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by Bill Gibron

5 Jun 2008

Feel that heat? Summer is really starting to fire up. For 6 June, here are the films in focus:

Kung Fu Panda [rating: 8]

If the Shaw Brothers had access to CGI and the post-modern voice talent, Kung Fu Panda would have definitely been part of their stable of wuxia epics.

It’s been interesting to watch the youth-ification of martial arts. Sure, kids have always been the major market when it comes to karate lessons, video games, and other media oriented kung foolishness, but it seems slightly surreal that the under 10 set would be the primary demographic for such obviously adult aggression. Remember, for every lesson about loyalty and duty, there’s a series of roundhouse kicks and face-destroying punches provided. While it preaches an anti-antagonism stance, violence still sells these spectacles. It’s the same with the latest CGI effort from Dreamworks and Paramount. Entitled Kung Fu Panda, this candy coated compendium of cartoon idioms may look loveable, but it’s all about the butt kicking in the end. read full review…

You Don’t Mess with the Zohan [rating: 7]

From the wholly insular and yet perfectly realized fantasy world it creates to the nonstop barrage of ethnic slams, You Don’t Mess with the Zohan is a comedy of contradictions..

Jewish humor has driven American mirth for as long as their have been baggy pants burlesque comics and joke-stealing vaudevillians. Update it to the pre-modern mirth of Mel Brooks and the post-modern mensching of Woody Allen and you’ve got the current concept of wit in both of its ethnic excesses. But is there such a thing as plain old ‘Jew’ humor, that is, satire based solely on the notion of what an entire race of people find culturally significant and outwardly uncomfortable.  Or for that matter, can the entire Middle East crisis be summed up in a series of slapstick sight gags and borderline racist rejoinders? Adam Sadler wants to find out, and he’s bringing along that fascinating flavor of the moment Judd Apatow with him. read full review…

Mother of Tears: The Third Mother [rating: 8]

Hitting the ground running and never giving up for 90 nasty minutes, Mother of Tears is Dario Argento’s final statement on his precedent as the definitive Delacroix of dread..

Fright fans have been waiting for this event for nearly three decades. After 1980’s Inferno introduced the concept of a continuing saga about the infamous Three Mothers, and the possibility of the ultimate horror trilogy, those who’ve followed Dario Argento’s career have wondered when he would finally deliver the last act of his terror triptych. Suspiria has long been considered a macabre masterpiece, the kind of unbridled moviemaking genius that ushered in copycats, great expectations and the possibility of even better things to come. The Italian auteur’s follow up was crucified, critics and audiences both startled by its dissimilarity to its source, as well as its purposeful sense of style over substance. Now comes Mother of Tears: The Third Mother, and again, Argento is defying convention to deliver another totally unique take on his previously forged black magic reality. read full review…

by Bill Gibron

29 May 2008

We’re two months in, and yet the Summer season continues on. For 30 May, here are the films in focus:

Son of Rambow [rating: 7]

Wistful and a little wonky, playfully recreating a fanciful early ‘80s UK summer, Son of Rambow definitely feels like someone’s personal experiences reinterpreted for public consumption.

It’s clear that, if music provides the soundtrack to our lives, movies make up the mental scrapbook. While we are a far more aural than visual race, we do tend to take certain films at face value. We’ll shiver at the thought of a shower after Psycho, or become the wariest of beach goers after Spielberg bares his Jaws. Yet we don’t typically take the actual image with us. Instead, a motion picture is filed away as a feeling in our cultural cabinet, lovingly recalled whenever a similar scene or sequence pops up. For the young boys of a small English town, Sylvester Stallone’s unhinged Vietnam vet with a personal vendetta and a wondrous way with weaponry becomes a symbol of their social coming of age. The reverence and need for a remake forms the basis for Son of Rambow, an effervescent look back at one director’s post-punk full review…

The Strangers [rating: 4]

The Strangers is a deadly dull experience in boredom, strangled by two cinematic stumbling blocks - one external and one of its own unfortunate making.

