Movies – Page 131 – The Movie Gourmet

BOYHOOD: why is this movie so profoundly moving?

July 26, 2014 by movie gourmet

Eller Coltrane, Ethan Hawke and Lorelei Linklater in BOYHOOD

Boyhood is a profoundly moving film – and I’m still trying to figure out why. It’s a family drama without a drop of emotional manipulation – there’s no big moment of redemption and no puppies are saved. It’s just about a boy growing up in a family that we all can recognize and going through a series of moments that all of us have gone through. Still, I found myself responding very emotionally and, hardass as I may be, I had a lump in my throat and moist eyes during the last half hour or so.

There’s a sense of fundamental human truth in Boyhood that comes from the amazing, risky and groundbreaking way that writer-director Richard Linklater made this movie. Boyhood traces the story of Mason (Eller Coltrane), his big sister (Lorelei Linklater) and their divorced parents (Patricia Arquette and Ethan Hawke) from the time when Mason was six-years-old to when he is going off to college at age 18. Linklater and the cast shot the movie in 39 days over a TWELVE YEAR PERIOD. So the cast members actually aged twelve years without the need for creating that effect with makeup or by switching the child actors. Other than Linklater’s own Before Sunrise/Before Sunset/Before Midnight series of romances spaced nine years apart, he only movies that have used this technique of aging-in-real-time have been documentaries, most notably the 7 Up series and Hoop Dreams.

Besides the authenticity that comes from the aging-in-real-time, the key to Boyhood is the reality of each moment. Each scene in the film is universal. Every kid has had to suffer the consequences of the life decisions made by his/her parents. Every kid has felt disrespected by a parental edict or disappointed when a parent has failed to come through. Everybody has been bullied in the school bathroom. Everybody has felt the excitement of connecting with a first love – and then the shock/humiliation/heartbreak of getting dumped. No scene individually moves the plot forward. But each scene helps complete our picture of who Mason is and how he is being shaped by his experiences.

Of course, when parents divorce and when a kid’s family is blended with that of a step-parent’s, those are especially big deals. All those things happen to Mason in Boyhood; he has control over none of them, but they all have a lasting impact on his life and development. And when his mom decides to better herself by working her way through college and grad school to become a college instructor, her self-improvement makes her less available to her kids – and that’s a big deal, too. (This part of Linklater’s story is autobiographical.)

As we trace Mason’s early years, we relate to these universal experiences and, without noticing it, start rooting for him and his sister. By the time he is 15, we are hooked and so seriously invested in him that it’s easy to feel as much pride in his high school graduation as do his fictional parents.

The actors who begin as children and age into young adults – Eller Coltrane and Lorelei Linklater (the director’s daughter) – are very good. Arquette and Hawke are also excellent in playing warts-and-all parents; each parent grows (in different ways) over the twelve years as much as do their kids.

So what’s it all about – as in, what’s life all about? That question is addressed explicitly by four characters in separate scenes in the final 35 minutes of the movie – by Mason as a brash and cynical, bullshitting 17-year-old, by his mom in a self-reflective meltdown, by his dad in a moment of truthful humility and by a potential girlfriend wise beyond her years. Whether any one of them is right and whether any one of them speaks for the filmmaker – that’s up to you.

Linklater has made other films that are exceptional and groundbreaking, most notably the Before series. His indie breakthrough Slacker followed a series of characters, handing off the audience to one conversation to another – a structure seemingly without structure. He followed that his Waking Life, another random series of conversations with his live actors were animated by rotoscope. Even his recent dark comedy Bernie is offbeat – a sympathetic take on a real life murderer (who is now out of prison and living in Linklater’s garage apartment). But Boyhood is Linklater’s least talky movie – and his masterpiece.

Boyhood is an important film – a milestone in the history of cinema. (I sure didn’t expect that I would ever write that sentence.) It tops my list of Best Movies of 2014 – So Far and it may turn out to be the best film of the decade. It’s a Must See.

