construction industry bosses hobnob with organized crime and scheme to exploit natural resources (nothing that we could possibly be familiar with here in Quebec, right?), BLOODY FIGHT IN IRON-ROCK VALLEY thus adds a political subtext to the core revenge story. In addition, the foggy mountain backdrop and guitar-driven score give an atmospheric quality to this low-budget but high-octane production. As a modern-day Man with No Name, Lee Moo-saeng doesn’t say much but subtly conveys his character’s stormy emotional baggage, and when he confronts the many evil bastards who populate the film, his steely resolve is chillingly imposing. ]

(19 May) Whatever Works (2009, Woody Allen) 72 
[ Part of the Directors Series ]

(25 May) Jackpot (2012, Magnus Martens)

(26 May) Slackers (2002, Dewey Nicks) 29
[ Here’s a spectacularly badly written and directed post-”American Pie” sex comedy, starring lame, white-bread Devon Sawa and James King… Why did I bother watching it? Two words: Jason Segel. I just adore the guy, he’s pretty much my favourite comedy actor these days, and it’s a hoot to watch him in this early performance from a little while after he played in “Freaks and Geeks,” even though the movie as a whole blows. I also enjoyed Jason Schwartzman’s fully committed performance as a little psychotic stalker nerd who should be, well, fully committed. Laura Prepon also has her moments, and I guess it’s worth noting that both Gina Gershon and Cameron Diaz have uncredited cameos… Though the most memorable bit part has to be the one by 1950s sex symbol Mamie Van Doren, still getting topless at 70-some years old, heh. ]

(29 May) Cosmopolis (2012, David Cronenberg) 92 
[ Now, this is what I call visionnary sci-fi – even though the bulk of the film is made up of scenes of people sitting and talking in a car. I mean, that’s the future: not spaceships, but the back of a stretch limousine filled with touch screens, where a twentysomething billionaire does business with various associates en route while, outside the limo’s bulletproof windows, the world is in chaos. Even though it’s based on a 2003 Don DeLillo novel that predates the Occupy Wall Street movement, Cosmopolis captures the current zeitgeist, what with its protagonist being very much the 1% and the people protesting in the streets of New York he’s being driven through or directly assaulting him embodying the 99%. Jam-packed with fascinating, brilliantly worded, often downright philosophical dialogue about contemporary economics and capitalism as well as life in the 21st century in general, Cosmopolis is also a darkly satirical, ultimately oddly moving character study of a not only functionnal but spectacularly successful sociopath. As such, it reminded me somewhat of American Psycho and, as hard as it may be to believe, Robert Pattinson’s performance is nearly as riveting as Christian Bale’s was in that movie. Inspired by James Joyce’s Ulysses, which itself borrowed elements from Homer’s Odyssey, DeLillo’s tale feature a succession of memorable figures whom Pattison’s character encounters during his journey, played in the film by an impressive cast that includes Sarah Gadon, Jay Baruchel, Juliette Binoche, Emily Hampshire, Samantha Morton, Mathieu Amalric, Gouchy Boy, Patricia McKensie, George Touliatos and Paul Giamatti – not to mention Kevin Durand, who’s simply awesome as Pattinson’s bodyguard. As mentionned, the majority of the action takes place in a limo, yet director David Cronenberg and cinematographer Peter Suschitzky manage to make Cosmopolis into a consistently visually stimulating experience thanks to clever, inventive framing and shot composition… And fear not, Cronenberg fans, there are still some startling bursts of sex and violence in his latest feature. All the same, it’s the words and the ideas that fill Cosmopolis that prove to be the most thrillingly provocative thing about it. I can’t begin to understand why the Cannes Film Festival jury ridiculously overlooked this truly amazing film. ]

April / June

2012 log (4)

(5 Apr) Another Silence (2012, Santiago Amigorena) 47
[ After suffering a personal tragedy, a rogue Toronto cop (Marie-Josée Croze) goes all the way to Argentina to track down the young thug (Ignacio Rogers) who shattered her existence. A self-serious B-movie, Another Silence is a slow, moody, quiet affair punctuated by brief bursts of violence. It’s elevated somewhat by the intense, haunted performance by Croze, the majestic landscapes of Argentina’s Jujuy province, the great score by Yves Desrosiers and the use of Lhasa de Sela’s What Kind of Heart as an emotional linchpin. But in the end, this sophomore effort from Santiago Amigorena (A Few Days in September) remains a rather generic revenge story marred by poor writing and an uneven supporting cast. ]

(5 Apr)   Titanic  (2011, James Cameron) [ review ] 91

(14 Apr)   Murder by Death  (1976, Robert Moore) 73
[  As cleverly written by Neil Simon, this film is an amiable spoof of old-fashioned murder mysteries, in which a group of thinly veiled send-ups of famous fictional detectives, naemly Peter Sellers as a Charlie Chan type, James Coco as a Hercule Poirot type, Elsa Lanchester as a Miss Marple type, David Niven and Maggie Smith as Nick and Nora Charles from “The Thin Man”, and my favourite, Peter Falk as Sam Spade and hard-boiled Humphrey Bogart characters in general. Also starring Alec Guiness, Nancy Walker and, incredibly enough, Truman Capote, who’s absolutely hilarious, “Murder by Death” is a killer comedy (terrible pun intended). ]

(5 Apr)  Sound of My Voice  (2012, Zal Batmanglij) 44
[    This ultra-indie quasi sci-fi film shares more than a few aspects with Take Shelter (which also premiered at Sundance 2011), starting with a truly intriguing premise and sustained narrative ambiguity. Christopher Denham and Nicole Vicius star as a couple of documentary filmmakers who infiltrates a secretive L.A. cult led by Maggie (co-writer Brit Marling), a mysterious woman claiming to come from the future. But whereas Take Shelter always remained riveting thanks to awe-inspiring visuals and an amazing performance by Michael Shannon, Sound of My Voice suffers from flat direction by Zal Batmanglij and generally subpar acting. Brit Marling, for one, is nowhere near as charismatic as her character is supposed to be. ]

(18 Apr)  Young and Wild  (2012, Marialy Rivas) 65
[ Despite her evangelical, thou-shalt-not-fornicate upbringing (or maybe because of it?), 17-year-old Daniela (Alicia Rodríguez) indulges in various sexual adventures and fantasies, all of which she writes about in her blog. Chilean filmmaker Marialy Rivas neatly conveys this via crude, witty voiceover narration and flashes of the images, photos and porno clips the teenager posts online along with her diary entries. This makes for a rather dynamic, enjoyable watch, but Young and Wild (Joven y alocada) eventually grows a bit more rom-com conventional, even though the romantic triangle Daniela gets into involves a boy (Felipe Pinto) as well as a girl (María Gracia Omegna) who awakens “Sailor Moon horniness” (!) in her. ]

(21 Apr)  30° couleur  (2012, Lucien Jean-Baptiste & Philippe Larue) 60
[ 30° Couleur stars Lucien Jean-Baptiste (who also co-wrote and co-directed the film with Philippe Larue) as Patrick, a black intellectual who made his life in Paris but is forced to return to his native Martinique to visit his mother on her deathbed. There’s little time for melodrama though, as Patrick arrives right in the middle of the Mardi Gras carnival celebrations and is taken on a wild ride by flamboyant drag queen Zamba (Edouard Montoute). The whole thing is a bit formulaic and predictable (can you guess whether the stuck-up, humourless protagonist will learn how to loosen up thanks to these simpler, warmer, fun-loving people?), but it’s too festive, colourful and boisterous not to go along with it and have a good time. ]

