Movies

Goon: violence, vulgarity and a nice Jewish boy

by

Doug Glatt is not very smart and he knows it.  He struggles to find the right word in every situation.  Because his only talent is the ability to knock others unconscious, he is only in demand as a bar bouncer.  But Doug is not a brute – he is goodhearted and loyal, and yearns to be part of something.  By chance, Doug gets hired by a minor league hockey team to become its thuggish enforcer – despite his inability to ice skate.

We get lots of funny hockey violence a la the Hanson Brothers in Slap Shot.  It’s very funny when Doug mangles his every attempt at cogent conversation.  The comedy also comes from Doug’s innocent fish out of water in the cynical, sleazy and cutthroat world of minor league hockey.  (He’s even reverential about the team logo on the locker room floor.)

There are lots of nice comic touches.  For example, when Doug becomes a sensation, one of his fans in the stands holds up a sign reading “Doug 3:69” (Doug wears jersey number 69); we glimpse the sign for only a second, but I appreciate the filmmakers planting such nuggets in the movie.  Doug is also that rarity – a Jewish hockey goon, with parents horrified that he isn’t following his brother to med school.

Although plenty raunchy, Goon is a rung above the normal gross-out guy comedy because Doug is such a fundamentally good and well-meaning person.  As Doug, Seann William Scott (Stifler in American Pie) plays a naive simpleton, but one fiercely committed to his core values.  It’s got to be hard to play that combination, and Scott’s performance is special.

The cast is excellent.  Co-writer Jay Baruchel plays Doug’s sophomoric friend.  Alison Pill (Milk, Midnight in Paris) is the troubled smart girl who can’t figure out why she’s attracted to a word-fumbling hockey goon.  Liev Schreiber, excellent as always,  dons a Fu Manchu and a mullet to play the league’s toughest goon.  Kim Coates, who almost stole A Little Help as the personal injury attorney, plays the coach.

Perhaps because it has just been released, Goon hasn’t yet made Wikipedia’s “Films that most frequently use the word “f**k”, but I am sure that it meets the qualifying threshold of 150 f-bombs.

Damsels in Distress: say it ain’t so, Whit

by

What writer-director Whit Stillman does really well is bring us unto the world of old money Eastern preppies with their refined manners and their odd customs like debutante balls.  His well-educated characters have earnest late-night existential conversations in complete sentences.  Nobody else does this, and Stillman’s dialogue has always kept me wholly absorbed.  That’s why I liked his films Metropolitan and Barcelona so much.

What Stillman does not do well is absurdist film, like his current entry, Damsels in Distress, set in a Northeastern liberal arts college that is decidedly non-Ivy.  Indie film darling Greta Gerwig plays the seriously off-kilter leader of some coeds who are intent on rescuing fellow students from depression, fashion mistakes and bad hygiene, whether they want it or not.

While his earlier films were earnestly realistic, Damsels is way over the top.  The girls’ boyfriends are so stupid that one does not yet know his colors.  Gerwig’s character is so obviously disturbed that anyone, even a horny college male, would run the other way.

That means that the patter of Stillman’s dialogue must carry the day, and it fails him.  Gerwig’s two friends are one-note jokes – one profoundly stupid, the other profoundly suspicious – that aren’t that funny the first time.  There are lame body odor jokes.  The fraternity system uses Roman, rather than Greek letters – which is not the sidesplitter that Stillman may imagine.

For sure, there are some funny moments.  At the campus Suicide Prevention Center (the word “Prevention” keeps falling off the sign)  Gerwig offers a fellow student a doughnut, but then snatches it back after one bite when she discovers that he isn’t the suicidal one.  One student has adopted the Cathar religion, which he associates with a certain sexual practice.  But, over all, the movie is not funny.  Worst of all, it’s not engaging.

Analeigh Tipton, who was very good as the smitten babysitter in Crazy Stupid Love, does especially well again as a transfer student who falls under Gerwig’s wing.

My recommendations:  1) Stillman should leave the absurdism to Bunuel and 2) the rest of us can skip Damsels to watch Metropolitan and Barcelona.

