bernardovillela

Review: Human Capital

Posted on July 14, 2015 by bernardovillela

Human Capital is a film that works effectively on all levels. However, the further a viewer is willing to dive in to the story, the implications thereof, and the characters’ psyches the more rewarding an experience it will be. Superficially the drama, stakes, and tension are always palpable as the beats, be they dramatic or suspenseful, are easily recognizable and slowly drag you to the edge of your seat. If you adventurously wander deeper into the construction, the societal portrait, the character sketches, and how they relate to one another; you’ll find yourself rapt intellectually in addition to your emotional investment.

Here is the synopsis as per Film Movement, and believe me due to the way this film is built through the edit most of this information makes itself readily apparent quite quickly. It’s not a case where a write-up says too much:

With a lavish home and beautiful wife, hedge-fund manager Giovanni Bernaschi seemingly has it all. Meanwhile, real estate agent Dino Ossala struggles to maintain his family’s middle-class existence and faces even worse financial straits when his wife announces that she is pregnant with twins. Leveraging his daughter’s relationship with Giovanni’s son, Dino deceives the bank and manipulates his way into the Bernaschi hedge-fund. As the destinies of both families become further entwined, a fateful hit and run accident sets in motion a chain of events, triggering dangerous consequences that will change their lives forever.

Specifics aside, what gets you instantly hooked is seeing that it is structured in chapters. This is not merely a ruse but an indicator of the fact that this film will focus on interrelated characters one at a time. The first chapter of the film is entitled Dino, but even though we may not know all the characters by name yet; we know they comprise two family units and there are shared interests among many of the characters that will cross paths.

So what you have here is elliptical storytelling in its truest sense. The multiple points of overlap, major and minor, carry the characters and plot through with increased momentum and intrigue as it develops. While newly-emerging plotlines take the fore in each chapter they are all intermingled, touched upon, then wrapped up neatly in successive order.

Therefore, there is an undaunted positive progression of the narrative wherein the backpedals are enlightening and deepen the narrative and do not feel like a rote writing exercise as they could, but rather a heightened cinema that does not only engages the intellect but plays on visceral emotions expertly well.

All this deconstruction of the plot may lead one to believe that the film is lopsidedly plot-driven; quite the opposite is true. It builds character consistently throughout, it’s just that the focus shifts. That shift in narrative perspective puts us in the shoes of several characters, and due to that the drama is more tautly built as we understand multiple vantage points.

This film would be impressive enough if the actors just showed up, hit marks, and said their lines; in other words did the bare minimum. However, yet another rarified level is reached by the work they put in as a unit and individually by truthfully inhabiting their characters and committing to the motivations entailed. Paolo Virzì’s shrewd direction is omnipresent in the film from the edit, the mise-en-scène and cinematography to the crafting screenplay of an American novel into one set against an Italian backdrop and keeping it universal.

This universality latches on to the film in such a way that it enjoys the high-class problem of being easily identifiable to a wide variety of audiences yet hard to classify. Its playing of suspense tropes, combined with its palpable drama and social commentary it can correctly be identified with the catch-all of ‘thriller’ but it’s so much more than that. In a film market that seems to, at times, think we can’t have our cake and eat it too this film knows that’s nonsense, and delivers emotion, pathos, and tension while also crafting a story of sociological relevance and leaving the soapbox out of it. It clicks like a film you can maniacally eat popcorn to and just let it wash over you, but invites you dig deeper and think on it long and hard. What more can you ask for?

10/10

Human Capital is now available for rent and purchase on digital and physical media.

Mini-Review: Citizen Gangster

Posted on July 13, 2015 by bernardovillela

Introduction

This is a post that is a repurposing of an old-school Mini-Review Round-Up post. As stated here I am essentially done with running multi-film review posts. Each film deserves its own review. Therefore I will repost, and at times add to, old reviews periodically. Enjoy!

Citizen Gangster

This an interesting story about a man, Eddie Boyd (Scott Speedman), in post-WW II Canada who frustrated with his job and trying to get by embarks on a career as a bank robber. The film interestingly has a quick and effective genesis. The pathology and inspiration is properly established in a short time such that through the course of the film you follow the protagonist further and further past the point of no return. It’s the case of an anti-hero plot in as much as it does at least create a sense of identification if not sympathy.