The art of suspense is dead, or at the very least, dying. Few in post-modern filmmaking know how to establish dread without drowning it in gore or just boring us to death. Part of the reason lies in how cinematically complex the basic bloodless thriller must be. It has to work on the psychological, as well as the physiological and pragmatic levels. As Hitchcock accurately stated, the viewer must be invariably linked to the fate of characters they just met, and may know more than. It’s all a matter of timing and talent. Tossing grue at the screen is as easy as opening up a can of red paint. Getting audiences to grip the edge of their seats stands as a rare motion picture accomplishment.  read full review…

Other Releases—In Brief

Sex and the City: The Movie [rating: 4]

For fans of the long running HBO rom-comedy, a Sex and the City movie seemed like a no brainer. Leave it to salary disputes to make the inevitable suddenly span four long years. In that time, it’s clear that nothing new has been invested toward this Cinderella on stilettos nightmare, a collection of irredeemable behaviors masked as post-modern feministic fizz. For this unnecessary revisit, Carrie gets engaged to her BFF as ATM, Mr. Big, Miranda systematically alienates and then disowns her unfaithful spouse, Samantha screws and shops, and Charlotte blandly plays the perfect mommy. It’s all so contemporary…so couture…so calculated. Like a greatest hits package without a single hummable tune, this drawn out, dystopic fairytale hits on every facet of the series the fanbase demands without offering the uninitiated a single reason to care. The fashion porn the demographic digs feels equally unexceptional, the same old labels being flaunted as fabulous when they’re really yesterday’s Elsa Klench feature. This is a comedy with permanent PMS - it’s bloated, moody, and purely a ‘gal thang’. Men - and true film fans - are not welcome, and frankly, both groups should take that as a blessing.

by Bill Gibron

22 May 2008

The Summer onslaught continues, and for the weekend beginning 23 May, here are the films in focus:

Indiana Jones and the Kingdom of the Crystal Skull [rating: 8]

Indiana Jones and the Kingdom of the Crystal Skull is clearly a movie geared toward anyone under the age of 30 who memorized every moment of their Raiders VHS.

Icons earn their status by never changing. What they represented the moment they gained said mythos remains steadfast and sturdy, with only occasional minor alterations along the way. This is why it’s never wise to revisit a symbol, cinematic or otherwise. The moment you do, the carefully constructed barriers you built around the legend start to shatter. Unless you’re out to really revise (or even implode) the idol, what was once beloved is never quite the same. For many, this is exactly what happened when George Lucas decided to go back to his Star Wars universe. Well established - and beloved - characters like Darth Vader and Yoda were systematically reconfigured to fit a new, and not necessarily complimentary, ideal.
read full review…

For another view on the latest Indiana Jones film, read Chris Barsanti’s Short Take:
read full review… 

Postal [rating: 4]

Indeed, Postal is THAT kind of movie, one that substitutes rancor for real wit, that utilizes splatter when a few script rewrites would have worked much better.

Uwe Boll is no longer just a filmmaker. He’s become a cultural icon of the whipping boy variety. Granted, he’s earned every inch of his horrid hack status. Anyone who has sat through Bloodrayne, Alone in the Dark, House of the Dead, or his recent In the Name of the King understands this. But to totally dismiss him as Ed Wood’s Teutonic twin does both men a massive disservice. After all, Mr. Glen or Glenda was working with a no budget handicap. Boll makes his cinematic affronts with the full faith and credit of his homeland’s moneysaving tax laws. Postal is his latest videogame based endeavor. As a motion picture, it’s garbage. But as a statement of the rest of the film loving world, it’s a gloriously tasteless middle finger. read full review…

War, Inc. [rating: 5]

The politics of War, Inc. are not problematic so much as pedestrian. There’s nothing new in embracing the anti-conservative screed to show how off kilter the country really is.

Quick - name the last really successful political satire? Was it Wag the Dog? Man of the Year? American Dreamz? Primary Colors? Perhaps you have to go back as far as the Watergate among nuns fun known as Nasty Habits. Whatever the case, the War in Iraq and the Bush Administration’s policies toward same should be rife for some rib-tickling ridicule. Of course, some of the decisions and resulting failures are sad/funny enough to be their own pragmatic parodies. Yet instead of taking on the Commander in Chief and his wayward conservatism, most films about the current situation in the Middle East have focused on the military, and how it turns dedicated voluntaries into outright, detestable full review…


by Bill Gibron

15 May 2008

Summer’s still sizzling away, and for the weekend beginning 16 May, here are the films in focus:

