Movies

Movies to See Right Now

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Gael Garcia Bernal in NO

This week’s best movie in theaters is the suspenseful German historical drama Barbara.  In No, Gael Garcia Bernal stars as the regular guy who brainstormed the guerrilla advertising campaign that dethroned Chilean dictator Pinochet.  The Incredible Burt Wonderstone is a pleasant comedy and a showcase for Jim Carrey. I admire Steven Soderbergh’s psychological thriller Side Effects, starring Rooney Mara, Jude Law and Catherine Zeta-Jones. Emperor, with Tommy Lee Jones as Gen. Douglas MacArthur leading the American occupation of Japan, is historical but plodding.

I haven’t yet seen Walter Salles’ Jack Kerouac movie On the Road, which opens today, or Sunday’s HBO movie Phil Spector. You can read descriptions and view trailers of upcoming films at Movies I’m Looking Forward To.

My DVD/Stream of the week is the most under-appreciated Big Movie of 2012, Zero Dark Thirty, director Kathryn Bigelow’s inspired telling of the hunt for Bin Laden.

Turner Classic Movies is showing a couple of my guilty pleasures this week.  The 1958 Terror in a Texas Town is a lousy movie with an wonderfully implausible climax where the good guy (Sterling Hayden with a Swedish accent) take on a gunfighter with a harpoon.   An even worse movie, 1964’s The Outrage tried to remake Rashomon with a Mexican bandit – and landed Paul Newman the #8 spot on my list of Least Convincing Mexicans.

Beware of Mr. Baker: please don’t hit me again, Ginger

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The documentary Beware of Mr. Baker traces the life of the extremely volatile legendary rock drummer Ginger Baker (Cream, Blind Faith).  Baker is undeniably a musical genius, and the film highlights the stature of his work in both rock and jazz.  Unfortunately, the nasty combination of his aggressively anti-social personality and his heroin addiction precluded successful professional and familial relationships.  We hear about Baker’s good and bad sides from his former Cream band mates Jack Bruce and Eric Clapton, several of his ex-wives and his son, drummer Kofi Baker.  And we meet Ginger Baker himself, for better and for worse.  At one point, the septuagenarian Baker employs his cane to break the nose of the film’s director, Jay Bulger.

Bulger gets credit for comprehensive research into Baker’s life and times, for his inventive use of animation in depicting stages of Baker’s life and for getting the combustible Baker himself on camera.  Beware of Mr. Baker is the skillfully told story of a fascinating life.  Beware of Mr. Baker is now available on VOD through Amazon and other outlets.

 

The Incredible Burt Wonderstone: Jim Carrey gets to be funny again

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In The Incredible Burt Wonderstone, Steve Carrell plays the title character, a schlub who has lucked into Vegas headliner success as a magician and has developed narcissistic entitlement, along with some destructive spending habits.  Steve Buscemi plays his long suffering partner.  Their prop-driven act, with its Siegfried and Roy schtick, is challenged by an emerging street magician a la David Blaine (Jim Carrey).  Laughs result when the clueless Burt Wonderstone sabotages his own successful act and must come to terms with his own limitations; this being show biz, there’s a lot of unabashed backstabbing.  There’s also a brief but very funny poke at celebrity charity in the Third World.

As we remember from his breakthrough performance in 1994’s The Mask, there are things that Jim Carrey can do that no other performer can.  His movie vehicles since The Mask, however, have tempted him to preen and wink at the audience.   Here, he has a well-written role that is perfect for his rubber face, physicality and sheer force of character, and he takes it to the max. It turns out that, while he can make us wince in a Jim Carrey movie, Carrey can make us belly laugh in a Steve Carrell movie.

The Incredible Burt Wonderstone benefits from a deep cast.  The very game and able Olivia Wilde plays the exploited intern.  James Gandolfini plays a deliciously ruthless and self-interested casino tycoon.  The great Alan Arkin just gets funnier as he ages.  And Jay Mohr is delightful in one his best recent roles, a hopelessly unsuited comedian named Rick the Implausible.

The Incredible Burt Wonderstone is fluff, but it’s fun fluff.  And a showcase for Jim Carrey.

 

 

 

 

 

Movies to See Right Now

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Nina Hoss in BARBARA

This week, the theaters feature three historical dramas, the best being the suspenseful German Barbara.  In No, Gael Garcia Bernal stars as the regular guy who brainstormed the guerrilla advertising campaign that dethroned Chilean dictator Pinochet.  Emperor, with Tommy Lee Jones as Gen. Douglas MacArthur leading the American occupation of Japan, is historical but plodding.

