Capsule Review: Of Gods and Men (2010)

Near the end of Xavier Beauvois' OF GODS AND MEN we witness the nine Monks who we've spent the entirety of the film with breaking from their usual routine of chanting, studying or working to sit together and drink wine while listening to a section from Tchaikovsky's Swan Lake. It's a beautiful, sad moment as emotion fills their faces, the realization that their fate may already have been sealed combining with their intense resilience. The monks have lived in peace within a remote section of Algeria for many years, existing peacefully along the nearby Muslim community, but the rise of terrorist extremists has put them at extreme risk. The film covers their decision to stay despite almost certain death, and the quiet dignity that each man maintains as their faith is tested. Whether they make the right decision isn't made totally clear, but it's filmed in such a calm, dignified way that it's hard not to admire the dedication and devotion of these men, even if misguided. Winner of the Grand Prix at Cannes, it's a deliberately pace and perfectly acted film, and one relaying an unfortunate piece of recent history.

Capsule Review: In the Loop (2009)

Armando Iannucci has been creating hilarious, innovative comedy for decades now in television series' like THE DAY TODAY and I'M ALAN PARTRIDGE, but his most impressive accomplishment has been his uproarious satirical series THE THICK OF IT. The choice to make a feature film adaptation/continuation of the series could have been disastrous, but despite adding a few American names and expanding the scope to cover global tensions (as opposed to the UK-centric focus of the show) the core brilliance - exemplified by Peter Capaldi's hilariously foul-mouthed "enforcer" Malcolm Tucker - is fully intact. In fact, the increased resources make for some of the darkest political comedy this side of DR. STRANGELOVE. The screenplay was rightfully Oscar nominated, but the performers deserve plenty of credit for being able to spit out the wonderful dialogue so convincingly. Hilariously brilliant.

Capsule Review: The Social Network (2010)

The rise (and rise) of a social network impresario could have made for dry and flavorless viewing, but the combination of David Fincher's flashy visuals and Aaron Sorkin's verbal pyrotechnics makes for a consistently engrossing experience. Jesse Eisenberg's portrayal of Facebook creator Mark Zuckerberg is purposely difficult to digest, playing the real-life billionaire as a near autistic obsessive, pushing away even his closest confidants. The rest of the young ensemble is equally impressive, and Fincher uses special FX work (such as in the face swapping of the The Winklevoss twins) to miraculous effect - though sometimes goes a little overboard during the winter scenes. While sometimes tenuously linked to the real life events that inspired it, it plays as the sort of modern morality tale that is almost frighteningly of the moment. Ably assisted by a terrific (and Oscar winning) score by Trent Reznor and Atticus Ross.

Reviews/Articles at Daily Grindhouse

Just a brief summary of some of my most recent writing over at Daily Grindhouse.

No-Budget Nightmares - A weekly feature containing both a look at a low-budget feature, as well as interviews with those involved in their creation.

No-Budget Nightmares: The Summer of the Massacre (2006) - Oct 31, 2011

Podcast: Daily Grindhouse Presents – No-Budget Nightmares: The Summer Of The Massacre – Nov 2, 2011

No-Budget Nightmares: Crowbar: The Killings of Wendell Graves (2010) – Nov 7, 2011

No-Budget Nightmares: Interview with Crowbar – The Killings of Wendell Graves director Scott Phillips – Nov 9, 2011

No-Budget Nightmares: Las Vegas Bloodbath (1989) - Nov 14, 2011

Podcast: Daily Grindhouse Presents – No-Budget Nightmares: Las Vegas Bloodbath – Nov 18, 2011

No-Budget Nightmares: Panic Button (2011) – Nov 21, 2011

No-Budget Nightmares – Interview with PANIC BUTTON director Chris Crow – Nov 24, 2011

No-Budget Nightmares: Nightmare Asylum (1992) – Nov 29, 2011

Podcast: Daily Grindhouse Presents – No-Budget Nightmares: Nightmare Asylum – Nov 30, 2011

No-Budget Nightmares – 7 Nights of Darkness (2011) – Dec 5, 2011

No-Budget Nightmares – Interview with 7 Nights Of Darkness director Allen Kellogg – Dec 7, 2011