CJ7 [rating: 7]

CJ7 is a deceptive little delight, a movie that wisely avoids the pitfalls of its obvious homage to set its own cinematic course

Every director has a little whimsy in him (or her). It’s a crucial element for being an artist. When utilized sparingly, channeled alongside a well-considered storyline or narrative, it’s the reason that movies are magic. On the other hand, overdose on the capricious and you threaten to drown the audience in uncontrollable waves of saccharine schlock. Stephen Chow, best known to Westerners for his cartoon action comedies Shaolin Soccer and Kung Fu Hustle, is actually considered a master of the mo lei tau, or nonsense/ ‘silly talk’ comedies in his native land. That may explain why his latest effort, the speculative fable CJ7, feels so unlike his more famous films. Indeed, it tends to look more toward Chow’s performance past than his present day rise to international superstardom.  read full review…

Frontier(s) [rating: 7]

Frontier(s) still finds a way to mine the past while staying rooted in the present. It may seem recognizable, but it’s a well made and effective awareness.

When it comes to reviving old horror clichés, the French have been on quite a roll recently. First, they deconstructed the stand alone suspense thriller with the straightforward shocker Ils. Then they took on the hoary slasher genre with the gruesome, gore-drenched delight Inside. Now, Xavier Gens, the man behind the mainstream Hollywood video game actioner Hitman has reconfigured the isolated terror take best exemplified by Tobe Hooper and his larger than life man-monster Leatherface. And while it’s not as successful as his countrymen’s contributions to the category, Frontier(s) is still one surprisingly sick ride. read full review…

Hats Off [rating: 5]

Sometimes, a story is just not worth telling, and while Mimi’s life is definitely an unusual one, it’s not iconic.

There is a big difference between interesting and intriguing. The former identification can be connected to any subject that spikes our attention. We may not enjoy everything that we hear, but at least we wanted to listen. The latter is far more fascinating. It’s indicative of something that transcends the initial curiosity, and moves us to consider ideas far beyond the scope of the subject matter. Clearly, documentarian Jyll Johnstone believes that 93 year old actress and free spirit Mimi Weddell is intriguing. Her unlikely life story, filled with personal pitfalls and minor professional triumph definitely feels like the stuff of modern mythos. But something in Hats Off, the film focusing on this driven diva, falters. Instead of winning us over, we’re only mildly interested. .read full review…

Other Releases—In Brief

Chronicles of Narnia: Prince Caspian [rating: 5]

When will Hollywood learn that you can’t recapture the magic of a previous cinematic epic. If it was possible to capture lightning in a bottle over and over again, no franchise would fail. The sad fact remains that, for every Lord of the Rings or Harry Potter tale, there are a dozen Golden Compasses. The Chronicles of Narnia were reviled by J.R.R. Tolkein, the author arguing that C. S. Lewis’ faith-based fantasies were too enamored of their internal belief subtext to work as actual adventures. Mr. Hobbit had a helluva point. While the first film in the series, the likeable The Lion, the Witch, and the Wardrobe had the entire make believe mythos to deal with, the sullen sequel Prince Caspian just pours on the pointless war mongering. The Penvensie quartet is back in their former kingdom for the first time in a year. Sadly, 13 centuries have passed, and a despotic race of human Telmarines is in charge. They have all but destroyed the empire, and evil King Miraz has removed rightful heir Caspian from the throne. With everyone speaking in thick Spanish accents and relying on knowledge of the books to avoid narrative depth, we wind up with a series of long walks followed by sequences of slipshod CGI swordplay. While it’s not quite dull, it’s never the spectacle that returning director Andrew Adamson thinks it is. In the end, we find ourselves waiting for an entertainment epiphany that never comes. 


by Bill Gibron

15 May 2008

When it comes to reviving old horror clichés, the French have been on quite a roll recently. First, they deconstructed the stand alone suspense thriller with the straightforward shocker Ils. Then they took on the hoary slasher genre with the gruesome, gore-drenched delight Inside. Now, Xavier Gens, the man behind the mainstream Hollywood video game actioner Hitman has reconfigured the isolated terror take best exemplified by Tobe Hooper and his larger than life man-monster Leatherface. And while it’s not as successful as his countrymen’s contributions to the category, Frontier(s) is still one surprisingly sick ride.

