Mini-Review | The Movie Rat

Mini-Review: Yossi

Posted on November 16, 2014 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!

Yossi

If there’s one thing I didn’t want inferred in my writing about North Sea Texas, is that all gay cinema should send out that ray of hope. There are as many stories as there are people. What I feel is important about that film cinematically and socially is that now that story exists in the face of many overwhelmingly dour and/or tragic tales. That’s not to say that it’s a mandate. Granted there’s drama in a tragic set of circumstances, at times unparalleled in pathos, but the seeming disproportion also needs to be held in check. However, this by no means there should be a Hollywood formula implemented.

I say this by way of introduction to Yossi because a few things need to be taken into consideration when viewing it. Firstly, even if targeting a niche, a film needn’t have far-reaching ramifications, but can be merely a character study. Secondly, there is the matter of another culture at play so we’d be wise not to judge the film by our standards mores. However, those concerns are mostly about lesser details.

What does bear considering cinematically is that this is a sequel and it would behoove you to see the first part before this one as I did. It finishes up a story neatly and rather well after much internal conflict. The only issue that’s created is that the end is kind of abrupt. However, there is a slow progress, slower than preferable, but it’s true to the character. What’s most intriguing is that it is a two-part process of being inwardly comfortable and outwardly comfortable with oneself. It happens in babysteps without fireworks or a parade, but there is an arc and there are moving scenes specifically one played among Orly Silbersatz, Raffi Tevor and Ohad Knoller that each echoes the last film. This is a film worth viewing in tandem with its predecessor Yossi & Jagger.

7/10

Mini-Review: Post Tenebras Lux

Posted on November 12, 2014 by bernardovillela

Introduction

Post Tenebras Lux

At some point while watching Post Tenebras Lux I paused to make sure I had an a correct understanding of what the title meant. I knew it was Latin, I had a notion of each individual word, but wanted to make sure that in context it meant “After Darkness, Light.”

Slowly after the film was complete I had a theory about what it was I had read as I crossed the terrain. In a fashion not dissimilar to when I first saw Holy Motors, where it has sections that I had to ferret out rather than an ultimate goal, or feeling; here it was a bit of both that needed to be ferreted out simultaneously. I believe I have those answers now. However, the overriding point of a film in the style of Post Tenebras Lux is not ultimately what is its “truth,” but how it weaves its mysterious web, what an audience’s level of engagement is and if you find a connection to it.

It’s almost disappointing to describe it in such an alchemical way, but what it boils down to is do its ellipses, its seeming impenetrability, repel or compel you; frustrate or fascinate; goad or gratify. In the end, I enjoyed the grapple more than I fought with it. I enjoyed parsing scenes, sequences and the whole based on what I perceived to be the perspective; whether I felt it reality or hallucination; past, present or future.

The impact I felt from it may not have been as big as the aforementioned Holy Motors, but it is quite nearly as fascinating, in a quieter, more introspective (just whose introspection it is, is debatable) rumination on life, culture and humanity.

8/10

Mini-Review: The Giants

Posted on November 5, 2014 by bernardovillela

Introduction

The Giants

If there’s a trope, or worse yet a cliché, you can name in a coming-of-age film it’s very likely that The Giants sets you up to expect it and then subverts it. That is not to say you should approach this film with a checklist, but there are many times wherein either salvation or damnation threatens these characters, but what you see instead is maturation and survival. Brothers, Zak and Seth, along with their friend Danny are isolated both by circumstance and by choice. The adult world is an invasive burden on their existence but one they are ultimately forced to cope with by themselves.

The film has opportunities to embrace conventions either of dystopian coming-of-age stories, like Kids, or more utopian ones where despite all the travails the characters go through there’s a classical Hollywood ending. This film takes the road less traveled as often as possible when faced with a plot point that can be seen as fairly common and that choices pays off over and over again.

With parents that are perpetually absent without true explanation, it’s a tale essentially of individuation rather than any of the other pitfalls of growing up. There’s definitely no love interest in the tale, and, without station too much, if there is even any true commentary on sexuality is left ambiguous.

