story

Thankful for World Cinema: Before Tomorrow

Posted on by bernardovillela

Before Tomorrow is the conclusion of a trilogy of films about the Inuit people being shot in Canada. The first being Fast Runner, which I saw and loved, and The Diary of Knud Rasmussen, which somehow was missed. It is a thematic trilogy, and not a sequential trilogy, following more in the European tradition where it’s variations on a theme and not necessary a contiguous storyline.

The film is both sparse in dialogue and replete with visual wonders. It might seem like a simple task to go up north near the Arctic Circle and get wondrous images and let the vistas do the work but there are frames, compositions and exposures that truly make these shots what they are. The edit also plays into the visual beauty of this film. There are at least three dissolves which are executed with such grace and beauty on both ends it brought to mind a quote by Truffaut where he says “So few directors can gracefully dissolve one shot into another.” This most certainly is not the case here.

There are also two different kinds of shooting here. There are more narrative-based landscape shots as the story gets more and more focused on the Grandmother (Madeline Ivalu) and her grandson (Paul-Dylan Ivalu), yet at the beginning there is quite a bit of handheld documentary-style shooting which is very well-done.

What you get in this film and its predecessors is truly a modern interpretation of Neo-Realism. Non-professional but engaging actors playing parts they understand in minimalist storylines. To relate the entirety of the tale would be entirely too easy within this space and would leave you with no surprises. There are surprises to be had and there are many emotions to be experienced within.

What will be said can be true of all simplistic storytelling, it’s the execution that elevates it, and that’s definitely the case here, yet as stripped-down as the on-screen action is there manage to be stories within the story. The film examines the oral traditions of the tribe and there are frequently stories being asked for and told that either inform or contrast the action we have been witness to.

The film ends as a close to the trilogy because after the tale of this particular installment is told then there is a slow-motion montage of the tribe living. Barring seeing the middle installment this could very well be the most overlooked, under-appreciated and impressive trilogies of the decade.

This is a film that will not cut quickly, that will take its time to develop. Allow it to. There is more than one way to make a film and to make a hyper-kinetic film with a people who are concerned with months and seasons and not so much with minutes and hours would seem wrong.

What you find here is a tidy, simple tale which is well told and as the best cinema does it shows you a world you would otherwise have no access to. It’s a tender and tenderly told tale which has humor, humanity and surprises. It’s a film that truly transports and even only having seen the bookends this was the perfect capper to the trilogy.

10/10

61 Days of Halloween: Daybreakers

Posted on by bernardovillela

Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it.

Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now.

Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment, I will try and suggest something worth while as well.

Daybreakers

Daybreakers is yet another vampire movie who may have fallen victim to an overexposed genre in terms of box office. While it does have a good premise, and creates a seemingly true to life realistic future world that never seems hyper-real, it is by no means perfect. The positive is that there were at least three legitimate very good scares and shocks in this film.

What is interesting to note in the film is that directors Michael and Peter Spierig not only wrote the movie but were also lead effects artists, which allows their vision to be total in the film, and the effects work is most definitely up to snuff. It is in story that the film lacks at times. There is definitely a visual signature to this film, which possesses the rare quality of being desaturated much of the time yet still being interesting to look at. Their future work will be something to be on the lookout for.

Willem Dafoe steals the show in this film, which is a double-edged sword. On the one hand he’s a great performer and it’s great to see him work, but on the other hand as soon as he enters the picture everyone else becomes less interesting even the protagonist, which of course is never good. He and his character are such large personalities that they dominate scenes he is in. Thankfully the good doctor of this tale, Ethan Hawke, does get some alone time so we can still follow him distraction free.

The second act is without question the hardest act to execute in a film. First and third acts it is often said are a piece of cake. There are struggles with pace, motivation and logic through the second act as the film nears its conclusion.

One of the central conflicts of characters is between Dr. Edward Dalton (Ethan Hawke) and Frankie Dalton (Michael Dorman). The former being an altruistic doctor seeking a blood substitute for the vampire world and the latter being a soldier. Towards the end Frankie informs Edward why he infected him. It is difficult to tell whether or not Frankie is lying and if he is truthful as it’s a pretty flimsy excuse that is not compelling at all.

While there is the rare effective use of slow motion the ending conflict does get a little bogged down, however, the cure that is thought of in this film is clever.