The documentary The Gatekeepers is centered around interviews with all six surviving former chiefs of Shin Bet, Israel’s super-secret internal security force; these are hard ass guys who share a surprising perspective on the efficacy of Israel’s war on terror. The documentary
Mea Maxima Culpa: Silence in the House of God is now playing on HBO; it explores the Catholic Church’s decades-long cover-up of priest abuse from a Wisconsin parish to the top of the Vatican (and I mean the top). I admire Steven Soderbergh’s psychological thriller Side Effects, starring Rooney Mara, Jude Law and Catherine Zeta-Jones.

San Jose’s Cinequest Film Festival is over, and for a wrap-up, see my CINEQUEST 2013 page.

You can read descriptions and view trailers of upcoming films at Movies I’m Looking Forward To.

My DVD/Stream of the week is, fittingly, the Italian comedy We Have a Pope, especially in a double feature with Mea Maxima Culpa.

I usually don’t think of Dustin Hoffman as a comic actor, but some of his performances have been brilliantly funny, including Tootsie, Little Big Man and the essential The Graduate.  Turner Classic Movies will be broadcasting those three films tomorrow night, March 16.

Barbara: Just because you’re paranoid doesn’t mean they aren’t after you

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As Joseph Heller wrote in Catch-22, “Just because you’re paranoid doesn’t mean they aren’t after you”.   Barbara’s suspenseful story is set in Cold War East Germany, so everyone is indeed being watched by the Stasi and informed on by their closest associates.  Barbara is a doctor who has applied for an exit visa and has therefore been exiled to the hinterlands from a top Berlin hospital.   Harassed by the Stasi, she is ever aware of everyone’s motives.  She is played by Nina Hoss in a performance that is extraordinarily controlled, alert and suspicious.

Barbara herself is driven by two imperatives – to escape from East Germany and to provide expert and compassionate medical care.  The story is a series of moments, some seemingly random, which tie together as the story builds to the climax, when the doctor must bet her life on a decision.

Barbara was co-written and directed by Christian Petzold (he won the Berlin Film Festival’s Silver Bear for his work).  Given that’s it difficult to imagine how anyone else could have improved Barbara, I’ll be looking for Petzold’s next movie.

No: when the soft sell is the most subversive

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In No, Gael Garcia Bernal stars as an ad man brainstorming the guerrilla advertising campaign that dethroned Chilean dictator Pinochet in a 1988 plebiscite.  It turns out that the key was not to rehash the atrocities of the repressive Pinochet dictatorship, but to get his audience to picture the alternative democratic future.  The ad man’s biggest challenge is to pitch his soft sell campaign to Pinochet’s ideologically driven opponents.

No has a grainy look and was shot in the same aspect as is television (i.e., not widescreen).  This allows the transition between the filmed scenes and the inserted historical footage (including the original Yes and No campaign commercials) to be seamless.

I visited Chile in the last days of the Pinochet dictatorship, after the October 1988 plebiscite but before the new democratic government took office fifteen months later.  No ably captures both the scariness of the authoritarian regime and the culture of the period.  As always, Garcia Bernal is excellent.  No was nominated for the 2013 Foreign Language Oscar.

Emperor: one romance too many

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Completely destroyed by US aerial bombardment and facing nuclear annihilation, Japan has just surrendered.  General Douglas MacArthur has just arrived to lead the American occupation of Japan, with the long-term goal of rebuilding Japan as a modern, democratic, pro-Western and relatively demilitarized country; in the short-term, he has to punish Japan’s WW II war criminals. MacArthur makes a grand strategic decision not to blame the Emperor of Japan for the war, but to enlist the authority of the Emperor in support of MacArthur’s efforts.  Emperor is the story of this moment in world history, with Tommy Lee Jones playing MacArthur.

Tommy Lee Jones is always fun to watch, especially when he is not suffering fools,  and he does an excellent job of portraying MacArthur’s decisiveness, self-promotion and vanity.  But he is is perhaps too sympathetic here, failing to capture MacArthur’s absolute and defining narcissism.

But we only occasionally see MacArthur.  Most of the screen time is reserved for the officer (Matthew Fox of Lost) gathering the evidence that will justify MacArthur’s preferred option (absolving the Emperor).  Unfortunately, Fox’s character is also searching for the Japanese woman who was his pre-war lover.  Unpeeling the onion of the Japanese imperial bureaucracy is more interesting than the sappy love story.

Given that it was directed by Peter Webber (Girl With a Pearl Earring), I had higher hopes for Emperor.  I would recommend it only for those with an interest in WW II and Japanese history.