Monsieur Lazhar: sometimes a kid needs a hug most of all

by

A fifth grade class in Montreal loses its teacher in just about the worst possible way – she hangs herself in their classroom at recess.  Monsieur Lazhar is about how the kids face this trauma with their replacement teacher, an Algerian immigrant.  The school gets a psychologist to lecture to the kids, but bans them from otherwise mentioning the suicide in class – a rule designed to minimize the discomfort of the administrators and parents.  Meanwhile, the school’s zero tolerance rule against touching children means that the kids can’t get a reassuring hug.

The new teacher, Monsieur Lazhar (well-played by Mohammed Fellag), is a traditionalist who demands respect but with humor and compassion.  He also seems oddly ignorant of modern teaching methods.  Although mild-mannered, he is fiercely devoted to protecting the kids.  That devotion keeps him from sharing his own burden with the children, for we learn that he, too, has reason to grieve.

Monsieur Lazhar was nominated for the Best Foreign Language Oscar and won Canada’s equivalent of the Best Picture Oscar.  The child actors are superb.  It’s an uncommonly sweet and powerful film.

Coming Up on TV: Wasp Woman

by
Wasp Woman

On April 18, you can watch Wasp Woman (1960) on Turner Classic Movies.  This is notable because Wasp Woman, a slender, attractive woman wearing an insect mask, has made my list of Least Convincing Movie Monsters.  The owner of a cosmetics manufacturer became worried that she was aging out of her looks and injected some wasp material from her R&D lab.  She wreaked havoc until carbolic acid was thrown in her face, allowing her to be pushed to death from a skyscraper.

Coming Up on TV: Hot Rods from Hell

by
Dana Andrews and his innocent family

Here’s a guilty pleasure that has earned it way into my Bad Movie Festival and you can watch it on Turner Classic Movies on April 17.  In Hot Rods from Hell, Dana Andrews’ (!) innocent family is terrorized by two teen punks and a punkette in the Mojave.  This 1967 movie has the odd feel of a 1962 or even 1957 film.

Watch Dana Andrews asking himself why he is in this movie, 23 years after starring in Laura and The Ox-Bow Incident.

The terrorizing hot rodders

The Salt of Life: men will be boys

by

The Salt of Life (Gianni e le donne) is a gently funny and insightful comedy about a certain time in a man’s life.  In the lives of men who are not rich, famous or powerful, there comes a time when attractive young women no longer see them as potential lovers.  This is painful for any guy, and our contemporary Roman hero Gianni, with the help of his portly lawyer/wing man, sets out to deny that he has reached this plateau.

In a standard movie fantasy, some adorable young hottie would come to appreciate Gianni’s true appeal and find him irresistible.  But in The Salt of Life, the story is more textured, complex and realistic.

The Salt of Life  stars and is written and directed by Gianni Di Gregorio, just like the very fun Mid-August Lunch.  It is definitively a movie for guys of a certain age and the women who tolerate them, as well as the younger guys who will become them.

Sorry, no subtitles yet on the trailer embedded here.  You can watch the English subtitled trailer on IMDb.

 

Pete Smalls is Dead: see Living in Oblivion instead

by

That’s the trailer for a movie I was really looking forward to – Pete Smalls Is Dead.  Quirky characters played by Peter Dinklage (The Station Agent) and Mark Boone Junior (Sons of Anarchy) embark on a comic adventure.  The rest of the cast is great: Tim Roth, Steve Buscemi, Rosie Perez, Michael Lerner,  and Seymour Cassel.  Unfortunately, the writing fails the actors, and the movie just isn’t that funny.  I fell asleep and had to finish it the next day.

So instead, I recommend that you watch the trailer (much funnier than the movie) and then rent a really funny Peter Dinklage/Steve Buscemi movie – Living in Oblivion.  Real life indie director Tom DiCillo (Johnny Suede, Box of Moonlight) wrote Living in Oblivion about skating on the edge of disaster while making a very low-budget indie film.  Buscemi plays the indie director, who must deal with a narcissistic leading man (James LeGros), a low self-esteem leading lady (Catherine Keener), a pretentious and self-absorbed cameraman (Dermot Mulroney) and a dwarf actor with an attitude the size of Manitoba (Dinklage).  The screenplay is hilarious and the fine actors all nail their roles.  Watch and laugh.

