Mini-Review | The Movie Rat

Mini-Review: Side Effects

Posted on August 20, 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!

Side Effects

This film plays the part of a thriller well and even includes some intriguing professional ethics conundrums. It’s well acted and well-shot. Where it implodes for me, at least in the largest and most disastrous way, is in the motivation of one of the characters. The plot that’s weaved is a bit hard to swallow to begin with, assuming you stick it out past that point, the film delves into the why such an orchestration occurs and comes up with an idea so sophomoric that it reads like something rejected as a mid-’90s Joe Eszterhas/Sharon Stone project.

5/10

Mini-Review: Out of the Furnace

Posted on August 19, 2015 by bernardovillela

Introduction

Out of the Furnace

This is a film that almost seems as if it was adhering to some edict that it needed to run two-hours in length in order to be taken “seriously.” When taking a narrative as straight forward as this one waters it down tremendously. The interstitial montages only build so much ambiance and character, and the over-inclusion of fact and de-minimization of mystery makes it an exercise in the obvious. Some really good scoring, moments of empathy don’t pull it through.

4/10

Review: Corpo Celeste

Posted on August 18, 2015 by bernardovillela

Introduction

Corpo Celeste

I have previously discussed the benefits of programs like Film Movement. This film is their most recent offering.

What is most interesting about Corpo Celeste is that it comments through its narrative or visuals on any number of topics but always does so in an interesting, thoughtful and compelling way it is never didactic, pedagogic or heavy-handed. This is key with themes such as coming of age, religion, politics, family and nationalism (to name a few) being discussed. Most of the reason the film can do this is that all of these things are discussed personally and visually. They barely need to be elucidated. When dialogue is employed to convey the touched-upon themes it is used sparingly and tightly.

The personal approach keeps a film that might be overly aloof rather cool and connected. One of the more interesting things about it is the approach the film takes in bringing its protagonist to the fore. The first few images, scenes even you rarely see Marta alone, she is in crowd scenes and crowded dinner tables and gatherings. Our knowledge the story is to be about her allows us to get a glimpse of her world and her not really seeing a place in yet, hence she’s coming of age. She soon comes further and further into focus and in some way identification is already established.

The film features a tremendously natural performance by Yle Vianello, which enables you to connect to the film not only through her character but through any facet you see fit. The two major ways to connect to the film are either as a coming-of-age tale or a spiritual journey. Many of us have been through either, if not both, so closely examining these two major journeys in one protagonist makes it quite effective.

This is a really good film that is worth your while. The DVD also features the Academy Award nominated short Raju, which I saw earlier.

8/10

Review: Bestiaire

Posted on August 16, 2015 by bernardovillela

Introduction

Bestiaire

This is a film that qualifies for this year because, though I heard of it last year, I had no legitimate chance to see it. I learned of it through a coming soon postcard while I was in New York, the soon it was referring to was not while I would be there.

What’s interesting is that I was anticipating seeing another documentary free of significant dialogue prior to this one, but when I saw this pop up on Netflix instant I had to jump at it.

Bestiare plays out like a non-fiction version of Le Quattro Volte inasmuch as the structuring of the very slight, and completely open to interpretation, narrative is nearly invisible. The description of this film on Netflix is appropriately stripped down there are extended sequences of static shot either of animals observing humans, vice versa or sometimes they seem to be staring right at us.

Some of the shots are framed beautifully to convey either claustrophobia or just how nestled some animal enclosures in the modern world are be they farms, ranches, zoos or what have you. As I mentioned, it doesn’t insist upon deciding for you what the interpretation of the film should be, believing instead that the audience is the ultimate arbiter of meaning.

I found the film very effective in places with some great cuts and angles that underscored a harsh indifference. The incessant rhythmic banging of a zebra against a wall, or the frantic pacing of an ostrich, and the, to me, disquietingly laid back work of a proficient taxidermist were scenes that really shocked me out of the lull that this hypnotic film can get you into.

It’s not a long film but it is deliberate. I would qualify it as experimental, and I think more times than not the scenes work, so I believe a 6/10 is fair for now.

Review: The Dynamiter

Posted on August 11, 2015 by bernardovillela

Introduction

The Dynamiter

As I tweeted immediately after seeing The Dynamiter, it seems to be par for the course that every year there will be a Film Movement selection that will slowly, subtly work on me and leave me bawling nearly uncontrollably, and almost unbeknownst to myself, by the end. Last year’s film was A Screaming Man. What both films share in common is a simple tale of people with simple desires, facing seemingly mammoth obstacles to overcome and struggling mightily against them.

Yet, even that congratulatory paragraph doesn’t really do this film justice. For the magic this film weaves, it creates in a mere 73 minutes. It’s a running time so brisk you’d never imagine it’d have the power in its finale to sneak up on you, but it does.

In writing up any sort of reaction piece to a film, I am somewhat loathe to quote other works, be they literary or musical, to echo my sentiments. However, that’s really more a writer’s pride than anything because sometimes, with the really good films, they are more accurate. One such work is a spoiler so I’ll avoid it, leaving just one: this film does indeed seem to have “The Invisible Touch,” it takes control and slowly tears you apart.

It’s a film that’s deserving of a re-screening and a bigger write-up, but something tells me I’ll be writing about it again at the end of the year*.

10/10

* I did write about it at the end of that year, here.

