We’ve all seen the teen misfit movie. But Terri has some originality and lots of heart. Jacob Wysocki plays an overweight teen caring for his mentally ill uncle. He doesn’t have much going for him until John C. Reilly’s school counselor intervenes, sometimes clumsily (who knows what will make a teen respond?). Soon there’s a ripple effect among other troubled teens. Screenwriter Patrick Dewitt deserves some plaudits for the authenticity of the teen characters.
It’s going to hard to find Terri in theaters, but it’s well worth it.
On July 28, Turner Classic Movies will broadcast The Battle of Algiers, the story of 1950s French colonialists struggling to suppress the guerrilla uprising of Algerian independence fighters. Although it looks like a documentary, it is not. Instead, filmmaker Gillo Pontecorvo recreated the actual events so realistically that we believe that we are watching strategy councils of each side. Urban insurgency and counter-insurgency are nasty, brutal and not very short – and we see some horrifically inhumane butchering by both sides.
Among the great war films, it may be the best film on counter-insurgency. In 2003, the Pentagon screened the film for its special operations commanders.
In addition, Criterion is about to release The Battle of Algiers in one of its magnificent DVDs.
On July 23, Turner Classic Movies is broadcasting 1978’s Midnight Express. This film is so gripping that, thirty-plus years after its release, you can’t hear “Turkish prison” without immediately thinking of Midnight Express. It’s probably done more to keep American kids from bringing drugs into Turkey than any other factor. Midnight Express is based on a true story, and is amped up considerably by Oliver Stone’s screenplay. Nominated for six Oscars, it won two.
TCM is also showing Cool Hand Luke on July 23. Both are on my list of 10 Best Prison Movies
Potiche, the delightful French farce of feminist self-discovery, is the funniest movie in over a year, and another showcase for Catherine Deneuve (as if she needs one). DeNeuve plays a 1977 potiche, French for “trophy housewife”, married to a guy who is a male chauvinist pig both by choice and cluelessness. He is also the meanest industrialist in France – Ebenezer Scrooge would be a softie next to this guy – and the workers in his factories are about to explode. He becomes incapacitated, and she must run the factory.
Now, this is a familiar story line for gender comedy – so why is it so damn funny? It starts with the screenplay, which is smart and quick like the classic screwball comedy that American filmmakers don’t make anymore. And the cast is filled with proven actors who play each comic situation with complete earnestness, no matter how absurd.
Director Francois Ozon, best known in the US for Swimming Pool and 8 Women, adapted the screenplay from a play and has a blast skewering late-70s gender roles and both the bourgeoisie and the proletariat. Gerard Depardieu plays the Communist mayor, who is both the husband’s nemesis and the wife’s former fling. Two of the very best French comic players, Fabrice Luchini and Karen Viard, shine in co-starring roles as the husband and his secretary.
Buck is a documentary about real-life horse whisperer Buck Brannaman, an exceedingly grounded and gentle man who knows everything about horse behavior. But the movie is more about human behavior, about the disturbing crucible that formed Buck, and about what we can learn about people from their handling of horses.
Fortunately, Director Cindy Meehl realized that she had a great story and got out of the way. The understated guitar-based score never becomes melodramatic. And Meehl never lets the admiring talking heads elevate Buck to more than what he is, which is remarkable enough. This movie could have easily been painfully corny or pretentious and is neither. I’d happily view it again today.
Buck’s own background is so nasty that it would totally unremarkable for him to have emerged mean or emotionally crippled – and he is the farthest from either. With some help from loving people, Buck has chosen to become something different from his apparent fate. In this way, Buck could be a companion piece to Mike Leigh’s Another Year.
Page One: A Year Inside the New York Times takes advantage of insider access to the newsroom and editorial conferences at the Times to explore the transition from the Era of Print Media to the Era of New Media Age. Bopping between topics like WikiLeaks, Gawker.com, Iraq coverage, the Tribune Company bankruptcy and ProPublica, Page One is kind of all over the place, but I recommend it for hard news junkies (such as myself).