The movie avoided ending on time and decided to close with a cheesy scare attempt failing to notice that the last impression we get of the film is as important, if not more so, than the first. Conversely the first impression we get is a little odd. We get an inciting incident, a well-done dramatic little scene, featuring a character who has no bearing on the rest of the film whatsoever.

It is worth watching but is does not quite live up to the expectation that is set up during a very clever and effective first act.

7/10

61 Days of Halloween: Devil

Posted on by bernardovillela

Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it.

Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now.

Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment, I will try and suggest something worth while as well.

One thing you will not get in this particular review is citations of other reviews and rebuttals in defense of M. Night Shyamalan. While I stand by the opinion ultimately expounded in my review of The Last Airbender, I would’ve altered my approach if I had to do it over again (Thus, it has not been re-posted yet – and may remain so). As for this film, it’s the first of what is being referred to as the Night Chronicles Trilogy. His impact on this film is a story credit alone so mention of him will be minimal, aside from saying that his stamp can definitely be felt on this story regardless of the level of involvement he actually had. This is a thriller which hearkens back to some of his earlier films and oddly one where you’re not necessarily waiting for a twist, but you get it anyway and it does not color the whole film.

The film starts with inverted shots of the Philadelphia skyline. They are shots whose significance is not immediately made known, and not overtly explained. They set the tone for a film where something is slightly amiss throughout.
 The film does well to keep its tale confined to the elevator as much as it possibly can. Granted to investigate and to try to get to the bottom of the mystery it is necessary to go outside on occasion; the fact that so much of the film is contained to that cramped space definitely is a boon to the narrative and aids its effectiveness.

When dealing with a film that is so confined such that its part-absurdist chamber drama it is crucial that your cast be capable of carrying the film and this cast is definitely capable. The core of the cast being: Logan Marshall-Green, Jenny O’Hara, Bokeem Woodbine, Geoffrey Arend and Bojana Novakovic. What is most compelling about not only the story but also their respective portrayals is that at one moment or another they all lead you to believe that they, in fact, are the devil in the elevator car.

The film also employs a narrator, who acts as storyteller. A technique it seems that is a bit on the rebound in film. However, in this case this narrator does not get into the fray too much but merely fills in a few blanks and acts, essentially as the glue binding this tale together. It is this voice that gives a little reason to the tale. Whereas without this narrator it might just send a chill or two up your spine with the narrator there is a point made and something to reflect upon.

With the combination of the opening montage and the narrator setting the stage the tension level in this film is ratcheted up pretty early and rarely if ever dissipates throughout out. There is a consistent feeling of dread which is pounced upon at opportune times and while there are peaks and valleys the highs are high enough to sustain a significant level of interest.

The only things that can be questioned are very minor points which could’ve been addressed by more judicious editing of the footage and story itself. One concern is that while most believe the elevator is malfunctioning due to possibilities that are terrestrial we follow around a janitor. He vanishes from the story for too long. Pieces of his journey to the roof and basement could’ve been spliced in real quick so he wouldn’t disappear for so long after having been a significant player in the early going. The characters also don’t think to use their cell phones as flashlights during the temporary blackouts for far too long. The introduction of the religious element of the film is a bit clumsy and lastly our protagonist, Detective Bowden (Chris Messina) does a Sherlock Holmes impersonation in deducing the circumstances surrounding a suicide early on that is not only a bit extraneous but also a little hard to swallow.

However, Devil is still a highly effective and well-crafted tale that is an edge-of-your-seat kind of film that is well worth your time.


8/10

Thankful for World Cinema- The Passion of Joan of Arc

Posted on by bernardovillela

When looking for a theme in which to select films from the start of November until Thanksgiving being literal is not the best option. Films centered around Thanksgiving tend to be overly obsessed with dysfunctional families. So in thinking about the nature of the day which was initially a celebration of survival in the New World, I thought why not focus on foreign films.

The Passion of Joan of Arc

Maria Falconetti in The Passion of Joan of Arc (Gaumont)

The first thing that needs to be said about The Passion of Joan of Arc in the state it currently exists is that it’s a miracle we have it at all. Several cuts vanished through the years and this one suddenly surfaces in a Norwegian mental hospital 25 years ago. Truly, the salvaging of some of these older films is at times miraculous and lends even more credence to the importance of film preservation. These works of art shouldn’t be lost and we can’t leave it to chance to find wonderful cuts such as these.