(23 Apr) The Hat Goes Wild (2012, Guy Sprung) 2
[ In this thoroughly worthless feature, a group of Montreal teenagers go on a canoe trip in the Quebec backwoods and somehow get stuck in a violent mess involving a large amount of illegal drugs, all of which is immortalized by the camera carried by one of them. Coming off like a godawful student film version of a slasher flick (even though there is no slasher), The Hat Goes Wild features a cast of loathsome characters making a series of spectacularly dumb decisions. The screenplay offers nothing but juvenile bullshit, pseudo-philosophical platitudes and contrived exposition, the acting is rotten (even the usually solid Normand D’Amour embarrasses himself) and the production values are poor even by found-footage film standards. ]

(26 Apr) Habemus Papam (2011, Nanni Moretti) 71
[ This sumptuous Cannes 2011 selection takes us behind the doors of the Vatican during a papal conclave. It’s fascinating to get such access, even through the prism of fiction, and Nanni Moretti finds ample drama and humour in the proceedings, which don’t go as planned in his film. Moments before being introduced to the world, the new Pope (Michel Piccoli) cries out that he can’t do it, which is easy to relate to – who has never felt crushed by doubt and anguish in the face of great change and new responsibilities? It also leads to amusing situations, as the Church high-ups suddenly find themselves twiddling their thumbs, their precious ritual derailed. Habemus Papam stumbles a bit in the third act, but it remains a compelling watch, notably thanks to the extraordinary Piccoli. ]

(27 Apr)  The Avengers  (2012, Joss Whedon) [ review ] 93

(27 Apr)  The Five-Year Engagement (2012, Nicholas Stoller) 68
[  Like “Forgetting Sarah Marshall”, the previous romantic comedy Nicholas Stoller directed from a screenplay co-written with star Jason Segel, this is an often funny, insightful and lovely movie, even though it’s a bit ramshackle and it suffers from some pacing issues. What matters the most is that Segel and Emily Blunt are wonderful together, even when things aren’t going so great for their characters. I also loved the supporting cast, especially Alison Brie, Chris Pratt, Mindy Kaling, Chris Parnell, Dakota Johnson and Brian Posehn… A lot of folks, in other words, so the film is enjoyable more often than not. ]

(28 Apr) Living in the Material World (2011, Martin Scorsese) 90
[ In a similar fashion to what he did in “No Direction Home”, his Bob Dylan documentary, Martin Scorsese sets out to tell the story of George Harrison via abundant archival footage, photographs and audio recordings, much of it previously unseen or unheard, all of which is assembled with a great sense of storytelling and flow. Also featuring interviews with the late musician’s family and friends, including Paul McCartney, Ringo Starr and Eric Clapton, the film is divided into two parts. Part One offers a surprisingly fresh look at the Beatles years, focusing on George’s considerable contribution to the band’s artistry and showing how he tended to be the quieter, wiser, more spiritual member of the quartet. Yet he could also be funny or angry, he was a complex individual, like any other human being, with his flaws and his contradictions. (Just for fun, here’s how great a Beatles LP featuring only Harrison-written songs would have been: “Don’t Bother Me”, “I Need You”, “You Like Me Too Much”, “Think for Yourself”, “If I Needed Someone”, “Taxman”, “Love You To”, “I Want to Tell You”, “Within You Without You”, “Blue Jay Way”, “The Inner Light”, “While My Guitar Gently Weeps”, “Piggies”, “Long, Long, Long”, “Savoy Truffle”, “I Me Mine”, “For You Blue”, “Something”, “Here Comes the Sun” – to think some folks still think Lennon-McCartney were the only geniuses in the group!) Part Two begins with the disassembling of the Beatles then segues into George’s solo career, beginning with the creation of the amazing Phil Spector-produced “All Things Must Pass” album. The film then touches on the romantic triangle between Harrison, Clapton and Pattie Boyd (which famously inspired the song “Layla”), the Concert for Bangladesh, the ex-Beatle’s forays into cinema (he notably produced Monty Python’s “Life of Brian” and Terry Gilliam’s “Time Bandits), John Lennon’s death, the formation of the Traveling Wilburys (a super group that also featured Roy Orbison, Jeff Lynne, Bob Dylan and Tom Petty), his marriage to Olivia Harrison, his relationship with his their son, that horrible time he got stabbed by a home invader, and finally his death from cancer. Granted, if you’re a fan, you knew most of this stuff already, but Scorsese keeps it captivating. And then of course there’s all the awesome music. ]

(28 Apr)  Angle mort   (2011, Dominic James) 13
[ Starting with a total rip-off of the opening scene of “Zodiac”, this unholy blend of crappy telenovela and grade-Z horror then becomes unintentionally funny as it attempts to develop the lead characters, a spectacularly dumb and obnoxious couple played surprisingly awfully by Karine Vanasse and Sébastien Huberdeau, who were a lot better in “Polytechnique”. Filled with lousy dialogue and idiotic plot twists that seem to have been improvised during the shoot (word is that this is pretty much what happened), “Angle mort” follows the couple on vacation to the fictional country of Santiago, where they cross paths with a ridiculous serial killer, portrayed by Peter Miller with a face full of rubber! This is so bad it’s almost worth watching.  ]

March / May

2012 log (3)

(6 Mar)   Payback  (2012, Jennifer Baichwal)
[   The best Canadian documentary since Surviving  Progress, this Sundance 2012 selection is based on the  book by Margaret Atwood, whose deadpan lecture of excerpts from  it acts as narration. Exploring various facets of debt, be it  financial, political, social, moral or ecological,  Payback is thoroughly thought-provoking in the way it  draws parallels between things like the treatment of migrant  farm workers in Florida, a blood feud between two Albanian  families and the BP oil spill. Meanwhile, Jennifer Baichwal  mixes talking-head segments with striking, evocative visuals  accompanied by a great ambient score by Martin Tielli and  Gabriel Morley.    ]

(8 Mar) Produced by George Martin (2012, Francis Hanly)
[ Every music fan already knows the history of The Beatles inside out, but this documentary takes a relatively original angle by focusing on Sir George Martin, the venerable Parlophone label manager who signed the Fab Four (even though he initially thought their music was rubbish!) and produced all their albums. Now 86, he generously opens up about his life and career through this lovely portrait, which also features interventions from his wife Judy, his son and collaborator Giles, as well as surviving Beatles Paul McCartney and Ringo Starr. ]

(9 Mar) Footloose (2011, Craig Brewer) 63
[ After telling the story of a pimp who wants to be a rapper in “Hustle & Flow” and that of a bluesman trying to tame a nymphomaniac in “Black Snake Moan”, you wouldn’t expect Craig Brewer to be directing a remake of 1984’s Kevin Bacon vehicle “Footloose.” Then again, Brewer does bring to this new version a genial and convincing depiction of a Southern milieu populated by colorful characters, like in his previous movies. The small-town-banning-dancing premise remains silly, the leads are so-so (Kenny Wormald is okay but Julianne Hough is pretty awful), and the film could have used more dancing and less speechifying. Still, I enjoyed spending time in this Bomont, Georgia and really liked most of the supporting cast, especially Miles Teller in the part played by Chris Penn in the original. And good on Brewer for setting his version of the angry dance sequence to the White Stripes! ]

(10 Mar) Wild Thing (2012, Jérôme de Missolz)
[ This doc takes us on a subjective, messy journey full of sex, drugs and loud music that proves to be both fascinating and frustrating. Jérôme de Missolz rockets through the history of uninhibited, transgressive rock, name-checking its countless casualties (Brian Jones, Jimi Hendrix, Janis Joplin, Jim Morrison, John Lennon, Sid Vicious, Ian Curtis, Kurt Cobain, etc.), who appear via priceless archival footage, and interviewing such survivors as Iggy Pop, Eric Burdon, Jimmy Carl Black (Mother of Invention), Richard Hell (Television), Lemmy (Motörhead) and Jello Biafra. This could (should?) have been a 10-hour series. ]