Fortunately, director Andrew Rossi recognizes an appealing character in NYT media columnist David Carr and lets the idiosyncratic and passionate, yet highly professional, Carr carry most of the film. Rossi also makes the exceedingly wise choice not to predict how journalism will evolve in the new environment.
It’s a great time for the two most awesome and gnarly surfing movies, the documentaries Step Into Liquid and Riding Giants.
Step Into Liquid (2003): We see the world’s best pro surfers in the most extreme locations. We also see devoted amateurs in the tiny ripples of Lake Michigan and surfing evangelists teaching Irish school children. The cinematography is remarkable – critic Elvis Mitchell called the film “insanely gorgeous”. The filmmaker is Dana Brown, son of Bruce Brown, who made The Endless Summer (1966) and The Endless Summer II (1994).
Riding Giants (2004): This film focuses on the obsessive search for the best wave by some of the greatest surfers in history. We see “the biggest wave ever ridden” and then a monster that could be bigger. The movie traces the discovery of the Half Moon Bay surf spot Mavericks. And more and more, all wonderfully shot.
The filmmaker is Stacy Peralta, a surfer and one the pioneers of modern skateboarding (and a founder of the Powell Peralta skateboard product company). Peralta also made Dogtown and Z-boys (2001), the great documentary about the roots of skateboarding, and wrote the 2005 Lords of Dogtown.
In the first 30 minutes of Le Quattro Volte, a septuagenarian goatherd struggles up and down a Calabrian mountain with his goats, hacking away with a worsening old man cough. Up and down go the goats. Cough, cough goes the old man.
Then, suddenly (and I mean suddenly), a baby goat is born. It is licked by its mother. It hangs out with other young goats. It walks off with the herd.
Then, a tall tree on the mountain is cut down by the villagers and erected in the village for a festival. After the festival, it is taken down and cut up.
The logs are added to a woodpile that we see constructed in the traditional way, and charcoal is made. Then the movie ends.
I understand that Le Quattro Volte is supposed to be a lyrical contemplation on the Circle of Life. Indeed, I really tried to give myself to this movie, to settle in and absorb its rhythm. But the stories are not compelling enough. When I saw the movie at an afternoon show, audience members were falling asleep. My mind was wandering.
Le Quattro Volte has received very high praise from some of the most respected movie critics, who found it mesmerizing. It also won the Best European Film award at Cannes, causing another theater patron at my screening to ask “Who voted?”. It’s an art movie with the art, but no movie.
The documentary Project Nim tells the extraordinary story of a chimpanzee that was taught a human language – American Sign Language. In a remarkable and compelling journey, the chimp Nim is first placed as a baby with a human hippie family and then at a university-owned country estate and college laboratories. Amazingly, he learns to use an ASL vocabulary – not just responding to commands, but initiating communication and forming sentences. Then, the experiment ends, and he is off to an assortment of post-placements, some terrifying.
Along the way, we hear from the motley assortment of humans involved in his raising, his exploitation and his care. One human who enters the story as a grad student, Bob Ingersoll, emerges as the hero of the story. It’s the story of a chimp, but we learn more about the foibles of humans.
Acclaimed documentarian James Marsh (Man on Wire) delivers another great story – one of the year’s best documentaries.
This delightful indie comedy is set in a group of friends’ annual touch football game. Take a bunch of friends that haven’t seen each other for a while and put them in a competitive situation, and you’ve got a promising premise. Newcomer writer-director Kyle Smith pulls off a tight, well-paced 62 minutes of smart laughs.
The cast of relative unknowns is very good, especially Tom DiMenna and Bob Turton. At the screening that I attended, Smith said that the football game was tightly structured in the screenplay, but much of the dialogue was improvised by the cast.Smith financed the film with $25,000 that he earned from a reality TV show, and shot it over ten days in an East LA city park.
Smith is a native of Columbia, Missouri, and college football fans will note a very funny reference to an infamous Colorado-Missouri game.
Turkey Bowl just released on iTunes and VOD. Reward this bright and enterprising filmmaker and see this film – you won’t be disappointed.
I am adding Turkey Bowl to my list of Best Sports Movies to represent touch football.
