I admired both this gripping thriller’s intelligence and its heart. The key is a breakthrough screenplay by Ben Ripley. The scifi premise is that supersoldier Jake Gyllenhaal can inhabit the brain of a terrorism victim for the same 8 minutes – over and over again. Each time, he has 8 minutes to seek more clues. Can he build the clues into a solution and prevent the terrorist atrocity? Gyllenhaal is excellent. So is Vera Farmiga as his handler and Michelle Monaghan as a girl you could fall in love with in 8 minutes. Jeffrey Wright chews the scenery with his homage to Peter Sellers in Dr. Strangelove. Director Duncan Jones solidly brings Ripley’s screenplay home.
Movies
Carancho: seamy and steamy
Well, they have ambulance chasers in Argentina, too, and that seamy world is the setting for this dark and violent noirish thriller. Ricardo Darin (The Secrets of Their Eyes, Nine Queens) stars as a suspended lawyer running insurance scams. (I think of Darin as the Argentine Joe Mantegna.) Set in the gloom of urban nighttime emergency rooms and funeral homes, it’s a love story between the lawyer and an equally troubled doctor (Martina Gusman), nestled into a crime thriller.
The story is as cynical and dark as it comes. The handheld camera keeps it out of the noir category, but the story is as hard-bitten as Kiss Me Deadly or any of the really nasty noirs. The violence is realistic, and there’s lots of it – I had never seen anyone beaten to death with a file drawer before. If you like dark and edgy (and I do), this is the film for you.
DVD of the Week: Le Cercle Rouge
Can a French 1970 color film that stars cool guys like Alain Delon and Yves Montand qualify as film noir? You bet, especially when written and directed by a master of noir like Jean-Pierre Melville (Bob le Flambeur, Le Doulos, Le Samourai).
A thief gets out of prison, immediately robs his former crime boss and goes on the run. An escaped murderer stows away in the trunk of his car. Now they are both on the run from a very cynical and driven cop – as well as from the gangsters. They hire a dissolute former cop and try to pull off a heist. The honest cop who is chasing them squeezes a shady nightclub owner to betray them.
There’s a chase and shootings and a heist that takes up the final 30 minutes, but Le Cercle Rouge is not about the action. It’s about the nature of these characters, guys who live by their own codes. They know what they’re gonna do, and they don’t need to think about why. There’s minimal dialogue, and they look and act really cool for all 140 minutes.
Criterion has just released Le Cercle Rouge on DVD. Take a look. Here’s the trailer in French.
DVD of the Week: Black Swan
Natalie Portman won the Best Actress Oscar for playing a ballet dancer who competes for the role of a lifetime. Her obsession with perfection is at once the key to her potential triumph and her potential ruin. Barbara Hershey brilliantly plays what we first see as another smothering stage mother, but soon learn to be something even more disturbing. Vincent Cassell (Mesrine) captures the charisma of the swaggering dance master who pushes the ballerina mercilessly. Portman’s dancer has the fragility of a porcelain teacup, and, as she slathers herself with more and more stress, we wonder just when, not if, she’ll break. The tension crescendos, and the climactic performance of Swan Lake is thrilling.
Fresh from The Wrestler, Darren Aronofsky’s Black Swan is another directing triumph. In fact, parts of Black Swan are as trippy as Aronofsky’s brilliant Requiem for a Dream.
Black Swan is also on my list of Best Movies of 2010.
Coming up on TV: An Anti-war Masterpiece

Turner Classic Movies is broadcasting the 1964 The Americanization of Emily on April 7. Set in England just before the D-Day invasion, The Americanization of Emily is a biting satire and one of the great anti-war movies. James Garner plays an admiral’s staff officer charged with locating luxury goods and willing English women for the brass. Julie Andrews plays an English driver who has lost her husband and other male family members in the War. She resists emotional entanglements with other servicemen whose lives may be put at risk, but falls for Garner’s “practicing coward”, a man who is under no illusions about the glory of war and is determined to stay as far from combat as possible.
Unfortunately, Garner’s boss (Melvyn Douglas) has fits of derangement and becomes obsessed with the hope that the first American killed on the beach at D-Day be from the Navy. Accordingly, he orders Garner to lead a suicide mission to land ahead of the D-Day landing, ostensibly to film it. Fellow officer James Coburn must guarantee Garner’s martyrdom.