DVD/Stream of the Week: We Have a Pope

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WE HAVE A POPE

It’s Papal Conclave Week here at the Movie Gourmet, and my weekly DVD pick is last year’s Italian comedy We Have a Pope (Habemus Papam) – also available on Netflix Instant.  In We Have a Pope, the papal conclave elects a Pope, but just as he is about to be introduced to the faithful, he cries out and shrinks from the balcony.  He is having a severe panic attack, and the Curia secretly sends for a psychiatrist to get him in emotional shape for a public appearance.  After some awkward attempts at individual talk therapy (with the therapist and patient surrounded by cardinals), the Pope-elect bolts from the Vatican and runs off on his own, pursued by frantic Pope-handlers.

If this premise weren’t funny enough,the psychiatrist himself can probably be diagnosed as a narcissist and becomes obsessed with organizing the cardinals into a volleyball tournament.   Another shrink diagnoses every patient with parental deficit.  The cardinals are a quirky and flawed bunch, and the Vatican bureaucrats are suitably sinister.

The troubled Pope is played by the great French actor Michel Piccoli (Contempt, Belle De Jour, La belle noiseuse).  Piccoli embues his character with humanity and authenticity –  he is not a weak or crazy man, just a good and able guy who is unable to shoulder great responsibility at this stage of his life.  Writer-director Nanni Moretti plays the shrink and is himself very funny.

We Have a Pope makes a fine double feature with the sober documentary Mea Maxima Culpa: Silence in the House of God, currently playing on HBO.

Cinequest: The Hunt

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THE HUNT

The most exhilarating moment of Cinequest has been the screening of the Danish drama The Hunt (Jagten) – one of the very best films of the year. Mads Mikkelsen won the Best Actor at Cannes for his portrayal of a man whose life is ruined by a false claim of child sexual abuse. You’ll recognize Mikkelsen, a big star in Europe, from After the Wedding and the 2006 Casino Royale (he was the villain with the bleeding eye).

The story is terrifyingly plausible.  The protagonist, Lucas, is getting his bearings after a job change and a divorce.  He lives in a small Danish town where everyone knows everyone else, next door to his best friend.  The best friend drinks too much and his wife is a little high-strung, but Lucas embraces them for who they are.  He’s a regular guy who hunts and drinks with his buddies and is adored by the kids at the kindergarten where he works.   He’s not a saint – his ex-wife can get him to fly off the handle with little effort.

A little girl hears a sexual reference at home that she does not understand (and no one in the story could ever find out how she heard it).  When she innocently repeats it at school, the staff is alarmed and starts to investigate.  Except for one mistake by the school principal, everyone in the story acts reasonably.  One step in the process builds upon another until the parents become so understandably upset that a public hysteria ensues. 

Director Thomas Vinterburg had previously created the underappreciated Celebration (Festen).   The Hunt is gripping – we’re on the edges of our seats as the investigation snowballs and Lucas is put at risk of losing everything – his reputation, his job, his child, his friends, his liberty and even his life.  Can Lucas be cleared, and, if he is, how scarred will he be?  The Hunt is a superbly crafted film with a magnificent performance by Mikkelsen.

Cinequest: The Dead Man and Being Happy

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THE DEAD MAN AND BEING HAPPY

The first thing you notice about The Dead Man and Being Happy (El muerto y ser feliz) is the narration.  Breaking every film school precept, the narrator describes what we are seeing for ourselves.  Then he confides a fact that we can’t see, but with the caveat, “But you aren’t supposed to know that yet”.  As the movie goes on, it’s clear to us that some of the narration is patently false.

And then there’s the sound design: all the sound in the film is abruptly silenced every time the narrator is about to hold forth.  The effect of the narration and the sound design is to let us know that The Dead Man and Being Happy is pretty wacky and doesn’t take itself too seriously.

Give credit to director and co-writer Javier Rebollo for creating a decidedly offbeat and completely entertaining Argentine road movie.  A professional hit man in his sixties (Jose Sancristan) is dying of cancer, loads up with pain medication and goes on a final road trip.  He picks up a woman in her mid thirties (Roxana Blanco) with her own demons, and they, seemingly randomly, drive around and across Argentina.  We’re not talking tourist Argentina here.  The prickly pair drives around way out in the boonies, stopping at shabby roadside cafes and inns, even visiting a lake that belongs in an apocalyptic sci-fi movie.  Of course, we all know how the hit man’s trip must end.

The whole ride is funny and curious and intoxicating.