Lucy: pedal-to-the-medal summer fun

July 25, 2014 by movie gourmet

Supposedly we only use 10-20% of our brain capacity, and in the sci fi thriller Lucy, Scarlett Johannson gets to show what it would look like if we could harness 100% of our intelligence. Johannson plays the title character, who is captured by an especially merciless Chinese crime lord and then get dosed with a designer drug that unharnesses her full brainpower. Processing more information much faster than everyone else is a superpower that allows her to wreak mayhem upon the bad guys. She’s in a race against time to find and snag the rest of the world’s supply of the drug and to download what’s she’s learned to a brainiac scientist (Morgan Freeman) before she implodes. Kind of a sci fi D.O.A.

French director Luc Besson is an unapologetic lover of American action films. He really does excel at action, notably in the underrated parkour film District B13. He has also delivered kickass female characters in Leon: The Professional (Natalie Portman’s breakout role) and La Femme Nikita.

Fortunately, Besson has Scarlett Johannson’s magnetic screen presence at his disposal. Here, she gets to show off an amazing intensity that comes when her character’s superbrain is whirring away. Her throaty voice turns out to be perfect for delivering very authoritative statements. Of course, she looks great in a t-shirt (first half of movie) and a little black dress (second half). She doesn’t take herself too seriously and clearly has fun with these roles where she is kicking some serious ass.

Not too deep and with great eye candy visuals, Lucy is pedal-to-the-medal summer fun.

I Origins: a thoughtful romance that muses on the boundaries of science and spirituality

July 24, 2014 by movie gourmet

Michael Pitt and Brit Marling in I ORIGINS

The romance I Origins (which opens tomorrow) explores the conflict between science and spirituality. Our scientist protagonist (Michael Pitt) is completely empirical and militantly anti-spiritual. He is obsessed with the study of iris scans and patterns of the eye (the “I” in the title is a pun). He is hoping to prove that eyes can be evolved, which he believes will debunk the Creationist pseudo-science of Intelligent Design. He meets a model (Astrid Berges-Frisbey) – and they don’t meet CUTE, they meet HOT. Through a string of scientifically improbable coincidences, he is able to track her down for a second encounter that is sharply romantic. They fall in love – an attraction of opposites because she is mercurial and vaguely New Agey.

Along the way, he gains a new lab assistant (Brit Marling), who is just as smart and more driven than is he. Together they find the lab breakthrough to prove his theory. The main three characters are affected by a life-altering tragedy. Seven years later, the story resumes with the public release of the discovery. As our hero takes his victory lap over religion, he is faced with new evidence that cannot be explained by science…

Writer-director Mike Cahill (Another Earth, also starring Marling) has constructed a story that sets up a discussion on the limits of empiricism. I give Cahill extra points for raising the issue without ponderosity or pretension. Some critics have harshly judged the movie, but they see it wrongly as a corny religion-beats-science movie instead of a contemplation on the possibilities. And they altogether miss the fact that the film is basically a romance, which Cahill himself sees as one of the two central aspects of I Origins. Cahill explores and compares the intense lust-at-first-sight, opposites-attract type of love with the love relationship based on common values and aspirations.

There are, however, two shots involving pivotal moments in the story (and both involving billboards) that are such self-consciously ostentatious filmmaking that they distracted me, rather than bringing emphasis to each moment.

Pitt, an actor of sometimes unsettling affect, is very good here, as he was in The Dreamers and Last Days. Berges-Frisbey and Marling deliver fine performances, too. If Marling is in a movie, it aspires to being good – I loved The East, which she co-write and starred in. Archie Panjabi, without the boots and the upfront sexiness she wears on The Good Wife, is solid in a minor part.

I Origins works both as a scientific detective story and as a meditation on romance. I found it to be smart and entertaining.

The Newburgh Sting: war on terrorism…NOT

July 24, 2014 by movie gourmet

The Newburgh Sting is a credible and politically important documentary from HBO. In 2009, the FBI arrested four American Muslims with what look like bombs outside a synagogue. The Newburgh Sting examines the case by showing us the actual FBI surveillance videos and audios, along with talking heads of relatives and community members. And a different reality emerges.