(11 Mar) Cinémas d’horreur: ApocalypseVirusZombies (2012, Luc Lagier)
[ Here’s an admirably cinephilic look at the post-9/11 new wave of horror cinema, which reflects the impact of terrorism and the Iraq War on the collective unconscious the same way 70s horror echoed the Vietnam War. Featuring Alexandre Aja (The Hills Have Eyes remake), Eli Roth (Hostel), Jaume Balagueró and Paco Plaza (REC) and Neil Marshall (The Descent), Luc Lagier’s well-crafted documentary explores trends like torture porn and real-time horror without dismissing them out of hand like some do. ]

(12 Mar) L’Empire Bo$$é (2012, Claude Desrosiers) 17
[ From the writers of Camping sauvage – Yves Lapierre, Luc Déry and André Ducharme – comes a similarly misguided, gaudy comedy. Taking the form of a mockumentary, it tells the life story of an unscrupulous business tycoon, played one-dimensionally by Guy A. Lepage. He’s not the worst offender, though, since Claude Legault, Valérie Blais and much of the supporting cast deliver embarrassingly hammy performances. Filled with facile, witless digs at savage capitalism, political corruption and the like, L’Empire Bo$$é is as unsubtle a satire as it is unfunny. It’s Elvis Gratton XXX minus the scatological humour. Not much of an improvement if you ask me. ]

(15 Mar) Footnote (2011, Joseph Cedar) 79
[     Winner of the screenplay award in Cannes and nominated in  the Best Foreign Language Film category at the Oscars, this  Israeli feature depicts the intellectual rivalry between two  Talmud scholars who happen to be related. The son, Uriel (Lior  Ashkenazi), lovingly followed in the footsteps of his father,  Eliezer (Shlomo Bar Aba), but ended up outshining him, which  fills the old man with resentment. Might not sound like it, but  Footnote is a gripping watch, thanks to the finely  tuned script and acute direction of Joseph Cedar  (Campfire, Beaufort). At times reminiscent of  the Coen brothers’ A Serious Man, it also possesses a  droll sense of humour, but it’s mostly heartbreaking, in a  slow-burning kind of way.  ]

(16 Mar) The Hunger Games (2012, Gary Ross) 76
[ In this adaptation of the first book in Suzanne Collins’ bestselling trilogy, Oscar nominee (and “X-Men: First Class” alumnus!) Jennifer Lawrence stars as a 16-year-old girl living in a dystopian future where 24 teenagers are rounded up each year and forced to kill or be killed as part of a government-run televised reality show. Not that original a concept (see also: “The Running Man,” “Battle Royale,” “The Condemned,” etc.), but thanks to confident storytelling, lively and expressive direction from Gary Ross, a potent mix of down-to-earth realism and sci-fi glam, a great score by James Newton Howard, a fun supporting cast (Woody Harrelson, Elizabeth Banks, Lenny Kravitz, Stanley Tucci, Donald Sutherland, Toby Jones) and, most of all, an immensely involving, alternately strong and vulnerable performance by the aforementioned Jennifer Lawrence, “The Hunger Games” entertains, fascinates and disturbs nonetheless. ‘Cause even though this isn’t as brutal as, say, “Battle Royale,” it’s still surprisingly bloody and ruthless for a young-adult-oriented Hollywood franchise. The action is a bit too frantically shot/edited and there are a few narrative cheats in my opinion, but for the most part this is a pretty damn solid flick. Bonus points for actually telling a whole story, with an ending that’s only slightly, subtly open. ]

(17 Mar) Jeff, Who Lives at Home (2012, Jay & Mark Duplass) 84
[ Whoa! You see, not only is this film pretty much all about whether there’s such a thing as destiny, fate, signs and the like, it does so by repeatedly referring to M. Night Shyamalan’s masterpiece, “Signs” – a film I thought I was the only one to be that fascinated about. Speaking of signs (or coincidences, if you’d rather take it like that), “Jeff, Who Lives at Home” happens to star the actors who play my favourite characters in two of my favourite current sitcoms, “How I Met Your Mother” and “The Office,” respectively Jason Segel and Ed Helms. They play brothers who, from the outside, may seem very different – Jeff is a 30-year-old pothead who lives in his mother (Susan Sarandon)’s basement, while Pat has a job, a wife (Judy Greer) and a house – but who turn out to both be rather immature and insecure… We follow them over a day as they try to make sense of various signs and/or coincidences, many of which deal with someone named Kevin – like me! THis leads to a bunch of funny, touching and insightful moments, building up to a conceptually brilliant Shyamalanesque climax… the execution of which is good but not great, though. The Duplass brothers are wonderful writers and decent directors, but they’re very indie, or at least not quite able to knock said climax out of the park and fulfil its potential to be an all-time great sequence. That being said, it still works and the movie remains satisfying and well worth seeing. It’s no “Signs,” but hey… ]

(20 Mar)  Casa de mi Padre  (2012, Matt Piedmont) 75
[ Will Ferrell has been involved in a great many silly movies of the years, but this one takes the cake! I still can’t believe this even exists: a feature length Spanish-language telenovela/narco-drama/burrito-Western sendup starring the former SNL star as a simple-minded, cowardly Mexican ranchero who eventually grows a pair, kills a whole buncha motherfuckers and gets the girl! Intentionally tacky and melodramatic, with a lot of fake-looking sets, props and special effects, but also some genuinely effective action setpieces (and musical numbers, too!), “Casa de mi Padre” co-stars “Y Tu Mamá También” co-stars Gael García Bernal and Diego Luna as ridiculously macho warring drug lords, plus Genesis Rodriguez as the femme fatale around which most of the story revolves. But ultimately, it’s all about watching Will Ferrell hilariously attempt to play it straight as Armando Alvarez – even when he’s acting opposite a magical white mountain lion!  ]

(20 Mar)  Chercher noise  (2012, Yellowtable)
[ If like me, you love music as much as movies, this is a real treat. 10 new songs by domlebo, developed, rehearsed and performed in a series of four-hour sessions with producer Dany Placard and a revolving cast of 37 guest musicians in 10 different locations, all of which has been immortalised by filmmaking team Yellowtable. It’s fascinating to see all these artists collaborating, clashing or finding perfect harmony… ]

(23 Mar)   The Muppets   (2011, James Bobin) [ review ] 90

(26 Mar) The Raid: Redemption (2012, Gareth Evans) 49
[ With the possible exception of the musical, action is my favourite movie genre, so I had high hopes for this hyped shoot-em-up/chopsocky/stab-a-rama epic. Alas, I was mostly disappointed. Oh, there are some absolutely terrific action beats sprinkled throughout the raid, some truly crazy stunts, extremely violent kills, and unbelievable fight choreography. Then again, the whole thing is oddly lacking in my kind of badass fun… Visually, it’s all about grime and gloom, and not in a particularly stylish way – it just feels like the camera is being rushed through ugly, underlit rooms and corridors. Then there’s practically no story (it’s quite literally structured like a video game, with levels and bosses and whatnot), which might have not been an issue if it wasn’t alo thoroughly lacking in compelling characters. But we’re stuck with a bunch of mostly interchangeable Indonesians who can certainly kick ass, but don’t necessarily make much of an impression otherwise. I couldn’t have cared less about any of the cops and criminals chasing each other through the apartment block where everything takes place. Where’s the charismatic action hero we’re supposed to be rooting for? This is like “Die Hard” minus Bruce Willis, or “Hard Boiled” minus Chow Yun Fat, y’know? All the awesome martial arts, machine guns and machetes mayhem in the world doesn’t seem to connect with me when it’s just being thrown on the screen in an effective yet cold and mechanical way. Personality goes a long way, as Jules would say. ]