The current political situation in France is horribly unstable. Young people, fed up with the conservative tone of the government, the institutional racism, and lack of opportunities, are rioting everywhere. During one of these fracases, Yasmin and her criminal brother Sami are trapped. With the help of other gang members Alex, Gilberte, and Farid, they get their fallen mate to the hospital and head out into the countryside. The plan? Make it across the border and into Amsterdam. Stopping off at an out of the way motel, they run into a group of nasty neo-Nazis. Ethnic hatred aside, the leader is looking for someone to help continue his family’s master race…and Yasmin might just fit the bill.

If Lionsgate, distributor of this After Dark Film Festival reject (originally part of the eight film overview, but pulled at the last minute to avoid MPAA hassles) was looking for an American title for this oddly named French film, there’s a couple of obvious suggestions. With its killers in a remote locale leanings, The Teutonic Chainsaw Massacre would make for a nice exploitation name. Or better yet, the secluded slaughterhouse posing as a hostel might suggest something like Motel Heil. Seig Psycho also comes to mind. Any one of these marketable monikers would come close to describing the sluice induced grotesqueries that make up this movie’s motives.

For those offended by blood and guts, Frontier(s) flaunts the very limits of both. While the opening sequences are rather sedate, once Gens gets going, it’s brutality and vivisection served up in heaping hack and slash helpings. Characters are carved up with sadistic regularity, and no one is exempt from the bountiful bloodletting. One individual winds up literally covered, head to toe, in arterial spray. It makes the critter claret bath Carrie White takes while at the prom seem calm by comparison. With its buzz-sawed body parts and exploding heads, this is one juicy jaunt.

There is also a fair amount of suspense here as well. Because it plays directly into the recent social strife dividing France (unrest settled mostly around class, immigrants, and race), the entire black/white - Caucasian/minority subtext suggests something much deeper. When our first two gang members stumble upon the out of the way inn, their ethnicity is enhanced by the Brunhilda nature of the lead villainess. Even better, the old school Hitler devotee is all Reich rants and ethnic cleanser. How this unusual dynamic plays out gives Gens plenty of room to maneuver. He drinks in the hatred and spits out sequences of unconscionable cruelty. 

Yet there are a couple of minor flaws here. One revolves around familiarity. If you remember that famed Southwestern splatter fest from the early ‘70s, you’ll be able to predict almost every one of Frontier(s) freak show plot points. There’s the carefree kids, the remote backdrop, the oversized killer, the crazed family, the second act escape, the eventual recapture, the final confrontation, and the “will she or won’t she” run for freedom. Certainly, Gens offers a couple of critical changes here and there (the Sawyers didn’t have mutant cannibal “children” crawling around their Texas homestead). Still, enough of this movie feels recognizable that tiny hints of disappointment pepper the grue.

And the acting is no great shakes either. Yasmin, more or less reduced to illogical ‘last girl’ status, is essayed by Karina Testa as a series of whines and pouts. Once it’s knives out, she substitutes shrieks for the latter. The rest of her crew is equally one note and indecipherable. They are reduced to playing types - scared novice, hard ass hero - before falling under the bad guys’ assault. Only our Nazis get any kind of characterization, and it’s more scripted than performed. The men are thuggish ideologues, concentration camp guard types without a prison populace to destroy. The head of household, on the other hand, is the kind of Final Solution apologist who appears frightening for what he stands for as well as his actions.

Since it all seems so obvious, so steeped in what previous masters of horror have handed out over the last four decades, Frontier(s) fails to appear fresh. It also cheats a bit, giving audiences ample false hope before finally fulfilling its payback parameters. But just like Ils, and Inside (as well as Haute Tension and a few other prime examples), it is clear that the current social clime in France is feeding fear in a big bad way. Most macabre scholars like to point to political uncertainty as a spawning ground for our most violent, repugnant terrors. Some even liken the rise in so-called ‘torture porn’ to the post-9/11 uncertainty in the world. Whether this is true or not, Frontier(s) still finds a way to mine the past while staying rooted in the present. It may seem recognizable, but it’s a well made and effective awareness.

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