As the story unfolds, the FBI enrolls an informant – a serial con man who needed FBI leverage to hang on to the ill-gotten gains of a previous scam. The informant heads to hardscrabble Newburgh, NY, and flashes cash and expensive cars; he pretends to be an international terrorist who will pay $250,000 for a “job”. The informant finds a local hustler who will say anything to scrounge some cash. The hustler rounds up three more unemployed guys who will also do anything for a little money, let alone $250,000. The informant describes and plans the job, organizes the job and provides all the materials (including fake bombs).

Whether or not this meets the legal definition of entrapment is one thing. But, as a matter of policy, it’s clear that – absent the FBI informant paying them to do so – these guys would never have been involved in such a scheme. It’s also easy for the audience to conclude that the FBI only stopped a “terrorist incident” that it manufactured, spending resources that could have been used against real terrorists with the actual means to carry out an attack.

The most distasteful part of the story is the cable news coverage of the arrests, trumpeting the FBI’s spin: the capture of a terrorist cell intent on mass murder of Americans. By the time we watch this, we have seen the video of the informant and the dumbass suspects actually plotting the “attack”, and we have a pretty clear picture of the personalities involved and what really happened. Because of the surveillance videos, it’s definitely worth a watch.

The Newburgh Sting is playing on HBO.

Snowpiercer: thinking and hacking one’s way to the front of the train

July 24, 2014 by movie gourmet

Snowpiercer is that rare sci fi thriller that effectively explores some serious questions without becoming ponderous or pretentious. Here’s the setup. In an attempt to fix global warming by chemically cooling the earth, mankind has moved the needle too far and has instead FROZEN the planet. The only survivors are a few thousand humans packed into a nuclear-powered, “self-sustainable” train that rattles around the earth on a circuitous track. The wealthy elite lives in comfort at the front of the train, while their cruel armed guards keep the wretched, unwashed poor in the back of the train. Naturally, the poor revolt and assault the front of the train.

So we have a conflict in a claustrophobic space, and the thrills come from how the poor think and fight their way up car-by-car. Because the train’s systems have been engineered to prevent this, it takes a lot of ingenuity. And it takes a lot of violence, too, and because the elite has almost run out of bullets repressing previous revolts, that violence is often of the medieval hacking-and-thumping sort.

The train in Snowpiercer, of course, is an allegory for a society with an extreme disparity of wealth – and it’s not far removed from similar societies in human history and even today. In Snowpiercer’s most pointed moments, the mouthpiece for the elite continually tells the poor that they are undeserving and lucky to get the morsels that they are allowed. But the more challenging question – and one that Snowpiercer leaves the audience to ponder – is what are the limits of order; naturally, we’re all against repression, but how about when the very survival of the species is up for grabs?

The production design of Snowpiercer is exceptional. The snowy planet is cool, but the best part of Snowpiercer is experiencing each part of the train, including the greenhouse car, the aquarium car, and (my favorite) the disco car. The imagination that went into creating a mobile space that must sustain itself with making its own food, treating its own water, educating its own kids, etc., is remarkable (and Oscar-worthy).

As the stonefaced leader of the uprising, Chris Evans is okay but doesn’t get to do much. That’s too bad, because I know he can act from his quirky role in The Iceman as hitman Mr. Freezy, who works out of his ice cream truck. Because I don’t watch superhero movies, I was unaware that Evans has recently starred as Captain America in The Avengers and as Johnny Storm in the Fantastic Four movies.

The best performance comes from Kang-ho Song as Snowpiercer’s most interesting character, a high-tech locksmith addicted, along with his 17-year-old daughter, to a drug of the future. Tilda Swinton is gloriously outrageous as a loathsome middle manager for the evil elite. After a spate of emo dramas, Octavia Spencer gets to swing her axe through a herd of bad guys. And Ed Harris, John Hurt and Alison Pill are all reliably good too.