The film also has a tremendous amount of technical prowess that helps create the world of the story. The cinematography offers a tremendous balance between stark, pale sunlit exteriors and blown-out interiors. When you combine this with the production design which was very concerted on white interiors with one accent to break up the monotony.

When you consider some of the scoring and performances there is quite a lot working for this film. The only thing that really holds it back in anyway is that from about the mid-point on the pace does become very stilted, which is especially noticeable towards the climax and denouement. Having said all that, this is a film that should be getting more notice and I’m glad to have seen it. As indicated above, it’s especially strong in compartmental areas but is intriguing enough in its narrative, especially for those unfamiliar with the details of the story upon which it is based, to sustain interest.

7/10

Announcing The William Wellman Blogathon

Posted on July 12, 2015 by bernardovillela

The name may not be one that immediately jumps out at you, however, when you check William Wellman’s IMDb you realize you likely have seen one of his films. I will be writing about Night Nurse.

Now Voyaging

I recently read the fantastic biography of William Wellman and found myself so inspired by the life and films of this great American director that I decided to do something about it! More to the point, I decided to host my very first blogathon!

Announcing The William Wellman Blogathon!

Love WINGS? Does WESTWARD THE WOMEN get your heart beating? Want to talk about THE OX-BOW INCIDENT? Think that Gary Cooper owes quite a bit to William Wellman and want to share your thoughts? Go for it! You can write about anything and everything related to William Wellman, his life, his films, and his career.

Now for the nitty gritty! This event will run from September 10-13, 2015. I am not assigning days for posts so feel free to post any time during the event. Duplicates are fine so pick any topic you like! Also, this is my first…

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Review: Coriolanus

Posted on July 12, 2015 by bernardovillela

Introduction

Coriolanus

Oh, how I wish I could cite the Titus Conundrum as an exception here, but I cannot. What I mean by that is that I did know of Coriolanus at the end of last year and its having opened at the Ritz theaters in Philadelphia in late 2011 made it eligible for the BAMs last year. To make a long story short, I could’ve seen it but I did not. Therefore, it cannot carry over into 2012 unlike some films, which I had no legitimate chance of seeing last year, like We Need to Talk About Kevin for instance.

There are many facts that this film crystallized in my mind: first, it is much easier for me to watch Shakespeare, even if going in cold, than to read it. Seeing some sort of visual accompaniment provides a context that in a way allows me to focus on the words, the inflections used and in so doing I interpret rather rapidly. Whereas with the text, it’s you and the book and you stare at the words, glance at the footnotes and not having a framework of production there’s a bit more mental legwork to do to break down that barrier, to surpass the wonderful linguistic acrobatics and capture the meaning.

The second fact was a bit more interesting, as I have now for the fourth time seen a cinematic adaptation, which took liberties in updating the visuals of the story, quite a few things became clear simultaneously: While I certainly take no issue with a film that wants to take a literal period approach, I love the creativity that these modernized renditions show. Perhaps the biggest facts they underline is the timelessness of Shakespeare’s themes. In Coriolanus, for example, the names of the characters and the city-states remain the same. If looking at the text I would wonder what on Earth is a Volsci and where is Volscica, not that those questions are invalidated, but with this rendition that portrays Ancient Rome in a modern yet alternate reality, it’s easy enough to understand; Rome is a huge Empire, Volscica lies on the outside, they are an enemy state.

Coriolanus, like many a Shakespearean tragedy I’m sure, excels due to the fact that you not only understand the tragic figure’s flaw, and to an extent identify with it but circumstances constantly conspire to shift characters from one side to another, power play opportunities abound and each and everyone is taken, plots and counter-plots are always afoot.

With the implementation of news television as a major narrative device, combined with televised senatorial debates, even the peculiarities of Roman politics become not only easily accessible almost instantly but the entire story resonates so much more as a modern political allegory than it would be allowed to as a period piece.

The performances are exceptional and what also allows the film to be quite relatable is that the nucleus of dramatis personae is not as large here as in other Shakespearean works, at least in terms of major figures as they are presented here.

Essentially, Coriolanus as envisioned by first-time director and lead Ralph Fiennes and multi-talented screenwriter John Logan is a film that is likely to be an awe-inspiring experience for neophytes and die-hard Shakespeare fans alike. I know hearing from people on either side of that fence made me want to see it and after another invigorating adaptation I am certainly seeking to brush up on my Shakespeare further.