The restraint and certainty that the film has in the handling of its plot, edit and musical selections is matched by the young cast. This especially applies to Zacherie Chasseriaud shows the poise and control of a veteran from first scene when he deals with his mother’s absence and nearly cries, but doesn’t, through to the end.

Bouli Lanners does not seem to be going for either extreme of the emotional spectrum with this tale, but rather and accurate portrayal of kids in circumstances out of the ordinary forced to grow up. They are neither idealized through nostalgia or auteristic proclivity nor are they “gritty” just for the sake of it. Elements that could be used for shock value in less-skilled hands here are what they are, meaning part of their existence and are there without commentary. The Giants is a highly effective, well-crafted tale deserving of a larger audience.

10/10

Mini-Review: La Sirga

Posted on November 2, 2014 by bernardovillela

Introduction

La Sirga

This is a film where much happens beneath the surface. It’s a narrative wherein we also have few, if any, assurances of what occurred prior to the film beginning and what occurs after it is completed. In fact, what can be considered the climactic moment of the film isn’t visible, but rather takes place behind a closed door. There isn’t too much said, but what is said bears thinking about and reading between the lines; as nothing jumps out and screams “Hey, this is important!”

That’s not to say the film isn’t engaging, or that conflict is absent. It’s just that it’s not as engaging as it might be and the conflict is highly internalized. The cinematography of the film is quite spectacular especially in terms of framing. It features some of the most exacting frames I’ve seen since Found Memories. It’s definitely a film worth viewing and considering.

7/10

Mini-Review: The Brass Teapot

Posted on October 31, 2014 by bernardovillela

Introduction

The Brass Teapot

This is a film that tells a quirky, fairly originally-spun tale about unlimited riches being made available to a young, struggling couple and the toll that takes on their life. As funny as the film manages to be for a while, it does start to lose its bearings as it moves on. The rules seemingly change on a whim and it builds to a chaotic yet fairly anticlimactic finale.

The film has its moments and its laughs as well as good performances but it ultimately doesn’t keep itself in check and loses its chance to be a quirky charmer as it goes off the deep end.

5/10

Mini-Review: Byzantium

Posted on October 31, 2014 by bernardovillela

Introduction

Byzantium

If one were to just look at the surface of Byzantium you might think it rings a bit too familiar as compared to other vampire-related films of recent vintage. However, when you consider the fact that this film has Neil Jordan at the helm, or if you just simply watch it then you see that surface similarities are merely what the name suggests: superficial. For what Byzantium has in spades are what other vampire narratives all too often lack: backstory, character, emotion, depth, conflict and humanity.

To put it quite simply, the only thing Byzantium does that is a little tiresome is something that’s true to a teenage character, it’s that it rehashes the same conflict over a few times without true progression of the struggle. However, it does move forward and unravel more of the web that these characters find themselves in.

The film is spearheaded by another brilliant turn by Saoirse Ronan and by far the best performance I’ve seen by Gemma Arterton to date. It’s another film that epitomizes the fact that drama is the foundation of all other genres and is intrinsic to building a good horror tale, and this is a great one.

9/10

Mini-Review: A Place at the Table

Posted on October 30, 2014 by bernardovillela

Introduction

A Place at the Table

When one discusses hunger in America there are a lot of seemingly disparate facts that need to be connected so that the roots of the problem are readily understood to all. When No Kid Hungry and other similar charities started to have more of a national presence the dots weren’t quite connecting. That’s not meant to downplay the quality of filmmaking here to one similar to a PSA. I merely mention that to illustrate that some issues have enough layers such that a film such as this one is a necessity. The economic restraints of having and applying for food stamps; concepts such as food deserts, food insecurity; the budgeting of school lunches; the link between poverty and obesity; the dated structure of food subsidies; are all things that cannot quickly be discussed and this film does well to correlate these facts and paint a picture.