I’m a big fan of Korean writer/director Joon-ho Bong, who made the brilliant 2003 detectives-hunting-serial killer movie Memories of a Murder (also with Kang-ho Song) and the 2009 drama Mother, which made my yearly Best Of list. Memories of a Murder is available on DVD from Netflix, and you can find Mother on DVD from Netflix and streaming on iTunes, Vudu and Xbox Video. He also co-wrote the upcoming on-the-seas thriller Sea Fog (Haemoo) which plays at the Toronto International Film Fest this fall.

You can also stream Snowpiercer on Amazon, iTunes, Vudu, YouTube, Google Play, Xbox Video and DirecTV.

A Night in Old Mexico: geezer tears up cantina and finds una guapa

July 23, 2014 by movie gourmet

In A Night in Old Mexico, 83-year-old Robert Duvall plays a bitter 83-year-old Texas curmudgeon who has lost his ranch and enlists his new found grandson on a geezer roadtrip adventure to a Mexican bordertown. Duvall is one of our greatest actors, and, after his profound performances in The Apostle and Tender Mercies, it’s fun to let him seek debauchery and tear up cantinas. That being said, there’s really nothing remarkable or original in A Night in Old Mexico – it’s a trifle. Columbian actress Angie Cepeda is especially appealing as the hard luck gal who takes up with the guys.

A Night in Old Mexico is available on DVD from Netflix and streaming from Amazon, iTunes, Vudu and Xbox Video.

Spider Baby: as Chaney’s horror career ended, Sid Haig’s was born

July 23, 2014 by movie gourmet

There’s a cult classic coming up this Friday night (or very early Saturday morning) on Turner Classic Movies. In the 1968 Spider Baby, a family of inbred ghouls is tended by a kind and rational caretaker (Lon Chaney, Jr.) until some greedy relatives and their shyster invade their spooky Victorian mansion and become cannibalized. Spider Baby was reportedly made for only $65,000 – and it shows. There’s the clunky and explicitly expositional beginning and ending narration and a TV sitcom look and feel. But no 1960s TV show featured a daughter kissing her skeleton father goodnight, along with cretinous uncle and aunts in the basement and negligee-clad cannibals.

Spider Baby was filmed in 1964, but was caught up in bankruptcy proceedings and not released until 1968. This explains the offensive black character, which might have passed as regrettably mainstream in the early 60s, but must have seemed odd to the more racially conscious audiences in 1968.

Chaney has fun with playing a normal human among the monsters, and there’s a sly reference to The Wolfman at the dinner table.

As Chaney’s horror career ended, Sid Haig’s was just beginning. Haig, in just his second feature, played a sex-craved Igor type. He now has over 130 screen credits, including character roles in Emperor of the North and Jackie Brown and lots of TV work. But Haig is most well-known for his horror, and it’s hard to top his portrayal of Captain Spaulding in Rob Zombie’s House of 1000 Corpses. Yikes.

Spider Baby is also known as The Maddest Story Ever Told, The Liver Eaters, Cannibal Orgy and various combinations of those titles. Spider Baby has played on Turner Classic Movies before and is available streaming from Amazon, Vudu and Xbox Video.

The Congress: I liked the first part

July 22, 2014 by movie gourmet

The Congress is really two movies – a live action fable and an animated sci fi story. In the opening part, Robin Wright plays an actress in her mid-forties named Robin Wright who followed a star-making performance in The Princess Bride with a series of disastrous career choices driven by her own bad instincts and her need to care for her special needs son. That son is now 13, her daughter is 17 and they are living in a hangar at a Mojave Desert airfield. Her agent (Harvey Keitel) approached with a deal from a smarmy studio exec (Danny Huston). That deal is a Faustian one – she will get a one-time payment in return for having herself scanned so her the studio can use her image in 100% CGI movies; if she accepts the offer, she cannot ever act again – on-screen or in the flesh.