10/10

Mini-Review: The 99ers

Posted on July 11, 2015 by bernardovillela

Introduction

The 99ers

I have to say this one has a tremendous hook. With the fact that Julie Foudy was by natural proclivity the de facto videographer on the team there are some great candid moments in this film. The editing really does well to incorporate them to establish a tone. However, they’re discussed up front and not so much the thrust. A lot of it is a chronicle and a reminiscing as several players meet.

Not that there are not great moments to be found, both in new footage and in the old, but the film buries both that and its most important question about where the game has come since then. The answer, when taken fully into consideration, is about as good as it can be, there’s just little lead up. The forays outside the personal chronology to the wider impact of the event since then are few.

This is still, overall, a very well done and compelling piece, it just had the potential to be a lot more than it was.

7/10

Review: Piranha 3DD

Posted on July 11, 2015 by bernardovillela

Introduction

Piranha 3DD

A film like Piranha 3DD always prompts the question: “Well, what did you expect?” Whether this question is asked in sincerity or sarcastically it is a valid one, as I always strive to judge a film on what it’s trying to be and whether or not it succeeds in that aim. Due to this fact, I have no problem giving disparate films the same grade without ever questioning whether one is better than the other. After all, if you think on it Jurassic Park and Citizen Kane might be two films you like, but no one will ever confuse them with regards to their aims.

So what did I expect from Piranha 3DD? It may be easier to explain what I didn’t expect first. I did not expect anything remotely like Piranha (1978). I didn’t expect to need to have seen the new incarnation of this series to follow this. I expected the film to be silly and strive to land in the so bad it’s good realm based on its premise. I did expect a passable horror story regardless of said fact. Considering that John Gulager was attached, and that I did like Feast, I had some hopes to see this film achieve these aims.

What unfolds instead is a film that you laugh at not with. It’s a film that wants badly to fall into an exploitation mold but it more frequently is an uneasy mix of attempts at such, mainly sex and star exploitation. Both aspects are so poorly handled the film more closely resembles a softcore porn/vanity press hybrid. Yes, the silly, poorly-animated piranha take a backseat in this film to implants, David Hasselhoff and sorry, lazy comedy, which works all too infrequently, especially considering some of the people they wrangled into being in this thing.

Speaking of the people they got in this thing: Christopher Lloyd deserves a medal for being the only redeeming quality this sorry excuse for a film has. In all honesty they would’ve been better served turning the camera on him for 83 minutes and allowing him to improvise, with no rehearsals and no editing. Lloyd is a truly gifted actor and why he ends up in films of this ilk these days baffles me to no end.

What I was expecting, in all honesty, was not nearly as bad as I got. As silly and ill-conceived as the oh-so-thin plot is it also lacks focus. It contains no flair or verve that gives me any cause to forgive it its sins. The key to good exploitation is that the subject matter is the only thing being exploited. This film also exploits its audience, and I was actually very surprised and disappointed that it was the worst thing I’ve seen this year to date.

2/10

Blu-Ray Review: The Tall Blond Man with One Black Shoe (1973)

Posted on July 10, 2015 by bernardovillela

Film Movement Classics

This the first title I’ve had the pleasure of seeing from Film Movement Classics, which is a new imprint from Film Movement, which specializes in restorations of repertory titles. Recently, Film Movement, which first came to my attention for its film-of-the-month club, has been expanding its brand. First, came Ram Releasing with its focus on genre cinema, namely horror thus far. Then came Omnibus Entertainment which has a broader genre view as cited here. It’s an exciting time and bringing back older films, in new glorious restorations and transfers to an audience that mat not have know the film is the kind of important work you’d expect a company like Film Movement to do as they tend to unearth gems no matter what banner it flies under.

The Tall Blond Man with One Black Shoe

The film in question is Yves Robert’s 1972 espionage farce The Tall Blond Man with One Black Shoe (Le grand blond avec une chaussure noir), my lack of familiarity with this film, and my subsequent admiration for it after having seen it, prove the above statements to be true and not merely lip service. Without Film Movement Classics launching I may not have even heard of this film much less gotten a chance to see it so that’s victory in and of itself. The fact that it’s an exquisitely crafted comedy whose gags are fairly smart, well-executed, and continue to roll without being an encumbrance to the plot are a massive bonus.