It’s a brilliant screenplay from Paddy Chayefsky, who won screenwriting Oscars for Marty, The Hospital and Network.
Today, Americanization holds up as least as well as its contemporary Dr. Strangelove and much better than Failsafe.
Reportedly, both Andrews and Garner have tagged this as their favorite film.
One of the “Three Nameless Broads” bedded by the Coburn character is played by Judy Carne, later of Rowan and Martin’s Laugh-In.
Potiche: Funny French Farce
This 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 – 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.
Coming Up on TV: A Great Sam Fuller War Film
On April 2, Turner Classic Movies is broadcasting the 1951 Korean War movie The Steel Helmet. It’s a gritty classic by the great writer-director Sam Fuller, a WWII combat vet who brooked no sentimentality about war. Gene Evans, a favorite of the two Sams (Fuller and Peckinpah), is especially good as the sergeant.
Certified Copy: Hmmmmmmmm
Abbas Kiarostami, the critically acclaimed Iranian-born director, presents us with a puzzle set in beautiful Tuscan hill towns. An apparently unacquainted man and woman spend the day together. Then they pretend that they are married. And then they seem to have been long (and unhappily) married.
So after watching the film, one may ask if the couple was married and only pretending not to be at first? Or did they instead start pretending to be married and just get more realistic toward the end of the film? Or do different stages of the film depict different realities? If you need to know what is going on in a movie and why, this is not a good choice for you.
The couple is played by the Juliette Binoche, and the British opera singer William Shimell. They are excellent. Binoche won the Best Actress award at Cannes for this role.
The Music Never Stopped: sentimental movies can be good, after all
Here’s a crowd pleasing movie. Parents find their long lost adult son in a hospital, suffering from a brain tumor that has erased his much of his memory (and all of his short term memory). A speech therapist discovers that the son’s personality is sparked by music that he remembers from his teens. The father and the son have been estranged since the son left after an argument between them. The father finds that he can reach over the memory disability and re-connect by learning the son’s music.
The son’s music is all from the period 1964 to 1970 – and this music is another character in the film. Dad leaves behind his Big Band sensibilities to embrace Bob Dylan, Donovan, Steppenwolf, Crosby Stills & Nash and, especially the Grateful Dead. Baby Boomers and Dead Heads will really enjoy this movie from the music alone. Indeed, the Dead’s Bob Weir and Mickey Hart have been out supporting the movie.
The film is a showcase for the excellent actor J.K. Simmons, who plays the father. Simmons is always very, very good (Juno‘s dad, getting fired in Up in the Air and on TV’s Oz and Law and Order). Here, he plays a guy who is secure in his own righteousness, but then sees and accepts his own responsibility for the estrangement, and whose love for his son motivates him to make some big changes. Lou Taylor Pucci is excellent as the son. Julia Ormond does a good job playing the speech therapist.
Now I generally hate “disease of the week” movies. Really hate them. But here the real story is about the relationship between father and son, and the rebuilding of the bond between them. The memory disability, along with their past and the father’s initial stubbornness, is just another obstacle to their communication.
The story is based on an actual case described by Oliver Sacks in his essay The Last Hippie.
Coming Up on TV: Another Sam Fuller Trashterpiece
On March 23, Turner Classic Movies is airing Shock Corridor (1963). Director Sam Fuller started out as a tabloid reporter and never missed a chance to shamelessly sensationalize a subject (except for war, which he insisted on treating realistically). Shock Corridor is one of Fuller’s most sensationalistic films.
In Shock Corridor, Peter Breck plays a reporter who gets himself committed to an insane asylum so he can gather facts for an expose. He meets an African-American patient who dons Klan garb and gives white supremacist speeches in the corridor. He meets a fellow patient named Psycho who thinks he’s pregnant. He is attacked by a horny mob of women in the nymphomaniac ward, which causes him to yell a truly great movie line, “Nymphos!”. And then things don’t go so well for him after the electroshock therapy…
And, as you can see from the trailer, if Sam Fuller could get a stripper in his movie, he would find a way.