(28 Mar)  Rebelle   (2012, Kim Nguyen) 90
[  Following Eastern European fantasy “Le Marais”, absurd B-movie homage “Truffe” and Middle-Eastern adventure “La Cité,” which showcased the remarkable visual skills of Kim Nguyen, but unfortunately also his lackluster writing abilities, the Québécois filmmaker finally knocks it out of the park with this fourth feature, where both the screenplay and the direction are truly outstanding. A relatively rare Occidental movie set in Africa that doesn’t use the POV of a white outsider, “Rebelle” stars Rachel Mwanza, who deservedly won the Best Actress award at the Berlin Film Festival for her utterly heartbreaking performance, as Komona, a young girl from an unidentified African country (though the film was shot in Congo)  who’s snatched from her village, forced to kill her own parents, then made into a child soldier by the rebel army, who are waging an unending guerilla warfare against the local government. Interestingly and somewhat disturbingly, the story is told by Komona herself, talking to her unborn baby about the horrors she experienced from 12- to 14- years old. Her tale feels both scary-real and fantastical; deemed a witch by the superstitious rebels, Komona is haunted by visions of the ghosts of her parents and other people she’s killed… As such, “Rebelle” reminded me a lot of “Apocalypse Now” which, incidentally, was based on Joseph Conrad’s Congo-set “Heart of Darkness.” It has to do with all those scenes of soldiers drifting up the river and wandering through the jungle, but mostly with hallucinatory, mythical quality of the storytelling and the striking imagery created by Nguyen and cinematographer Nicolas Bolduc. One thing that distinguishes it from Coppola’s masterpiece is the way it allows the protagonist to, at least momentarily, emerge from the horror, the horror and to feel love and hope, via an impossible romance with another child soldier (Serge Kanyinda). ]

(30 Mar)   A Very Harold & Kumar 3D Christmas  (2011, Todd Strauss-Schulson) 64
[   Ok, so seeing this at home (i.e. in 2D) and at the end of March (i.e. far past Christmas) kind of defeats the purpose of the two main new gimmicks this third episode in the Harold & Kumar saga. But what’s left – the racial satire, the pothead humor, the rampant absurdity – remains enjoyable enough and at times hilarious. John Chu and Kal Penn are still a winning comic duo, Neil Patrick Harris is more shameless than ever as a pussy-hounding, drugged-out asshole version of himself, and I got a kick out of Danny Trejo and Elias Koteas. Oh, and let’s not forget WaffleBot!   ]

(31 Mar)   Chico & Rita (2011, Fernando Trueba & Javier Mariscal) 70
[ Nominated in the Best Animated Film category at the last  Oscars, this Spanish production impresses with its gorgeous,  traditionally drawn images, which nicely convey the liveliness  and colourfulness of the various locations. Taking place in the  years leading up to the Cuban Revolution, Chico &  Rita depicts the passionate affair between a pianist and a  singer, which is put to the test by his infidelities and by her  leaving Havana to pursue her career in New York. Music lovers  should particularly enjoy the film, which boasts a great  soundtrack and features cameos by Charlie Parker, Chano Pozo,  Dizzy Gillespie and others. And Rita has got to be the sexiest  animated character since Jessica Rabbit! ]

February / April

2012 log (2)

(1 Feb) Bestiaire (2012, Denis Côté)
[ This might be Denis Côté’s most radical feature to date. A meditative… nah, ruminative series of long static shots of various animals, Bestiaire will try many viewers’ patience, but I found it oddly captivating, thanks to the thoughtful shot composition and immersive sound design. This is like an anti-nature documentary in the way it observes animals not in their natural environment but in enclosures (the film was shot at Parc Safari, mostly during the off-season) where they roam around aimlessly or just stand there, sometimes staring straight into the camera. It often feels gloomy, disturbing even to see these majestic wild beasts like that, even though Côté says his film is neutral. ]

(1 Feb)     The Help  (2011, Tate Taylor) 81
[ Okay, first, a few rants. One of the (many) things that bug me about some critics is how for them, anything sentimental, heartwarming or inspirational is automatically suspect. Bring on the dark, serious dramas about incest, abortion, death and whatnot, but how dare you make a movie about women standing up for themselves and with each other? Then going into the current Oscar race for a second, I’m annoyed at how so many pundits are being condescending towards “The Help”, in a way that kind of stinks of sexism… I’m not saying it’s about hating women, just that you get the impression that it feels better for some to embrace the latest George Clooney and Brad Pitt vehicles even though they’re ridiculously overrated… I don’t know, it just rubs me wrong. And it’s not like I’m saying that this is a masterpiece. There’s a good 25 pictures I liked better in 2011. Still, this is undeniably a quality production, which takes us to a well recreated time and place, namely Jackson, Mississipi in the 1960s, back when the Civil rights movement was still only brewing and racism was rampant and overt in the South of the United States. There is much heartaches and pain in “The Help,” as experienced by African-American women just a couple of generations away from slavery, who still have to work as “help” for white households where they’re too often treated without the respect they deserve. The plot deals with how a young white journalist (Emma Stone) decides to write a book from the perspective of black maids, and it leads to a lot of moving moments, and a few funny ones, too. Beside Viola Davis and Octavia Spencer are both great, and so are Jessica Chastain, Bryce Dallas Howard and the rest of the cast. Between this and “Bridesmaids”, this has been quite the year for female ensemble casts! The Academy Awards could do a lot worse than to honour this film.  ]

(5 Feb)    King of Devil’s Island  (2012, Marius Holst) 77
[ This harrowing Norwegian drama is based on true events that  took place at the Bastøy Island penal colony circa 1915. The  imposing Stellan Skarsgård plays the cruel governor of this  institution, where teenage boys submit to abusive treatment  until the arrival of a new inmate. As played by Benjamin  Helstad, the new kid is a rebellious, charismatic figure à la  Paul Newman in Cool Hand Luke or Jack Nicholson in  Cuckoo’s Nest, one who simply refuses to let his  spirit be crushed. Behind the camera, director Marius Holst  displays an impressive mastery of pace, atmosphere and tension,  delivering a harsh and gloomy film with a dash of hope coming  through via the Melvillesque whaling fantasies of Helstad’s  character and the use of Sigur Rós’ Vaka as a  leitmotif. ]

(16 Feb)    Ek Main Aur Ekk Tu  (2012, Shakun Batra) 61
[ Save for the not-so-conventional ending, this is a rather generic romantic comedy – boy and girl meet-cute, hate each other for a while, then get along really well, then there’s a misunderstanding, they make up and so on. Even the big twist, which has them getting drunk in Las Vegas and waking up unwittingly married to each other, has been done before. (see: “What Happens in Vegas”, “The Hangover”, that one episode of “The Simpsons”, etc. Then again, it’s enlivened by that Bollywood brand of genre-juggling, with roller-coaster peaks of slapstick and melodrama and, of course, a musical number thrown into the mix. And as in any rom-com, the charm and chemistry of the leads goes a long way towards making it at least modestly enjoyable, so kudos to Imran Khan and Kareena Kapoor. ]

(18 Feb)   A Better Life  (2011, Chris Weitz) 82
[ Like many folks I bet, I’m only now catching up to this film because it got nominated in the Best Actor category at the Oscars. And you what? Even though he’s not a charismatic Hollywood star like Clooney and Pitt, a funny and charming performer like Dujardin or as respected a veteran character actor as Englishman Gary Oldman, this here Demián Bichir, who you may remember as Fidel Castro in Soderbergh’s “Che”, would be a totally deserving winner. As an illegal immigrant worker who dreams of “a better life” for his teenage son (José Julián), he conveys overwhelming dignity and humanity, often with little dialogue – kudos to writer Eric Eason and director Chris Weitz for allowing that through sequences of visual storytelling in which we just see Bichir’s character go about his daily routine and get a feel of what he’s like through his actions and reactions. It also gives us a strong feel for the Los Angeles locations where the movie takes us. There’s also much underlying tension through the film, because we know there are so many things that could go wrong for this Mexican man without papers, as well as for his boy, who seems tempted to join a street gang…  ]