The film is positively hilarious and takes a fairly simple concept of mistaken identity, in this case rather fabricated one, as the man in question is the subject of scrutinous investigations by chance; an innocent caught in the crossfire of a professional rivalry between high-ranking spies. It also manages to do that and keep François (Pierre Richard) blissfully oblivious such that it not only makes it impossible to pity his situation but also renders those who believe is what he’s purported to be (a spy) seem further buffoonish.

The film works sight gags in a fashion that is eternally accessible and hilarious, and does indeed make gorgeous use of visual storytelling from Parisian backdrops, to instrument-adorned apartment walls, ornate opera houses and spy offices.

Add to that the catchy, cheeky score by Vladimir Cosma, the physical virtuosity of Pierre Richard, and the clockwork precision of the script crafted by Yves Robert and Francis Veber and you have an unqualified comedic success.

Bonus Features

The bonus features aren’t plentiful but they are well done. Aside from being able to take a glimpse at the movie marketing of another time and country with the film’s trailer there are trailers of other Film Movement offerings that are worth considering.

In an age when physical media is fighting for survival its rarer than ever to see packaging that goes a little above and beyond, but this disc is definitely one of those. It also includes a booklet with other Film Movement titles, but more noticeably there is one featuring a wonderfully written essay by Nick Pinkerton with a lot of great insights and information that I dare not spoil here.

Conclusion

Those who know the film will re-discover it in a gorgeous 2K restoration, and those who are discovering it for the first time will see the best possible version of it to first take it in. If you are a fan of spy films or just like a good laugh this newly re-released title is one to get familiar with.

Review – Antboy 2: The Revenge of the Red Fury

Posted on July 9, 2015 by bernardovillela

It’s interesting in age when superhero cinema, and one of the latest critical buzzwords “superhero fatigue” being bandied about with nearly mindless abandon, to take a look at films who have a more modest approach to the trope and different aims than the world’s most gargantuan cinematic franchise. As has previously been mentioned here at The Movie Rat, the world of foreign genre cinema offers different takes which is typically like a breath of fresh air compared to the American formulaic traits. Whether or not they are always successful is almost not even the point as there is great value in seeing a different way to broach familiar topics.

However, Antboy and Antboy 2: The Revenge of the Red Fury are most definitely successful. One of the ways in which this sequel succeeds is in walking the tightrope between a continuous narrative that would lose the uninitiated and a film overly-slavish to its prior installment. Where reminders become necessary they are there but do not waste excessive amounts of screen time or come off as ham-handed.

The film jumps into the action almost immediately and moves at a steady clip from thereon out making its brisk running time not feel conversely overly-expansive. It’s also great to see a tale of super characters where the stakes are high, and matter to those concerned, but they are also focused and contained to their small, suburban hometown. It’d be relief enough just to have character time in a standard superhero film, but when you add the fact that this is a story with young antagonists and protagonists; you have something doubly rare wherein a film is treating both kids and superheroes/super-villains as people.

As opposed to the first film, I watched this one with original audio not dubbed. The dubbing in the prior installment was passable, and clearly more accessible to the younger viewers who are the target audience. Therefore, it’s fairly safe to assume that there must not be much degradation in quality offered in English dialogue. If the option of viewing the original audio version is available to you, it is clearly a better approach.

When discussing films designed for kids the potential pitfalls are many: pedantic story treatment and characters, too much escapism with little pedagogical value, or the opposite issue; too bluntly moralistic to be enjoyable. Antboy 2 does not suffer on any of these accounts, in fact, excels in folding in its lesson with the entertainment value. It turns out to have a statement about not taking out one’s anger over slights against others, self-assurance and confidence in a highly enjoyable, entertaining and funny package. The only way in which it lacks in this regard is that the atonement is a bit easily earned and the reason behind the offense not adequately explained to the offended. Ultimately, the forgiveness Pelle earns ends up being a bit like the Blue Fairy’s granting Pinocchio’s wish because despite his mistakes she knows he’s good at heart.

The visual effects while not of the highest order are used sparingly and executed well enough such that the do not detract from the story in anyway. What truly augments the story is the sound mixing and editing, which take it a step above where most would believe it to be, and the suspension of disbelief is most aided by the work of the costume department who has all characters looking the part.