LIVING IN OBLIVION

The Deep Blue Sea: a woman who loves too much

by
Simon Russell Beale and Rachel Weisz in THE DEEP BLUE SEA

In The Deep Blue Sea, an ordinary love triangle becomes a profound tragedy.   A woman (Rachel Weisz) leaves her affluent and prestigious older husband (Simon Russell Beale) for a younger man (Tom Hiddleston) who is more vital, but aimless, troubled and unreliable.  The younger man cannot match her love for him.

The fling is doomed.  The tragedy is that she knows it, but cannot help herself.  As with many addictions, her passion for him drives her to do what she knows is self-destructive.

The story is set is grim post-war London and director Terence Davies  vividly paints the period and place.

One magically evocative scene takes place in an underground station serving as a bomb shelter during the Blitz.  A man sings Molly Malone in a plaintive tenor, with his fellow Londoners joining at the chorus, as the camera slowly pans the train platform filled with people waiting out the raid.  In another scene, a pub is filled with singing patrons.   Everyone is having fun, sharing a moment of trivial conviviality, but Rachel Weisz is looking at her lover and having a moment of profound feeling.

Weisz is excellent, and all of her scenes with Beale are especially searing.  The Deep Blue Sea is well-crafted and deeply, deeply sad.

The Hunger Games: the harshest reality tv ever

by
Jennifer Lawrence in THE HUNGER GAMES

I was impressed by The Hunger Games, a well-paced, well-acted and intelligent sci-fi adventure fable for tweens – and for the rest of us, too.

Since I apparently live under a rock, I was unaware of the source material, the popular and acclaimed young adult fiction trilogy by Suzanne Collins. The only reason I saw The Hunger Games was to accompany The Wife, who had read the first Hunger Games book. I hadn’t even seen the trailer, so I went in totally blind.

The story is set in the future, where several generations after a rebellion, an authoritarian government plucks teenagers from the formerly rebellious provinces to fight to the death in a forest.  It’s all broadcast on reality TV for the entertainment of the masses.  Children killing children – it doesn’t get much harsher than that.

Jennifer Lawrence plays the heroine, a poor Appalachian girl who volunteers to compete in place of her little sister.  Lawrence starred in Winter’s Bone, my pick for the best movie of 2010.  Here she carries the movie with her performance as an incredibly determined and resourceful girl. Her character is completely candid and unfiltered.  This creates a moment that is all the more powerful when she has to pull off smarmy inauthenticity for an insipid TV interview.

Stanley Tucci is brilliant as the oleaginous reality TV host – it’s an Oscar-worthy performance.

The Kid with the Bike: a riveting and unsentimental story of unconditional love

by

The Kid with a Bike is an extraordinary film that tells a riveting story of unconditional love.  It is emotionally powerful without being sentimental and is gripping without stunts and explosions.

A 12-year-old boy wants to find the father who dumped him at a children’s home, but meets a woman who becomes his de facto foster mom.  In the face of overwhelming evidence, the boy refuses to acknowledge the possibility that his father doesn’t want him.  He becomes angry, acts out and is poised to make life-ruining choices.  His one chance in life is the woman who is drawn to caring for him, but he could alienate her, too.

The writer-directors, the Belgian brothers Luc and Jean-Pierre Dardennes, are two of my favorite film makers (The Son, Rosetta).  Their gift is minimalistic filmmaking that addresses fundamental themes like love, loss, forgiveness and belonging.  To avoid sappiness, they set their stories in gritty industrial towns and employ vividly realistic characters.  As all their work, The Kid with a Bike is an unvarnished and utterly realistic looking film.  This helps them create a fable about absolute goodness and the saving of another human being and present it in a credible, unsentimental and immediate package.

The Dardennes are known for their success with untrained actors, and here Thomas Doret is excellent as the kid – energetic, longing and single-minded.  The Belgian-born French star Cecille De France (Hereafter, The Spanish Apartment) is wonderful as the foster mom – steadfast but unknowable.  The compelling actor Olivier Gourmet (The Son, Rosetta, Mesrine) briefly appears in a bit part.

It’s one of the best films of the year.