(20 Feb)    Goon  (2012, Michael Dowse) 73
[ They’re clearly selling this as a 21st century “Slap Shot,” but to me, what really attracted me more than the whole hockey aspect is the film’s impressive comedic pedigree. Here we have the director of cult classic “FUBAR”, Michael Dowse; one of the writers of “Superbad” and “Pineapple Express”, Evan Goldberg; plus the always fun Jay Baruchel acting as co-writer, co-producer and co-star. Together, they’ve taken the nonfiction book Goon: The True Story of an Unlikely Journey into Minor League Hockey and made it into a ridiculously brutal and outrageous flick that’s also really kinda sweet, when you get past all the violence and foul language (not that those aren’t enjoyable!). As played by Seann William Scott, Doug “The Thug” Glatt is endearingly naive and awkward when he’s not beating the crap out of opposing goons, not unlike Adam Sandler in “The Waterboy”. I loved the cute/goofy fling between Doug and Alison Pill’s puck bunny, his uneasy friendship with Marc-André Grondin’s hard-partying, womanizing star player, as well as his somewhat respectful rivalry with Liev Schreiber’s aging enforcer. There’s a shaggy-dog quality to “Goon” which might bother some, but it kept me engaged, I laughed a lot and yeah, I got some cheap thrills out of the bloody brawls on the ice.  ]

(23 Feb)   Polisse  (2011, Maïwenn) 29
[ Certainly one of the most overrated films of the past year, this Cannes Prix du Jury winner depicts the day-to-day life of the Paris Child Protection Unit. Based on real cases and shot in a quasi-documentary style, “Polisse” features many disturbing scenes involving young victims or those suspected of abusing them. Yet most of the running time of this self-indulgent, miserabilist film by French actress Maïwenn seems to be devoted to depicting the interaction between the cops (including Marina Foïs, Joey Starr and Karin Viard), a sorry bunch who is constantly yelling and/or bullshitting, whether they’re on the job or not. This is a case study in how an important subject does NOT necessarily make great cinema. Oh and that ending? What idiotic, manipulative nonsense. ]

(25 Feb)   Back to the Future   (1985, Robert Zemeckis) [ review ] 95

(27 Feb)   Roméo Onze  (2012, Ivan Grbovic) 70
[  As a cinematographer, Sara Mishara has made great  contributions to the films of Stéphane Lafleur (En terrains  connus), Yves Christian Fournier (Tout est  parfait) and Maxime Giroux (Jo pour Jonathan).  Similarly, Ivan Grbovic’s debut feature wouldn’t be half as  effective if it wasn’t for the rich, fluid visual style he  created with Mishara, who also co-wrote the screenplay. A  sensitive, attentive character study, Roméo Onze  depicts the attempts by a Lebanese-Canadian teen (Ali Ammar) to  assert himself despite his physical disability and the pressure  put on him by his father (Joseph Bou Nassar). With the harp  melody of Hans Otte’s Wassermannmusik 1 as a  leitmotiv, the film tugs at our heartstrings and truly makes us  care for its protagonist.  ]

(29 Feb)   John Carter  (2012, Andrew Stanton) 57
[ Adapted from Edgar Rice Burroughs’ 1912 pulp serial A  Princess of Mars, John Carter suffers from the  fact that in the 100 years since its source material was  published, countless science fantasy movies have borrowed from  it, notably Star Wars and Avatar. As such,  there’s a been-there, done-that feeling to the proceedings,  which involve a Civil War veteran (Taylor Kitsch) being  transported to Barsoom (a.k.a. Mars), where he joins a princess  (Lynn Collins) in her fight to save the planet. It doesn’t help  that this live-action debut from Andrew Stanton  (WALL-E) is exposition heavy and that the human cast  is unengaging. On the other hand, the green-skinned, four-armed  Tharks and “monster dog” Woola are awesome, and the action  scenes are fun enough.   ]

January / March

2012 log (1)

(1 Jan) In the Name of the King II (2011, Uwe Boll) 35
[ Ostensibly a sequel to 2008’s In the Name of the King: A  Dungeon Siege Tale, even though neither star Jason Statham  nor any of the characters from it are back, this typically  low-rent Uwe Boll production once again suffers from an  undercooked screenplay, muddled direction and rotten acting. It  does have one saving grace in the casting of the undeniably  charismatic Dolph Lundgren as an ex-Special Forces soldier  who’s sent back in time to fulfill a prophecy about vanquishing  Dark Ones or something. “I can’t believe this medieval crap,”  says Lundgren at some point, and neither can we, but at least  the movie has a sense of humour about it. There are also a few  decent action scenes, including a kind-of awesome climactic dragon attack. ]

(5 Jan) A Dangerous Method (2011, David Cronenberg) 62
[ Thank God for Michael Fassbender, Viggo Mortensen and Vincent Cassel! If it wasn’t for these three compelling screen presences, “A Dangerous Method” might have been a total letdown. An adaptation of Christopher Hampton’s play “The Talking Cure” which fails to make us forget about its stage origins, this is one of Cronenberg’s most formally conventional pictures. An elegant period piece, unavoidably talkative considering that its protagonists are psychoanalysts, it deals with a lot of fascinating, thought-provoking, still provocative a hundred years later ideas. There’s also something potent and somewhat amusing about the fact that the aforementioned psychoanalysts are all neurotic, more or less repressed perverts… But save for a few rare moments when the darker, more twisted aspects of this psychosexual drama are depicted visually, the film never really takes off; it also sometimes feels oddly disjointed. And then there’s Keira Knightley, who indulges in over-the-top scenery-chewing as the patient at the heart of the story, contorting her face, pushing her jaw forward, crying, laughing and shaking like she’s playing a possessed woman in an exorcism B-movie. That being said, I would still marginally recommend the film just to see Fassbender as Carl Jung, Mortensen as Sigmund Freud and Cassel as Otto Gross. Again, thank God for those guys! ]

(7 Jan)     Bridesmaids  (2011, Paul Feig) 74
[ This Judd Apatow production has been described in some quarters as a female “Hangover”, but I think it’d be more fitting to call it a female “I Love You Man” because, as hilarious as the comedy scenes can be, this also happens to be a pretty darn insightful and touching story about friendship. Kudos to star/writer Kristen Wiig for delivering the laughs bit time with all kinds of witty, raunchy and/or absurd gags, but also for keeping things relatively grounded in regards to the way women (mis)behave amongst each other. She couldn’t have picked a better on-screen BFF than Maya Rudolph, with whom she had great chemistry for all those years on SNL. Also a lot of fun are Rose Byrne, Ellie Kemper, Wendi McLendon-Covey and especially Melissa McCarthy. And the use of Wilson Phillips’ Hold On? Perfect, just perfect. 

Note: this is a repost of a blurb written in May 2011 after I first saw the film.  ]

(8 Jan)     Bad Teacher (2011, Jake Kasdan) 69
[ You can kinda tell from the title alone that this will be a twist on “Bad Santa,” i.e. an irreverent comedy about a foul-mouthed, drunken, sleazy individual who should really not be allowed to work around impressionable children… But instead of Billy Bob Thornton as a mall Santa, we get Cameron Diaz as the worst 7th grade teacher in the world, who’s current goal in life is to get enough money to 1) buy herself “new tits” and 2) use them to seduce a rich man. Also featuring great comic performances from Jason Segel, Justin Timberlake, Lucy Punch, John Michael Higgins and Phyllis Smith, among others, “Bad Teacher” still works mostly because of the hilariously, thrillingly shameless lead turn by Diaz.  ]

