Gateway Cinephiles » Film Diaries

Film Diary: Terror’s Advocate

September 6, 2008 Andrew Film Diaries - Andrew Comments Off

2007 (France)
Director: Barbet Schroeder
Viewed: September 6, 2008
Format: DVD - Magnolia Home Entertainment (2008)

Northeast Passage

September 4, 2008 Andrew Film Diaries - Andrew, Reviews, Dramas No Comments

Frozen River
2008 (USA)
Director: Courtney Hunt
Screened: September 2, 2008
Format: Theatrical Print

Frozen River is a tale of dreams, or at least what passes for dreams in the bitter winters of far-upstate New York. The film presents us with two women, each a quintessential American survivor in their way. Ray (Melissa Leo) is a white, middle-aged single mom, scraping together a life for her two boys in a cramped manufactured home. Lila (Misty Upham) is a younger Mohawk woman, and also a mother, although her infant son has been wrested from her with the tacit consent of her tribe. When fate brings these two women together, their antagonism seethes, but eventually they embark on a perilous criminal collaboration. First-time director Courtney Hunt’s naturalistic story of slush-and-mud desperation on the margins of the American dream is an affecting and uncommonly sensitive depiction of foolish risks taken for all the right reasons.

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They Caught a Bad, Bad Train

September 2, 2008 Andrew Film Diaries - Andrew, Reviews, Dramas, Foreign, Action No Comments

Transsiberian
2008 (UK / Germany / Spain / Lithuania)
Director: Brad Anderson
Viewed: August 31, 2008
Format: Theatrical Print

Allow me to clear up one thing that the marketing of Transsiberian has unforgivably muddled: Woody Harrelson might have first billing, but Emily Mortimer is the clear protagonist and the star of this serviceable–albeit raw-nerved–thriller. Director Brad Anderson begins with a meaty premise: two guileless Americans find themselves enmeshed in a heroin trafficking plot during their journey aboard the titular train. This is not a Locked Room mystery in the tradition of Murder of the Orient Express. Jessie (Mortimer) and Roy (Harrelson) spend as much time off the train as on it, and the film clearly owes a debt to Hitchcock’s more harried, dashing thrillers in its action set pieces and its fascination with Jessie’s responses to desperate, often uncanny, circumstances. Unfortunately, Anderson lends barely any thematic heft to the tale. While Jessie’s plight often has us sweating bullets in the moment, Transsiberian’s themes are confused, when the film-makers bother to articulate them at all. The result is a film that offers excitement and opportunities for “What Would You Do?” speculation, but little else.

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The Greatest of These Is Love

August 31, 2008 Andrew Film Diaries - Andrew, Reviews, Dramas, Foreign No Comments

The Edge of Heaven (Auf der Anderen Seite)
2007 (Germany / Turkey / Italy)
Director: Fatih Akin
Viewed: August 30, 2008
Format: Theatrical Print

With The Edge of Heaven, Turkish-German director Fatih Akin offers a mournful, penetrating exhale of affecting cinema, a Shakespearean tragedy for a modern, multi-cultural Europe. Two violent deaths haunt this film, looming calamities that Akin bluntly telegraphs with title cards. (There Will Be Blood, indeed.) Catastrophe awaits us, not to mention the poor souls that populate Akin’s Bremen and Istanbul, gritty landscapes of crumbling buildings and fragile love. In more ways than the survivors will comprehend, these deaths will emerge as transforming phenomena, their bright and black ripples reaching far-flung shores and lives. With six gently compelling characters and an exultant soundtrack, Akin has crafted a meditation on human connection more profound and emotionally persuasive than any recent convoluted ensemble behemoth. Despite its grim–at times bitterly bemused–sensibility, The Edge of Heaven is far from a morbid work. This is awestruck human spectacle at its most unexpected and redemptive, and one of the best films of 2008.

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Spanish Fly

August 28, 2008 Andrew Film Diaries - Andrew, Reviews, Dramas, Comedies, Romance No Comments

Vicky Cristina Barcelona
2008 (USA / Spain)
Director: Woody Allen
Viewed: August 26, 2008
Format: Theatrical Print

I’ve kept my distance from Woody Allen’s output since Mighty Aphrodite, never successfully seduced by the rare acclaimed feature (Match Point), nor by the notorious belly-flops (The Curse of the Jade Scorpion). Therefore I can’t comment from an informed place on the praise that Vicky Cristina Barcelona seems to have reaped as some kind of return to form for the venerable Manhattanite. Certainly, VCB is steeped in wistful adoration for the Spanish locale of its title, echoing the lovestruck regard Allen’s earlier films evidence for New York City. The new film is self-consciously a Spanish travelogue, stuffed to the gills with breathtaking sights, rarefied culture, and delectable food and drink. If the Condé Nast slideshow feels a touch ludicrous, it also seems a natural fit for the film’s amorous story. VCB is unabashedly sexy, in a way that few American films ever manage, and without so much as a glimpse of Scarlett Johannson’s assets, or Javier Bardem’s for that matter. Allen employs the appeal of sun-dappled locales and the arousal of gorgeous people in the throes of temptation to tug VCB towards a destination that proves oddly ambiguous. The film underlines its themes with relentless desperation in places, favors contemplative melancholy in others, and far too often clunks along on contrivance and wincing dialog. At its most successful, it’s a kind of cinematic holiday: an exotic getaway for pleasure and perspective, ephemeral in essence and bittersweet in its conclusion.

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Some Kind of Monster

August 25, 2008 Andrew Film Diaries - Andrew, Reviews, Dramas, Foreign No Comments

Boy A
2007 (UK)
Director: John Crowley
Viewed: August 23, 2008
Format: Theatrical Print

Equipped with a disarming candor and despairing gaze, Boy A poses a daunting question: Is it just when society prolongs a criminal’s punishment beyond his legal sentence? It gives animation to this thorny dilemma in the person of “Jack,” a parolee who committed a horrific crime as a boy, a deed barely reconcilable with his shy, eager-to-please manner. With his sheepish, adolescent grin and wounded brown eyes, Jack (Andrew Garfield) initially seems prepackaged to tug at viewer sympathies and highlight the cruel manner in which ex-convicts are shunned and harassed by free society. However, director John Crowley takes a nervy approach with Boy A, gradually revealing contradictions and unsettling currents in Jack’s personality and his past, even as he squeezes him between the dooms of public exposure and a violent death. An artistic and thematic inversion of Gus Van Sant’s more daring, heady Paranoid Park, Crowley’s feature traces a path trod by numerous socially conscious dramas about evil deeds and redemption, but it does so with a persuasive, moving tone of anguish and entropy.