No-Budget Nightmares – Barely Legal Lesbian Vampires: The Curse of Ed Wood! (1999) – Dec 15, 2011

Podcast: Daily Grindhouse Presents – No-Budget Nightmares: Barely Legal Lesbian Vampire (1999) – Dec 15, 2011

No-Budget Nightmares – A Fistful of Nightmares (Year in Review) - Dec 21, 2011


Enter The Fist - A weekly feature showcasing some historically important Kung-Fu films

Enter The Fist - Five Fingers of Death (aka King Boxer) (1972)

Enter The Fist - Police Story (1985)

Enter The Fist – The Shaolin Temple (1982)

Enter The Fist – The Kid with the Golden Arm (1979)

Enter The Fist – The Dragon Lives Again (1977)

Enter The Fist – Legendary Weapons of China (1982)

Reviews/Articles at Daily Grindhouse

Just a brief summary of some of my most recent writing over at Daily Grindhouse.

No-Budget Nightmares - A weekly feature containing both a look at a low-budget feature, as well as interviews with those involved in their creation.

No-Budget Nightmares: Interview with The Timeslip director Jonathan Chance
No-Budget Nightmares: Hip Hop Locos (2001)
Podcast: Daily Grindhouse Presents – No-Budget Nightmares: Hip Hop Locos
No-Budget Nightmares: The Lost Realities of Hog Caller (2011)
No-Budget Nightmares: Interview with The Lost Realities of Hog Caller director Tom Richards
No-Budget Nightmares: Scarlet Fry’s Junkfood Horrorfest (2007)
Podcast: Daily Grindhouse Presents – No-Budget Nightmares: Scarlet Fry’s Junkfood Horrorfest
No-Budget Nightmares: Pirates: Quest for Snake Island (2009)
No-Budget Nightmares: Interview with Pirates: Quest for Snake Island director Brett Kelly


Enter The Fist - A weekly feature showcasing some historically important Kung-Fu films

Enter The Fist – The Victim (1980)
Enter The Fist – The One-Armed Swordsman (1967)
Enter The Fist – The 36th Chamber of Shaolin (1978)
Enter The Fist – Enter the Dragon (1973)

Take this Waltz (2011)

The 31st Atlantic Film Festival

While I waited for Take this Waltz to begin, I was forced to listen to three quarters of the two old couples seated behind me try to convince the fourth that Sarah Polley, the film's writer and director, is, indeed, famous in some small way. They really couldn't come up with any examples; they knew that she'd done Away from Her, but they were totally blanking on her acting career, aside from mentioning that she was in that film "about the bus crash." I wanted to shout at them: "she's the kid from Road to Avonlea, for Christ's sake!" She is, essentially, the most Canadian actor in Canada. And that's something.

And, indeed, the fact that Sarah was the face of Road to Avonlea from 1990-1996--when I was ages 9 to 15--left me with a great deal of resentment toward her, which, thankfully, I've been able to brush off. For those unfamiliar with the show, it existed in the same fictional universe as Anne of Green Gables ("fictional" because it features the same characters, not because PEI is imaginary). It won four Emmys, which is impressive, since I didn't know that Canadian television qualified for that award. In any event, what seemed like the show's ubiquitous presence led me, at a young age, to the incorrect impression that Canadian entertainment was focused almost entirely on rural, conflict-free period pieces. How awful. If only I'd known David Cronenberg then...

Anyway, Take This Waltz stars the lovely and talented Michelle Williams, and the lovely and talented Sarah Silverman, and, uh, Seth Rogen. The story is nothing especially new: it focuses on Margot (Michelle Williams), a naive and spritely girl, who is married to Lou (Seth Rogen), a seemingly well-meaning fellow, who is writing a cookbook entirely on chicken. At the beginning of the film, Margot meets Daniel (Luke Kirby), to whom she has an immediately and profound attraction. This is problematic, since she loves her husband and wants to stay loyal to him, but finds herself drawn to Daniel, who lives directly across the street. And also there's Geraldine (Sarah Silverman), Lou's sister, who happens to be an alcoholic. Domestic drama ensues.

Sure, it's not an original story. So what? People are constantly cheating, or tempted to cheat, or unhappy with their life, or happy with it, but wondering if they can be happier. This shit happens. And Take This Waltz is, for lack of a better word, Canadian, and therefore worth watching.