(14 Jan)     Bumrush (2011, Michel Jetté) 47
[ There are two films at odds in “Bumrush”: 1) A heavily researched exploration of the dynamics of the Montreal criminal world, in which bikers, the Italian mafia and black street gangs maintain a volatile equilibrium, and 2) a cartoonish urban thriller / 80s-style action B-movie à la “Road House”/”Death Wish 3”/etc. that has a group of ex-military bouncers (Emmanuel Augé, Pat Lemaire, Sylvain Beauchamp, Constant Gagné, Alain Nadro) waging a war against gang member Loosecanon (the late Bad News Brown) and his cohorts for the control of the no man’s land that is the Kingdom strip club (!). Marred by low production values, sometimes excessive exposition, not always believable characters and story developments, and uneven acting, “Bumrush” still sporadically captivates, either for its insights into this reality or its outrageously over-the-top fights, shoot-outs and torture scenes. It’s certainly an unholy mess, but I enjoyed watching it all the same. ]

(16 Jan) Haywire (2012, Steven Soderbergh) 92
[ From the ever prolific and versatile Steven Soderbergh comes this early contender for the best action flick of 2012 title, starring MMA champion Gina Carano as an ex-Marine turned black ops agent who’s been double-crossed by her former employer. The smart, fast-paced, chronologically jumbled script by Lem Dobbs (“The Limey”) takes us from the U.S. to Spain, Ireland and Mexico as we’re introduced to a gallery of shady characters played by a stellar supporting cast (Ewan McGregor, Michael Fassbender, Antonio Banderas, Channing Tatum, etc.), which the super badass Carano spends the film punching, kicking and shooting her way through in a series of jaw-dropping fight scenes. A slick, sly spy thriller that’s more “Bourne” than “Mission: Impossible”, with artful digital cinematography by Soderbergh himself and a jazzy score by David Holmes, “Haywire” is thoroughly enjoyable. Laced with sexy and funny bits, with further compelling turns by the likes of Michael Douglas, Mathieu Kassovitz, Bill Paxton and Michael Angarano, it just keeps moving forward and throwing twists and turns at us, leaving us almost exhausted by the end. ]

(18 Jan) The Grey (2012, Joe Carnahan) 79
[ After a plane bringing home the workers of a remote oil rig  crashes in the Alaskan wilderness, the survivors – a motley  crew of “ex-cons, fugitives, drifters, assholes,” to quote  protagonist John Ottway (the always riveting Liam Neeson) –  must fend off a pack of vicious wolves in this grisly,  gruelling man-versus-nature thriller. Full of scary-intense  sequences that practically make it feel like a monster movie,  this adaptation of a short story by Ian Mackenzie Jeffers (who  co-wrote the screenplay with director Joe Carnahan) is also a  surprisingly introspective, occasionally downright emo film in  which the characters spend much time reflecting upon their  lives, struggling with faith and trying to come to terms with  their seemingly impending death. ]

(19 Jan) La Peur de l’eau (2012, Gabriel Pelletier) 46
[ This initially comes off a bit like Fargo – i.e., a crime film featuring a dorky, unassuming cop (Pierre-François Legendre) and a bunch of homely small-town folks – with a touch of Vertigo thrown in, what with said cop being afflicted with aquaphobia (as opposed to acrophobia in the Hitchcock film). The early scenes depicting the aftermath of the murder of a young woman (Stéphanie Lapointe) and the beginning of the police investigation are intriguing enough, plus the Îles de la Madeleine locations are gorgeously shot, but La Peur de l’eau is soon marred by some clumsy tonal shifts, a lack of urgency and an increasingly preposterous plot, not to mention uneven performances from the supporting cast (including Brigitte Pogonat, Normand D’Amour and Pascale Bussières). ]

(21 Jan) Hard Target (1993, John Woo) [ review ] 75

(21 Jan)     Moneyball  (2011, Bennett Miller) 64
[ There’s a great story here, about how Oakland A’s G.M. Billy Beane’s heart was broken by his team being eliminated by the New York Yankees in 2001, with a budget three times bigger than his of course… And then with the help of “Peter Brand” (actually a composite character created for the film), a Yale graduate with a degree in economics and a vision about how to build a championship team using undervalued players who happen to have a high on-base percentage, he proved that there was another way to play the game. Sort of. Interestingly, this isn’t exactly a spectacular Cinderella story, even though the Atheletics’ 2002 season did include a historic winning streak. It’s more a “Rocky” kind of thing where you can win even if you technically lose in the end – not that Beane would agree about that (dude hates losing, even more than he likes winning). Anyway, so yeah, there’s a great story here, which also works as a metaphor for how in life, you sometimes have to change the way you look at people, to try and see the worth in those usually dismissed for one reason or another. But in my opinion, “Moneyball” is not a great movie. Good, but not great. The screenplay, a Frankenstein deal in which Stan Chervin, Steven Zaillian and Aaron Sorkin successively took cracks at adapting Michael Lewis’ non-fiction book, suffers from pacing issues, awkwardly introduced flashbacks and a kinda lame attempt to make it more sentimental via the character of Beane’s daughter. There are a few truly great scenes full of snappy, witty dialogue where you recognize the Sorkin touch, but other scenes are more dully functional. Likewise, I found Bennett Miller’s direction kinda flat; he’s certainly no Steven Soderbergh (just sayin’). Still, the cast goes a long way towards keeping us engaged nonetheless. I’m talking about Jonah Hill and Philip Seymour Hoffman, but especially about Brad Pitt who delivers a great star turn, charismatic, cocky yet grounded, wounded even – a bit like Tom Cruise in “Jerry Maguire”. For him alone, the movie remains worth seeing. ]

(25 Jan)     Pink Ribbons, Inc.  (2012, Léa Pool)
[ Here’s a provocative documentary that isn’t afraid to go against the grain. Via interviews, testimonies, archival footage and evocative segments shot at breast cancer events across North America, “Pink Ribbons, Inc.” shows that these fundraising campaigns may start with good intentions, but they soon drown in capitalist bullshit and hollow publicity stunts. Whatever money is raised for research often pales in comparison with the profits generated for themselves by corporations, and the necessity to “sell the disease” in a way that doesn’t alienate customers can lead to a false sense of comfort and an overly optimistic approach, which angers some of the women who actually suffer from this horrible disease. You’ll never look at pink ribbons the same way. ]

(30 Jan)     L’Or des autres  (2012, Simon Plouffe)
[ This is not the first and, unfortunately, probably not the last documentary to be made about the excesses of the mining industry in Quebec, but it paints a particularly striking picture. It depicts how the creation of Canada’s largest open pit gold mine in Malartic forced hundreds of families to see their houses ripped apart and/or relocated, all so some private company can make billions of dollars they will never see even an infinitely small fraction of. This is also a truly great work of cinema, top-notch cinematography, editing and sound editing combining into a stylish, moody film filled with quasi post-apocalyptic visions. Also fascinating is the character of the desperately proud beardo who refuses to leave his home, even after his whole neighbourhood had been turned into holes and piles of rocks. A must-see. ]

December / February

2011 log (12)

(1 Dec) The Adventures of Tintin (2011, Steven Spielberg) 65
[  Adapted from Hergé’s beloved series of bandes dessinées, “The Adventures of Tintin” is most notable for how marvellously it uses performance capture and computer animation to strike a perfect balance between photorealism and cartoonishness. After a tediously exposition-heavy first act in which it becomes clear that the goody two shoes, white-bread persona of Tintin (Jamie Bell) can be rather dull on its own, things pick up considerably with the introduction of Captain Haddock (Andy Serkis), a loudmouthed drunk whose flaws only give him more character. We also get to enjoy some spectacular action sequences, as Tintin, Haddock and brave pooch Snowy travel the world looking for lost pirate treasure in sort of a light version of “Indiana Jones”. Great snakes!   ]