Mini-Review: Spud

Posted on August 9, 2015 by bernardovillela

Introduction

Spud

This is a South African film of some acclaim, which I sought a foreign region DVD of since its US distribution is more doubtful the further from its initial domestic release we get*. Spud was nominated for six South African Film and Television Awards (the foreign award is something I may touch upon in November+) and an adaptation of a famous novel series. The film stars Troye Sivan (most well known from YouTube or Wolverine) and John Cleese. The film sets as a backdrop the momentous events of 1990 and the release of Nelson Mandela, but what it focuses mainly on is a funny, occasionally touching, tale that’s a dawn of awareness, and coming out of one’s shell. It’s an appropriately episodic tale, that moves well for the most part and features great, surprising and fitting songs as well.

7/10

* All the Spud films are now available to rent or own on US iTunes.

+ I did. Here.

Review: Leviathan

Posted on August 8, 2015 by bernardovillela

Introduction

Leviathan

You’ll note that in my review of Bestiaire I stated that it was not the first doc of its kind I was anticipating seeing. The one I thought I’d see first was this film, Leviathan.

Why that came first boils down to chance, but I am glad I saw it first. Both these films have similar constructs in that they’re documentary features with no narration, and practically no dialogue of any significance. Both deal, in part, with the interaction of modern man with animal kingdom, but Leviathan offers a more focused, kinetic, at times dreamlike, other times haunting, look at the subject.

If one were to enter the film completely cold, and watched all the credits through to the end, virtually the only tidbit of information left out of the synopsis was that fisherman were given cameras and told to shoot with them.

The location comes though the end credits, and as nebulous and surreal as some of the early images of the film are, you soon start to see what’s happening.

The most impressive things about Leviathan are: first, the sound design, which more so than the images most of the time, drive home the uneasy balance between monotony and danger of the job. Second, how the Bible passage at the beginning sinks in after it’s done, as does information disseminated in the end credits.

Without knowing what to expect precisely, I found myself retracing certain visual passages and started coming to grips with what I had just seen through the lens.

Leviathan, much like the aforementioned film Bestiaire, is not for everyone, but it is certainly a unique experience and it’s a more immersive, less observational take of this particular documentary niche.

7/10

Mini-Review: The Best Exotic Marigold Hotel

Posted on August 7, 2015 by bernardovillela

Introduction

The Best Exotic Marigold Hotel

The Best Exotic Marigold Hotel is a cautionary tale, in the best way possible, and part of why I love the year-end sprint to catch up on releases of the year. Towards the end of the year, I get a little less finicky about selections and just watch things, not just to be adventurous but admittedly to bolster the BAM qualifiers. This may all sound quite underwhelming but the impetus to see this film was really a personal recommendation.

I knew of the film but frankly the trailer and all other marketing elements didn’t sell the film. What looked at the outset a rather myopically comedic tale turns out to be, in reality, a wide-ranging inclusive, heart-warming, bittersweet, charming and funny film; in short, one of the more well-rounded experiences.

The character’s narrative threads which start out very disparate reminded me in some ways of Love, Actually but with more interweaving and less contrivance to get things linked up. There is a general emotional over-current that makes this true also, not just some similar cast members.

Through the natural functioning of the narrative there is ample room, which is taken full advantage of, for commentary on myriad topics that is never extraneous, which adds to the enjoyment of the film.

One thing I can applaud the marketing of the film for is that it did leave many of the surprises of this tale in tact, and if you take this journey you will definitely be rewarded.

10/10

Mini-Review: Cupid’s Balls (Amors Baller)

Posted on August 6, 2015 by bernardovillela

Introduction

Amors Baller

Perhaps the most interesting thing about Amors Baller, aside from the way that it handles the Swedish/Norwegian dynamic, is that it puts football (soccer) out front as the key to a boy (Kåre Hedebrant, Let the Right One In) winning over his new crush. While the junior tournament plays a major part, it’s a setting that doesn’t take up as much screentime and the results doesn’t factor in as much towards the end as you might expect. It ends up being more about relationships and friendship. It’s a funny, heartfelt and quick-moving film.

7/10

Mini-Review: Teddy Bear

Posted on August 5, 2015 by bernardovillela

Introduction

Teddy Bear

Teddy Bear is a testament, not only to Film Movement’s Film of the Month Club and the bonuses they include on their DVDs, but cinematic acclimatizing. What I mean by that is not necessarily that the packaging of a film, or the presentation thereof, can condition a viewer, but when you’re visiting a slightly different avenue of film a bit of an introduction can be beneficial.

My best and favorite professor in film school was Max Simkovitch. Not only was he an uncanny “bill builder” in terms of double-bills and triple-bills, but he also put you in the right frame of mind to absorb the film you were about to see. Is that to say I liked everything I screened in his classes? Not at all. However, it kept me in place where I would and continue to fight against making the film what I thought it ought to be, take it for what it was and judge it on its own merits.

How this relates back to Film Movement is that for the DVD of Teddy Bear they include two prior shorts by Mads Matthiesen an up-and-coming Danish filmmaker. In seeing these two shorts, one of which was the basis for the feature Teddy Bear, you definitely get a taste for his style and in the short Kim Kold shows flashes that, yes, he will convey the effective gentle giant needed for the narrative.

The feature is an effective tussle between mother-and-son, portrait of loner trying to break out of his shell and an underdog love story. The pace is imperfect later on, but the tale is always engaging, endearing and watchable, if not completely realized.

7/10

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