I liked this first part, which is a smart exploration of the issues of art vs. commerce, the ethical limits of using CGI in filmmaking and the rights of individuals over use of their images. The set-up is very well done, the desert airfield is cool and Wright, Keitel, Huston and the kid actors deliver fine performances.

Then the story takes the Robin Wright character – twenty years later – into an alternative universe for animated characters who have had their humanity scanned away. She embarks on a desperate search to find out what has happened to her son and whether her daughter is now leading a revolt. This animated half of The Congress is visually arresting and shows off the talent of writer-director Ari Folman, who made the superb animated film Waltz with Bashir (about Folman’s fellow Israeli army veterans in the invasion of Lebanon). At this time, I lost interest in the tale. Now I’m not a big sci fi fan, though, and someone who DOES appreciate the genre might well enjoy it. The visuals do sparkle.

The Congress is available streaming on iTunes, Vudu, YouTube and Google Play.

A Brony Tale: odd and odder

July 23, 2014July 22, 2014 by movie gourmet

I’m not sure I was comfortable learning about the “Bronies”, subjects of the documentary A Brony Tale. My Little Pony is an animated television series that is made for an audience of little girls and which features flying pastel cartoon ponies. Bronies are fans of My Little Pony who are predominantly male and between the ages of 14 and 30. As one of the My Little Pony voice actresses notes, “my pervert alarm went off”.

I was settled in for a cringefest of a freak show, but surprised to met a biker Brony, an Iraq combat vet Brony, married Bronies and just a lot of seemingly manly and normal-looking Bronies. A Brony Tale raised some serious questions of gender expectations – why can we be so repelled by someone’s surprising taste in a harmless TV show? But then we visit BronyCon – the convention for Bronies – and see a lot of them expressing themselves with very strange costuming (and FanimeCon is held close to my house, so I have a high bar for strange costuming).

A Brony Tale is only 79 minutes long – and could have shaved 4-5 minutes off the voice actress’ journey to the BronyCon. A Brony Tale is available streaming on iTunes. Still mulling this over. Hmmmm…

Tim’s Vermeer: 5 minutes of wow and 75 minutes of boring

July 14, 2014 by movie gourmet

The documentary Tim’s Vermeer tells the story of Tim, an accomplished technologist with plenty of money and time on his hands, who comes across the theory that the 17th century Dutch master Johannes Vermeer used optical devices to paint. He embarks upon an experiment to prove this theory plausible. He invents an optical device, grinds his own paints, recreates Vermeer’s studio and spends four months trying to copy Vermeer’s The Music Lesson. Tim, it turns out, is a buddy of the magicians Penn and Teller, so the whole thing has become a film (produced and narrated by Penn and directed – inartfully – by Teller).

There’s one captivating moment in Tim’s Vermeer, when Tim – who is NOT a painter – tries out his Rube Goldberg mirrors with his first ever oil painting. Tim takes a photo of his father-in-law as a young man and completes an astonishingly perfect copy in oils.

Apart from this moment, Tim’s Vermeer is a yawner. Although only 80 minutes long, the four months of painting seems like four years. The film’s content could have been stretched into a 30-minute cable show. Several critics have been unable to resist pointing out that watching Tim’s Vermeer is, in parts, LITERALLY watching paint dry.

The movie makes one intriguing point: the idea that art and technology are separate is a modern one. Now people go to school to learn art OR tech – which wasn’t the case in Vermeer’s time and may not need be today. It’s interesting to me that, in Tim’s Vermeer, artists were comfortable with the idea that the old masters used technology, but art historians were not. It didn’t occur to the artists that the use of technology would diminish Vermeer’s artistic genius, but the art historians felt the need to be defensive of Vermeer. Hmmm.

Tim’s Vermeer is available on DVD from Netflix and streaming from Amazon, iTunes, YouTube, Google Play and Xbox Video.

SPOILER ALERT: Tim does paint a reasonable facsimile of The Music Lesson, but it has a paint-by-the-numbers feel and doesn’t have the mesmerizing quality of a real Vermeer.