Movie Loner

I normally don’t write about summer blockbusters. The point of this site is to shine a spotlight on films that are concealed in the shadows. That being said, I have been to the theater more this summer than in past years. Here’s my take on three of the big kahunas.

Terminator Salvation - I’m a huge fan of the first two Terminator flicks. Great plots, intense action and plenty of sci-fi elements to pass my greatness quotient. The third movie was a complete disaster and should have never been made. What about the latest incarnation? It’s not in the class of the first two chapters, but it’s not as awful as critics and fans are making it out to be. It has some excellent chase sequences and a good performance from Sam Worthington, who is the star, not Christian Bale. The direction by McG was okay; however, a better director might have been able to cull a little more emotion from the story. Salvation has its moments, but overall it seems rushed. It’s a decent film worth checking out.

Night at the Museum II - It’s the Battle for the Smithsonian. I didn’t see the first movie, which I’m told is better. Ben Stiller excels in popcorn stuff like this, but I dig him more in movies like Something About Mary and Meet the Parents. Talking animals and historical figures fill the screen from start to finish. Basically, the story is about having as much fun in life as you can. It’s designed for kids, although adults might find some redeeming qualities. Amy Adams stands out portraying Amelia Earhart; she’s spunky, adventurous and quite engaging. Hank Azaria lisps his way throughout and culls a few laughs. I wouldn’t rush out to see it, unless your kiddies are pestering you.

Up - Pixar doesn’t produce flops. Up is no exception. The animation it top notch as always and the story is very poignant. Portions play as a silent film, which I thought worked well. Unlike Museum, this one has something for everyone. The narrative is geared toward adults, but the talking dogs and birds will keep the youngsters interested. Great voicework by Ed Asner and Christopher Plummer. Thus far, this is the best of the bunch. I’ve yet to see Star Trek though, so I could change my tune when I get around to checking it out.

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Film, first and foremost, is a visual medium. Watch Sergei Eisenstein and D.W. Griffith and you’ll realize dialogue is not necessary to convey a structured plot. Movies like The Battleship Potemkin and Intolerance laid the groundwork in the early 20th century. Charlie Chaplin and Buster Keaton took silent film to another level, but since “talkies” took over in the 1930s, movies have often become too reliant on dialogue. The French are one of the few practitioners who still regard sparse dialogue as a viable technique to utilize in cinema. Contemporary filmmakers such as Francois Ozon and Claire Denis often prefer to concentrate on mise-en-scene instead of words. It’s not for everyone, but cineastes who enjoy a more experimental style appreciate the creative choice.

Has anyone read Billy Budd by Herman Melville? Do people still read? Melville’s story is set aboard a French warship in the year 1797. It deals with a conflict between a young seaman (Budd) and the ship’s Master-at-Arms, John Claggart. Jealousy leads to murder. It’s a great read that is often interpreted as as a retelling of Jesus and Judas. To be honest, it’s so dense it’s open to several different interpretations. A classic film version of the tale - directed by Peter Ustinov - was released in 1962, but if you’re searching for a more modern and esoteric re-imagining, look no further than Beau Travail. French auteur Claire Denis created a visual masterpiece back in 1999 that is more than worth your time.

In the Gulf of Djibouti - near the Red Sea - is home to a company of French Legionnaires. Amidst the searing desert heat, three men become embroiled in a conflict of wills. Commander Forestier, Master Sergeant Galoup and a charismatic recruit named Sentain form a bizarre triangle. Sentain’s youth, skill and popularity draws the attention of both Forestier and Galoup. Forestier admires the young man’s leadership and heroism, while Galoup views him as a threat. Galoup’s envy of Sentain soon transforms to rage. Forestier’s favoritism serves only to deepen Galoup’s hatred toward Sentain. A physical confrontation between the two opposing forces ends badly for both. Galoup’s misplaced jealousy results in his personal and professional undoing.

Denis invents an operatic atmosphere for the film. Routine daily activities become balletic displays of male bodies in motion. The repetition of ironing a shirt, group exercise and marching in unison assume an almost mechanical identity. Military films often delve into the theme of man being stripped of humanity by the disciplinary rigors instituted by the armed forces. Denis doesn’t expound on this idea; she allows her striking images to do the talking. The dynamics of man vs. man and man vs. self are melded with the cumulative effects of military dehumanization throughout the narrative. Denis doesn’t follow Melville’s text to the letter. She focuses her vision on the most significant element: man’s frustration with the inability to recapture youth.