Second, is if you’re watching the Criterion collection version of this film opt for the Voices of Light soundtrack. Again an interesting note is that even though music clearly, according to all the records, was played when this film was screened Dreyer has nothing in his notes to indicate what that music should be, which is odd if you see his other work you know how exacting and precise he could be. So this is as close to an “official” score as you get and it is truly wonderfully done and moving and while it claims not to be a score it syncs beautifully with the images and story.

This film should be viewed for the performance of Maria Falconetti alone. It is often cited as one of the greatest in the history of film a fact which is also unique to this film considering how infrequently Falconetti acted on camera, however, this is no rote repetition of consensus. She is marvelous. It can truly be said this performance is well ahead of its time and reads like one of the greats of the 40s who had the benefit of sound. Falconetti needed no sound, no words and carries this film single-handedly in the rare performance that can be called a tour-de-force.

Lastly, there is the story itself and how it unfolds. I think it is likely one that transcends religion. Whether you’re inclined to believe Joan or Arc’s claims or not you see someone being horribly mistreated, you see one of the judges hurting because he believes her and you witness the tragic outcome of the tale.

This film is a masterpiece of silent film. You’ll note as you watch very few titles are actually needed. It manages through it’s unique visual style to communicate its tale very effectively. It is a must see.

10/10

61 Days of Halloween- The Video Dead

Posted on by bernardovillela

Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it.

Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now.

Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment so I will try and suggest something worth while as well.

The Video Dead

The Video Dead (MGM)

Pretty much the best thing that can be said about The Video Dead is that at no point was I compelled to turn it off. Other than that there really is no redeeming quality here. It is a case of auteur theory gone awry as the director was the only writer and other producer and someone should’ve checked him on a few things.

It pretty much starts right away with a reclusive and supposedly renowned author getting a TV delivered to his house. However, he did not order it. Why then is it accepted? Then zombies are seen roaming about on it even though he turns it off and it turns back on again, even after it’s unplugged and he makes no attempt to get rid of it. So right there in the teaser you have two story issues already.

However, there is the issue of every single performance in this film. To put it bluntly if they were trying to be terrible they did a tremendous job but I give none of the actors invovled in this travesty that kind of credit as I don’t think it’s possible to be this bad if you’re trying. The older sister (Roxanna Augesen) always sounds sarcastic and the brother (Rocky Duvall), who is about 18 sounds like he’s trying to play twelve whether he means to or not.

I can’t place all the blame on the actors though only some because the dialogue is truly atrocious. From being blatant about the mixup in the delivery to getting TMI about the first kill’s poodle’s mating habits to someone who is majoring both in aerobics and music videos it’s one car wreck after another.

Even the cinematography is not immune from odd decisions and bad angles.

It’s comedically bad at times but more often than not it’s just a painful experience to watch this thing. One character introduces himself like so “I’m the Garbage Man. I dispose of human garbage.” Which is fascinating but who disposes of cinematic garbage because I’ve got a heap sitting here that I can’t get out of my mind.

1/10

Review: Spy Kids: All the Time in the World in 4D

Posted on by bernardovillela

Mason Cook, Joel McHale, Jessica Alba and Rowan Blanchard in Spy Kids: All the Time in the World in 4D (Dimension Films)

Here’s another case where compartmentalization is key. In My Rating Scale I try and stress that I am grading each and every film on what it is and not against every other film in the world. Meaning, I will not downgrade a film simply because I cannot live in a world where both See no Evil, Hear No Evil and Touch of Evil have the same score. In fact, I live in world where they do. I think they’re both brilliant in their own way. Which is just another way to introduce the fact that I will rate a Spy Kids film (or a Rodriguez family film) as such and not against El Mariachi or other films in this genre.

Having said that I do like this film. It’s not better than the first but it’s better than the third at the very least. There is in its circularity a cohesion to the narrative that one might not necessarily appreciate through the CG and 3D. Not to say that there’s any subtlety here but the theme seems more unified and more parallel than it has in most other installments it just doesn’t always seem like it is.

Reboots can be a tricky thing. Whether you’re just restarting a story with new characters or re-casting those characters you’re finding new actors to fit the archetypes that have made the franchise work. The most resoundingly successful aspect of this Spy Kids film is the new kids in the persons of Mason Cook and Rowan Blanchard. While they each show some echoes of their predecessors they have characters and abilities uniquely their own. Cook has a quiet depth and Blanchard an unpretentious spunkiness that make this new tandem a worthy rival of Vega and Sabara who themselves have very humorous and effective supporting roles in the film. Also, very entertaining in this film is Jeremy Piven whose interpretation is as funny as it is wild and he becomes a rather memorable villain in the series because of it.