(4 Dec) À bout portant (2011, Fred Cavayé) 69
[  This new film from Fred Cavayé, who previously directed “Pour elle” (which was remade – badly – by Paul Haggis in 2010 as the Russell Crowe vehicle “The Next Three Days”), further confirms that he’s one of France’s best action filmmakers. Beginning in the middle of a breathless chase through Paris, “À bout portant” (“Point Blank”) barely lets up over the next 80 minutes, as a nurse’s aide (Gilles Lellouche) unwittingly finds himself tagging along with a safecracker (Roschdy Zem) on the run from a police squad (led by Gérard Lanvin) in order to save his pregnant wife (Elena Anaya). Sometimes preposterous yet always gripping nonetheless, this taut thriller is the closest thing to a “Bourne” flick we’ll get this year from either side of the pond.  ]

(5 Dec) Nuit #1  (2011, Anne Émond) 30
[  Following a very Xavier Dolan opening which has sweaty girls  and boys dancing in slow-motion to Elysian Fields’ cover of  Serge Gainsbourg’s Les Amours perdues, an extended,  relatively explicit sequence shows Clara (Catherine de Léan)  and Nikolaï (Dimitri Storoge) getting it on in various  positions. Then we stick around with the two of them as their  one night stand turns into a series of pretentious, obnoxious,  woe-is-me soliloquies (“Modern times disgust me. Modern love  disgusts me,” etc.). A dour variation on Michel Deville’s  Nuit d’été en ville, this debut feature from local  filmmaker Anne Émond is a chore to sit through, even though  it’s adequately crafted and de Léan is occasionally affecting.  ]

(8 Dec) Tinker Tailor Soldier Spy  (2011, Tomas Alfredson) 71
[ This adaptation of John le Carré’s 1974 espionage novel is not only set in the 1970s, it also feels like a 70s film. Far from adopting the frantic pace and style of a “Bourne” flick, “Tinker Tailor Soldier Spy” is a dry, slowly unfolding yarn, elegantly shot with lots of grays and browns, moving between various European locations and back in forth in time, as protagonist George Smiley (a quietly imposing Gary Oldman) tries to discover the identity of the Soviet mole among the leaders of “the Circus,” i.e. MI6, the British Secret Intelligence Service. The story takes the form of a chess game of sorts, as Smiley and numerous other characters try to outplay each other, which initially seems rather unexciting, yet it gradually grows quite captivating. The ensemble cast, in which Oldman is notably joined John Hurt, Toby Jones, Colin Firth, David Dencik, Ciarán Hinds, Mark Strong, Benedict Cumberbatch and my personal favourite, Tom Hardy, who single-handedly reignited my interest about halfway through when it threatened to wane. I also got a kick out of Karla, the never-seen Russian spymaster, who’s kind of got a Keyser Söze thing going on. To me,  “Tinker Tailor Soldier Spy” is more the kind of film I admire than the kind I truly enjoy, but one way or the other, it’s well worth seeing.  ]

(11 Dec) We Need to Talk About Kevin  (2011, Lynne Ramsay) 94
[ It opens with Eva (the always amazing Tilda Swinton) at La Tomatina, that annual tomato fight held in Buñol, Spain. As we watch everyone get covered in gory-red tomato chunks, we hear what sounds like the audio of a massacre and we’re filled with a feeling of dread and unrest which will be sustained throughout the whole film, as will the recurring use of the color red and the jarring sound design. This adaptation of Lionel Shriver’s 2003 novel blurs our notions of time and reality, plunging us into an impressionistic, hallucinatory experience we assume to be the troubled state of mind of Eva after husband Franklin (John C. Reilly) and her son Kevin (Ezra Miller, previously seen in the similarly disturbing “Afterschool”) goes on a killing rampage at his school. As we catch glimpses of her raising Kevin from a baby who never stops screaming to a creepy infant and a downright evil teenager, we’re faced with what must be a parent’s worst nightmare. The aforementioned brilliantly unnerving sound design is augmented by a score by Radiohead’s Jonny Greenwood working in the same direction, never allowing us to get comfortable. “We Need to Talk About Kevin” is also filled with striking imagery, as cinematographer Seamus McGarvey, editor Joe Bini and art director Charles Kulsziski all do absolutely remarkable work with filmmaker Lynne Ramsay, creating a masterpiece of an art-house horror film in which each moment is rivetingly visceral.  ]

(12 Dec) We Bought a Zoo (2011, Cameron Crowe) [ review ] 92

(15 Dec) Mission: Impossible – Ghost Protocol  (2011, Brad Bird) 83
[  Easily the best entry in the “Mission: Impossible” franchise, this over the top spy thriller is still stuck with a preposterous plot and one-dimensional characters. But the set pieces, i.e. what matters most in a flick like this, totally deliver. As directed by Brad Bird, making an astonishing live action debut, the various stunts, chases, fights, shoot-outs, break-ins and break-outs are all inventive and exciting. “Ghost Protocol” is also full of humor, I loved the chemistry between Tom Cruise and his team (Jeremy Renner, Paula Patton, Simon Pegg), and the villains are a blast as well (Michael Nyqvist, Samuli Edelmann, Léa Seydoux). Briskly moving from Budapest to Moscow, Dubai and Mumbai, all the while alternating fun little beats with IMAX-size action sequences, this is a damn great time at the movies.     ]

(18 Dec) Margin Call (2011, J.C. Chandor) 80
[ An ensemble drama set in the cutthroat world of big money à la “Glengarry Glenn Ross” or “Boiler Room”, this debut from J.C. Chandor is smart, slick and surprisingly suspenseful. Taking place over a two-day period, including a long sleepless night, “Margin Call” is all about how disconnected Wall Street guys are from the rest of the world (the 99%, you might say) and how they basically gamble with the global well-being of the economy until it’s too late. The whole cast is great, notably Zachary Quinto, Paul Bettany, Jeremy Irons, Stanley Tucci, Simon Baker, Penn Badgley, Aasif Mandvi and Demi Moore, with Kevin Spacey coming out on top. ]

(18 Dec) Beginners (2011, Mike Mills) 74
[ “I don’t know… I don’t think this is what I’m supposed to feel like.” When this line was spoken out loud by one of the characters, it perfectly encapsulated my current state. Here’s a film that I should have totally, unequivocally loved. Quirky indie dramedies are a dime a dozen, but I still find the better ones to be a treat, and this clearly qualifies as such. Ewan McGregor is typically great as a man who, shortly after the death of his mother (Mary Page Keller), is told by his 75-year-old father (Christopher Plummer) that he’s gay… Finally out of the closet after all those years, the old man lives it up for a while, then he’s diagnosed with cancer and eventually dies from it. I’m not spoiling anything, we learn all of this in the opening minutes of the movie, which them cannily jumps back and forth in time between the last years of the father’s life and the aftermath of his death, during which McGregor begins a tentative relationship with a “strange girl” (Mélanie Laurent), with flashbacks to his childhood thrown into the mix as well. By all means, I should have cried my eyes out throughout the film, yet though I enjoyed it and did remain engaged, I never quite fully connect with it. Maybe it has to do with all the witty asides and whimsical flourishes, you know, the bittersweet cartoons, the historical trivia, the montages of photographs, the dog talking through subtitles… Clever and amusing stuff, sure, but could it have gotten in the way of me being moved more deeply by the film? Maybe a second viewing would help? ]

(18 Dec) Gerry (2011, Alain DesRochers) 17
[ You’d think a movie about Offenbach frontman Gerry Boulet would make us nostalgic for what a fun and lovable guy he was and for all the great music he created. Alas, this spectacularly misguided and inept biopic a) depicts him as a total drunken sleazebag who treated everyone around him like shit, and b) features shockingly little scenes of Boulet in the studio or on stage. Alternately clumsily dropping thick slices of exposition and skipping over important stuff, this clumsily written and directed movie never flows smoothly or builds any momentum. It’s just like, this happened, then that happened, oh and by the way we didn’t show you any of it, but all that other stuff happened as well, etc. And while Mario Saint-Amand looks the part as Gerry, his performance is uneven at best. ]