What does it mean, for a film to be "Canadian"? It's hard to pin down. Just being made in Canada, or by Canadians, doesn't cut it. Most of David Cronenberg's films, up to and including eXistenZ, are very Canadian. The ones afterwards are not so Canadian. Most of Bruce McDonald's films qualify, but especially Highway 61 and Roadkill. Early Atom Egoyan. Norman Jewison is Canadian, but his films are not. Denis Villeneuve's films look too good to be Canadian, but one of them, Maelstrom, is narrated by a fish, and that's unbelievably Canadian. Anything featuring Don McKellar or Sook-Yin Li is Canadian, even if it isn't. Ryan Gosling is going to have to reaffirm his Canadianness soon, or I'll gladly strip him of it. Etc. I can clarify in the comments, if necessary. This list is objective.

Take This Waltz is Canadian because it assaults you with honesty. It doesn't let off anyone easy; the three main characters are all complicit in the infidelity (or the possibility of it). It doesn't make it easy on the audience, either; you can see why Margot is in a conundrum. And also, because it's so goddamn Canadian, everyone is really nice and polite while it's happening, and not in some unbelievable way, either. It also does a good job of effectively mixing dramatic and comedic modes, which can sometimes be tricky: "dramedy" is not a term that excites this particular film-goer.

A lot of the film's honesty comes from Williams. I don't know how to explain it, but Michelle Williams has the most honest face in show business. Her face is a raw nerve. That might not make sense, but that's the best way I can put it.

Based on reading the few message boards I lurk at, and speaking to a couple of people in person, I'm lead to believe that people have really soured on Seth Rogen. He gets a free pass with me. Why? Because the dude has remained unabashedly Canadian. He played a Canadian in Knocked Up and Undeclared, even though the fact of his characters' origins were totally irrelevant to those shows' plots. And here he's undoubtedly taking a pay cut to be in a Sarah Polley movie. That's unheard of. I mean, when I think of other successful Canadian comedic actors, I think of Jim Carrey, for instance, who currently seems about as Canadian as Bill Clinton.

Watching the film, I couldn't help but think about how some films, when focusing on human relationships, want you to take what happens in the two hour running time (or even an individual scene) and accept it as an encapsulation of the whole relationship; in other words, if you're shown some scenes of two people in a bad relationship, you should take it as a given that the relationship, as whole, is like this. But some directors, or artists, don't want it that way: what they're offering you is a snapshot, one that might not be representative of the whole. And it's hard to tell, sometimes, which example you're watching. Margot and Lou's relationship seems very immature--they narrate fantastic ways of murdering each other as a show of endearment--and largely sexless. But is that true of the relationship as a whole, or only the moments offered? The film leaves it up to you, and if you interpret it one way or the other, your sympathies could change.

Anyway, support Canadian films and watch this fucking movie.

Reviews/Articles at Daily Grindhouse

Just a brief summary of some of my most recent writing over at Daily Grindhouse.

No-Budget Nightmares - A weekly feature containing both a look at a low-budget feature, as well as interviews with those involved in their creation.

No-Budget Nightmares: Forever Evil (1987)
No-Budget Nightmares: Interview with Forever Evil writer Freeman Williams
No-Budget Nightmares: Isle of the Damned (2008)
No-Budget Nightmares: Interview with Isle of the Damned director Mark Colegrove and writer Mark Leake
No-Budget Nightmares: The Crawlspace (2006)
No-Budget Nightmares – Interview with The Crawlspace director Chris Schwartz
No-Budget Nightmares: Suburban Sasquatch (2004)
No-Budget Nightmares: Interview with Suburban Sasquatch director Dave Wascavage
No-Budget Nightmares: Bloody Cuts (2011)
No-Budget Nightmares: Interview with Bloody Cuts creator Ben Franklin
No-Budget Nightmares: The Timeslip (2011)

Enter The Fist - A weekly feature showcasing some historically important Kung-Fu films

Enter The Fist: Fist of Fury (1972)
Enter The Fist: Drunken Master (1978)
Enter The Fist – Five Deadly Venoms (1978)
Enter The Fist – The Clones of Bruce Lee (1981)
Enter The Fist – Project A (1983)