However, the film is issue-centric only when needed. As much as it can, it dramatizes these political issues with tales of actual people that personify certain struggles. Thus, the issues are brought home more so than they would be otherwise. It’s yet another documentary that tackles a dangerously large scope but it does fairly well to rein in all the contributing factors. Any who see it will be made more aware and it will likely spur action by many.

8/10

Mini-Review: The Deflowering of Eva Van End

Posted on October 29, 2014 by bernardovillela

Introduction

The Deflowering of Eva Van End

I’ve discussed the fact that I quite enjoy the Film Movement film-of-the-month club. One aspect I’ve mentioned less frequently than the included short films on each DVD release, is the fact that on the inside cover there is usually a statement about the film from both the company and the director of the film. I make it a point to not read either until after I’m done watching the feature. The reason I mention that is because what struck me from the first frame is what Eva’s (Vivian Dierickx) look, her persona; reminded me of was Dawn Wiener, the protagonist of Todd Solondz’s Welcome to the Dollhouse, and as the opening scene played out that notion was reinforced. Those sentiments were echoed in the statement. However, I agree this is its own film because it’s not a myopic view of a world but rather a portrait of an entire family.

Eva is our entry into their world. She gives us our first glimpse of them and thus we see them in a very broad stroke. As Veit (Rafael Gareisen), the German exchange student who turns their world upside down, changes their behavior we learn about them, what their insecurities were and what they try to do to take control of an alter their lives.

It’s a very funny film in both its exaggerated renditions of reality, but also a very real one with dramatic consequences. The characters progress but are not perfect; they remain flawed in the end, but better for the experience. Veit could be the only one who walks through it unchanged. He is what he always is, it’s what the family projects him to be that alters.

Through artful cinematography, editorial finesse and music that enchantingly encapsulates this odd world, there are well-executed tonal shifts and visceral impact that far overcome any minor quibbles I may have. The Deflowering of Eva Van End is a film that paints the portrait of a family far more fully than its title suggest and is recommended viewing if you see it about.

9/10

Mini-Review: Under the Bed

Posted on October 20, 2014 by bernardovillela

Introduction

Under the Bed

This is a film that’s a classic non-starter. The work that’s done to build the characters, the brothers, at least, is appreciated; as is the late reveal of several key pieces of information. However, the issues that come into play are that the film ends up not having enough jolts or enough incidents. The battle against the evil entity these brothers fight is forestalled too long, is resolved to quickly and far too anti-climacticly. So you have a film where engagement is barely kept for as long as it takes and then there’s no real pay-off. With a horror film, especially one of this type, you know certain characters are going to be safe so it really ends up being more about how things occur rather than who makes it. The film has really good performances by Jonny Weston and Gattlin Griffith, especially the latter, but not much else to show for itself.

3/10

Mini-Review: Shadow People

Posted on October 15, 2014 by bernardovillela

Introduction

Shadow People

I could probably write a much longer piece on this film. One thing it does fairly successfully is mash feature and documentary techniques together. It fully commits to the this “inspired by real events.” The subject matter (Seeing malevolent shadows that would kill you in your sleep if you know they exist) is very strong. This commitment to approach, and the scoring help driving home despite missteps in the approach on occasion and casting issues. A testament to it’s efficacy is that it still was unsettling even in spite of nagging doubts about the quick escalation of the investigation of the phenomena and the fact that much of the second into the third act is spent crystallizing the modus operandi of these beings. Some aspects work brilliantly, for example, it’s a shame I watched it on TV because it was trying deft, slight scares at time that would read better in a theater, some facets of the myth aren’t quite as strong as the others, however, it’s a fascinating one.

Granted the bones of it do have a source in popular culture but its impact on the cinematic realm, as far as I know, is fairly small at current. What one can say is that this film is not unlike The Curse with better production values that’s slightly less clear on its own rules – in short, it excels in spite of itself. Taking that into account, and owing to how it made my skin crawl, I can give it a…

8/10…

despite my reservations.

M	T	W	T	F	S	S
						1
2	3	4	5	6	7	8
9	10	11	12	13	14	15
16	17	18	19	20	21	22
23	24	25	26	27	28	29
30	31