One note of warning to send out there those that are not fans of potty humor best stay away from this film as it is most definitely the more pronounced in this film than ever. As a whole the story is enjoyable and moves quickly except for those parts where it circles around the drain, so to speak, before making that final connection. One piece of that puzzle is kind of apparent at the very beginning but I think even if you do get ahead of it it’s not likely to ruin it.

The effects work is somewhat stepped up here and holds up better to the 3D than the previous edition did. This is where most of the creativity in the film shines through.

While I will defend Robert Rodriguez in principle as it is his right, much as William Castle saw it as his duty, to create a fun gimmick to promote his film, the fact of the matter is the Aroma-Scope just does not work. I saw the movie twice at two completely separate theatres. The cards all have a unified odor and it’s hard to get those squares to smell like something different and when they do they rarely smell like what they’re supposed to be. However, that only detracts from the film minutely. Even if the smells were brilliantly accurate it’s still distracting you from the film (you look down, find the number, scratch and sniff). So no real damage done there.

Overall, I think that this film will definitely win over fans of the series, myself being one of them I was more than a bit skeptical when I first heard about it and I think that it will also create many new fans in its target audience. Moreover, I think that it ends on a note where growth of the story and the franchise is yearned for and not a place where you think potential has been maximized. Should the new generation continue it will do so in stronger films.

7/10

Review- The Art of Getting By

Posted on by bernardovillela

Freddie Highmore and Emma Roberts in The Art of Getting By (Fox Searchlight)

When I first saw a trailer for The Art of Getting By my initial reaction was that Freddie Highmore is back with a vengeance. This film, and the previously reviewed Toast, definitely bear that out. Highmore does some pretty difficult work in this film as he’s asked to make a character likable who is not very likable at a distance and who a lesser actor may make detestable.

However, the film establishes his philosophy on life and why he approaches it the way he does right off the bat through voice-over. The voice-over is used sparingly afterward but the “We’re going to die, so what’s the point?” attitude is not hard to wrap one’s head around it’s just that he takes it to an extreme level. However, I have no qualms with it because part of cinema is about living vicariously through others.

Of course, what does snap him out of that in part is a girl played by Emma Roberts. Hers is a task that’s also not very easy because in this film she plays perhaps the most enigmatic female lead I’ve seen since Emily Blunt in Wild Target. I believe I have cracked her as her behavior does seem strange and I think a lot of her subconscious motivation is that she really is a carbon copy of her mother but she fears admitting it and thus a lot of the irrational behavior you’ll see form her is explained.

While George (Highmore) is getting to know and like Sally (Roberts) the tension at home starts to bubble to the surface and he also is forced to come to grips with his slacking off at school and either make his work up or he’ll be expelled. Slowly and perceptibly he starts to change and the straw breaks the camel’s back you know he’ll make it up. A lot of the unexpected comes in his relationship.

What this film does well is that it manages intertwine several uncertain outcomes towards the end such that your focus isn’t entirely on one so even though things, to an extent, work out as expected there’s still that tension about which will be resolved when and how. One thing it keeps you waiting on is to see his one art project. It should also be noted that due to Sally’s enigmatic nature what she does at the end is by no means a sure thing.

While much of what you need resolved to have what can typically be considered a full filmic experience does get resolved there are a few things that are left open to interpretation. This openness was something I realized afterward where some events were viewed differently by myself and a friend.

For the most part this film does a fine job of carving out its universe and establishing who these people are and how their world functions. What never did jibe was the drinking. The leads are portraying high school seniors, eighteen-year-olds, yet they seem to be able to get alcohol by simply buying it (18 obviously being underage in New York City). This isn’t a prudish complaint, kids drink, if that factors in the story; fine. However, something as incongruous as getting served in a bar is something that cannot go unmentioned in the dialogue.

Despite a few unfortunate enigmas in the storytelling I believe that this film effectively created a narrative of the modern slacker and how he is snapped out of it and finds things to live for. The larger (or smaller) the world grows the more we can feel isolated at times so an occasional reminder about what makes it worth it is welcome.

7/10