(18 Dec) The Girl with the Dragon Tattoo (2011, David Fincher) 94
[ Lisbeth Salander, man. The folks who’ve read the more than 65 million copies sold of the books in the “Millenium” series know this already, as do those who’ve seen the Swedish film trilogy. I wasn’t familiar with any of it though, so this was my first exposure to this absolutely fascinating character, a tattooed, pierced, bisexual, extremely smart yet antisocial  hacker who, as played by Rooney motherfuckin’ Mara, is by far the biggest badass in any of the past year’s movies. Likewise, I didn’t know anything about the intricately multilayered, wonderfully pulpy plot of “The Girl with the Dragon Tattoo” and found myself completely engrossed in it. Set in Sweden, which is apparently populated with serial killers, rapists and Nazis, the story has disgraced journalist Mikael Blomkvist (Daniel Craig) investigating the mysterious disappearance, decades earlier, of the great-niece of a retired industrialist (Christopher Plummer), who lives on a secluded island with much of his dysfunctional family (Stellan Skarsgård, Joely Richardson,  Per Myrberg, Marika Lagercrantz, etc.). Screenwriter Steven Zaillian’s adaptation of the Stieg Larsson novel just keeps moving forward as new pieces of information are introduced, and it’s all increasingly intriguing, as is everything having to do with Lisbeth, who ends up working as Blomkvist’s assistant. David Fincher brilliantly, unflinchingly directs all of this, making even scenes of people looking shit up on computers riveting, but also nailing the more horrifying, suspenseful, disturbing and/or thrilling sequences. The cinematography and editing are top notch and, post-”Social Network”, Trent Reznor and Atticus Ross once again deliver the best score of the year, filling the soundtrack with alternately minimalist and overpowering music which creeps right into your soul and fills you with dread and awe with astonishing skill.  I also loved the streak of black humor which runs through the film, much of it revolving around Lisbeth, naturally. In a world of evil and manipulative men, she refuses to submit to their playbook and would much rather cut through all the bullshit and just do her thing without a second thought, like a creature of pure instinct. Can’t wait to see her again in the next two parts of the trilogy, which Fincher will hopefully shoot soon. In any case, “The Girl with the Dragon Tattoo” on its own is already a high point in his career. ]

(21 Dec) Rise of the Planet of the Apes (2011, Rupert Wyatt) 88
[ I love the “Planet of the Apes” franchise. Love the original Pierre Boulle novel. Love the 1968 cult classic starring Charlton Heston. Love (most of) its four sequels. I even enjoyed the much-maligned Tim Burton remake! But in many ways, this prequel goes beyond all that came before. The main difference being that instead of actors in makeup, it uses performance capture and state-of-the-art CGI to bring the apes to life. It can also count on the Marlon Brando of this 21st century technology, the one and only Andy Serkis, a.k.a Gollum, King Kong, Captain Haddock and now Caesar, the would-be leader of the ape revolution. Through swift, smooth storytelling and well-placed ellipses, we follow Caesar’s evolution from a newborn to an adult, as he grows bigger, stronger, faster, and also eerily smart. Meanwhile, there’s a surprisingly touching human subplot going on between Caesar’s scientist master (James Francor) and his Alzheimer’s-afflicted father (John Lithgow). There’s also a romantic interest (Freida Pinto), but it’s superfluous. The human cast also includes Brian Cox and Tom Felton as the assholes running the primate sanctuary where Caesar ends up midway into the story, as “Rise” turns into sort of a prison movie… Before building up into a revolutionary epic and an in-sa-ne climax set on the Golden Gate Bridge. This is truly great genre filmmaking, driven by strong writing, dynamic camerawork, impressive special effects and, more than anything, an incredibly soulful, Oscar-worthy performance by Andy Serkis. ]

(23 Dec) The Descendants (2011, Alexander Payne) 68
[ To me, Alexander Payne is not the brilliant filmmaker many critics make him up to be. He’s capable of the best (“Election”) but also the worst (“About Schmidt”). And then there are those films like “Citizen Ruth” and “Sideways” that contain varying amounts of greatness, but also some more or less major flaws. In the case of “The Descendants”, that would be the contrived exposition delivered through thick slabs of voice-over narration and on-the-nose dialogue during the first act. I was like, SHUT THE FUCK UP, CLOONEY! STOP SPOON-FEEDING US EVERYTHING YOUR CHARACTER THINKS AND FEELS! THIS IS A MOVIE, NOT A BOOK! SHOW, DON’T TELL! Still, I thought the film nicely captured the amazing Hawaii scenery and found George Clooney’s acting to be exceptional when the screenplay didn’t get in his way. LESS IS MORE! (Ok, enough yelling) Then there’s Shailene Woodley, who’s a revelation as his teenage daughter, and I also loved Judy Greer’s extended cameo in the third act. What’s more, the movie eventually drops the voice-over narration and, while still clumsy and obvious at times, by the end it had mostly won me over with the way it dealt with the ambiguous, conflicting emotions the characters have to deal with. As such, even though I still think “The Descendants” is overrated, I gotta admit that at its best, it’s pretty damn good. ]

(28 Dec) Les Douze travaux d’Astérix (1976, René Goscinny, Albert Uderzo & Pierre Watrin) 80?
[ This is one of those Ciné-Cadeau perennial classics that is hard to rate objectively for me… The animation isn’t all and neither is the story of anything, but I love it all the same. Particularly when I was a kid but also regularly over the years since, I’ve watched it countless times and still find it to be a total treat. Highlights being l’Île du Plasir, l’antre de la Bête, la Maison qui rend fou… Good times. ]

(28 Dec) Our Idiot Brother (2011, Jesse Peretz) 67
[ It seemingly seems all over the place, as titular idiot brother Ned successively crashes at each of his three sisters’ place and becomes involved in their lives, for better or worse… But slowly but surely, a simple but engaging enough thematic thread reveals itself, what with Ned really not being so much of an idiot as just a really, really naive hippie dude (think The Dude) who’s too trusting and honest – which has a way of exposing the bullshit in others, e.g. his sisters. This is very much an actors movie, which wouldn’t be half as enjoyable if it wasn’t for Paul Rudd’s winning lead performance, plus the casting of Zooey Deschanel, Emily Mortimer and Elizabeth Banks as the sisters, as well as Steve Coogan, Rashida Jones and Adam Scott in supporting parts. Oh, and let’s not forget about Willie Nelson the dog! ]

(29 Dec) Hanna (2011, Joe Wright) 45
[ In this modern fairytale, a girl (Saoirse Ronan) is raised/trained in the wild by her father (Eric Bana), in hope that she can escape the evil “witch” (Cate Blanchett) out to kill her when she’s grown-up and ready to go back into the world. Sort of a cross between “Nell” and “The Bourne Identity”, this action flick suffers, oddly enough, from being too artsy for its own sake. I’m all for auteurs doing action, but I’m not sure Joe Wright (“Pride and Prejudice”, “Atonement”) was the best choice for such a change of pace. Conceptually, I appreciate what “Hanna” is going for, but the pacing, tone and style are often all wrong, as if the filmmaker didn’t fully commit to the genre and wanted to remind us that he’s really an artist. As such, this never feels as gritty, badass and exciting as it should. It’s visually striking, it’s got a dynamic enough score by the Chemical Brothers and the three leads are solid, but it failed to connect with me. Basically, this is an action movie for people who don’t like action movies. ]

(29 Dec) Anchorman (2004, Adam McKay) [ review ] 85

(30 Dec) Astérix et Cléopâtre (1968, René Goscinny, Albert Uderzo & Lee Payant) 83?
[ Again, not sure how much is Ciné-Cadeau nostalgia and how much is the movie actually being great… But watching this for the umpteenth time, I was giddy the whole time. Love the characters, love the setting, love the twists and turns of the story… And I particularly love the music and the songs, notablyLe lion de Cléopâtre, Quand l’appétit va, tout va and of course Le pouding à l’arsenic! ]