The heart of the film lies in the young cast who are extremely capable and aptly pull off the double-task of being relatable and super-human. In many ways those who are returning are given more opportunity to shine. Oscar Dietz, as Pelle a.k.a. Antboy, aside from having stuntwork, and his physically weak moments when faced with his character’s version of Kryptonite; has to show a emotional vulnerability and insecurity throughout, as he’s struggling with normal adolescent angsts and insecurity balancing that with the dichotomy of having an alter ego who seems to have it all together. He is a perfect every-kid and delivers when scenes get emotional. Samuel Ting Graf (Wilhelm) and Amalie Kruse Jensen (Ida) return to the fold more assured and layered as Antboy’s sidekicks and best friends. While Wilhelm keeps him motivated and in check Ida’s fascination with one of the new kids Christian (Hector Brøgger Andersen) is understandable and very believably played by both. The new, titular villain played by Astrid Jucher-Benzon perhaps has the best arc, and achieves the highly difficult task of being a villain that can engender empathy.

As these films are adaptations of popular children’s novels in a post-Harry Potter world, the turn around on the series will be quick and there will be more Antboy to follow. However, there is a small universe here that doesn’t connect anywhere else unless you count the connection these characters and their stories make with the audience which is surely palpable, and as such make the continuation of this series something to look forward to indeed.

9/10

Mini-Review: Storage 24

Posted on July 8, 2015 by bernardovillela

Introduction

Storage 24

One certainly cannot complain that Storage 24 doesn’t try to develop its characters. However, it does so to such an extent that it very nearly turns the plot detailed in the synopsis into a MacGuffin. The tale is essentially a couple that recently broke up and their friends meet by chance in a storage facility. They make it there despite a suspected plane crash that shut down most of central London. The cargo was an alien creature that’s not trapped in there with them during a power outage. It’s a good set-up.

The sound design, however, isn’t always great and makes the characters seem more oblivious than they are to what is going on. The effects work is pretty good, as is the design of the creature. The alien does end up being a dominant story force you expect it to, but in a film that runs under 90 minutes about half the time is spent mostly in repetitive discussions that are cited as such, and don’t move things along quickly enough. When things do happen it gets better.

Another failing is that the film tries to have character-based connections to the creature à la Super 8, and to be not about the creature, but is more blunt about it, and far less successful for as much time is spent in development, there aren’t many facets to the characters created. They’re fairly basic.

The scenario doesn’t end up being a MacGuffin, but the narrative pendulum swings very wildly and ineffectively in the film. Lastly, the pace, which isn’t bad overall, takes a hit from one too many tracking establishing shots down the corridor, which are void of significance save to try and build suspense, but it doesn’t. Storage 24 tries its hand at a few things, but is too uneven and unsuccessful with regards to most in order to work.

4/10

Mini-Review: A Dark Truth

Posted on July 7, 2015 by bernardovillela

Introduction

A Dark Truth

More and more in modern cinema, in part because audiences sense it and in part because it’s been seen/done, stories with a moral, considered important, or that have some sort of social or political statement, are harder and harder to make. As enthusiasts of film or sociopolitically aware individuals, there are things you’d like to see on screen. The wants of the latter group can be said to be more altruistic and deserving of representation, regardless, a good film is required to support the aesthetic or activist statement it seeks to make.

To be clearer, here are some hypothetical examples: a film fan can say I’d love to see a serious take on rabies as a horror motif, it’s been too long. Now, outside the world of film that has no real weight. Whereas, if you were to say it’d be great if a film could show the negative aspects of privatizing water, there could be real life impact and eventual change.

Now for either rabies to become a popular horror motif or for privatization of resources and utilities to garner serious attention, the film espousing these things has to be good. Which brings me to A Dark Truth, which deals with the latter subject matter. The film has some very good touches, and the finest intentions in the world regarding the aforementioned issue. However, the anti-corporate, water-should-be-free-and-here-are-the-consequences-if-it’s-not messages, which are very valid viewpoints, are squandered in a film that’s poorly executed on some technical levels, is overlong, has some unfortunate and questionable dialogue and a few questionable casting choices and some good actors in uncomfortable surroundings. The extra-long lead-in to this piece is essentially due to the fact that I like the concept and the goals, but the end product failed to live up to the promise, which is sad.

4/10

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