The story unfolds as a series of flashbacks delivered via Galoup’s voice-over narration after the events in the desert. His thoughts are of the stream-of-consciousness variety and provide only minimal insight into his psyche. He seems to regret his actions, but not his motivations. His “present” life can best be described as mundane and lonely. Galoup lives by the code, “Serve the good cause and die.” Without the only life he knew, he is lost in a world that is foreign to him. Denis Lavant’s portrayal of Galoup is spot on; again, there isn’t much dialogue, so his physical acting defines the character. Denis has cobbled a successful career in film, but her signature work is Beau Travail. It’s far from the mainstream, which is why it’s so refreshing.

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I’ve always been a huge fan of old-school, B-grade horror flicks. I’m not talking Boris Karloff or Hammer vampire movies. Those are okay, but my tastes gravitate more toward cultish monster/zombie films in the realm of The Toxic Avenger, C.H.U.D., and Leprechaun. They are bad, but in a good way. They aren’t out to make any “Best of” lists, unless it’s “Best Movie To Set Filmmaking Back Twenty Years.” At any rate, the B-horror genre has been overtaken by more serious terror fodder like 28 Days Later and Grudge clones. You know, films with quality casts and screenplays. They are ruining the genre with all their sophisticated special effects and gaudy box office results. Thankfully, there is still plenty of low-budget material available; it’s just a little difficult to find.

Perhaps no other actor defined horror during the 1980s more so than Robert Englund, aka Freddy Krueger. The Nightmare On Elm Street franchise transformed Englund from day-player to superstar. Unlike fellow big screen madmen Michael Myers and Jason Vorhees, Krueger didn’t don a mask and actually spoke. In fact, his wit was as sharp as his bladed glove. Englund made the character his own and became one of the most identifiable faces in Hollywood. Since then, Englund has appeared in numerous movies and television shows, mostly of the horror variety. One of his recent performances was playing a doomed professor in Jack Brooks: Monster Slayer.

Jack Brooks is still haunted by childhood memories of his parents’ brutal murder at the hands of a vicious monster. The adult Jack can’t move on. Despite therapy, he’s still plagued by serious anger issues. His plumbing job isn’t satisfying and his girlfriend is a nag. A night class at the local community college introduces Jack to nebbish Professor Gordon Crowley. Gordon needs some plumbing help, so Jack volunteers his services. A busted water pipe at Gordon’s remote house unleashes an ancient demon that possesses the good Professor and turns him into a Jabba-the-Hut-esque monster with a voracious appetite for human flesh. Rather than run away, like he did as a child, Jack arms himself with a pipe wrench and decides to kick some serious monster ass.

As much as I’d like to trash this flick for being low-brow garbage (again, in a good way), it’s actually a well-conceived production. The story takes time to get moving, but once it does, it’s damn entertaining. Director Jon Knautz keeps matters simple and allows the zombies and demons to do the heavy lifting. The monster effects are quite impressive considering the budgetary restraints. The script plays for laughs, but only manages to hit on a few. Although, watching an infected co-ed get bludgeoned by a steel pipe is funny (Clearly, I have problems).

Trevor Matthews, who plays Jack Brooks, has a Jason Lee vibe going. He reminded me of Banky from Chasing Amy. Matthews tries to score in the comedy department, but misses the mark. I would like to see Lee tackle this role. I bet he would nail it. At any rate, Matthews does excel at the physical stuff. Of course, Englund is his usual self, hamming it up at every turn. The greedy consumption of a black heart is classic Englund. If you enjoy monsters, gore and plumbing, check out Jack Brooks: Monster Slayer. It’s 85 minutes of B-horror goodness.

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In my review of Thirty Days of Night, I discussed the difficulty faced by screenwriters in reinventing the vampire flick. It’s no easy task, for sure. There’s only so much a writer can do to mix up such a tried-an-true genre. Just when I thought I’d seen every kind of bloodsucker tale, along comes the movie Let The Right One In, from of all places, Sweden. Who knew the Swedes had it in them to produce such an original creature of the night plot. I’m in no way trashing their country, but Sweden isn’t the first place that pops into my head when I think horror. Shame on me, I guess. I’ll be on the lookout from now on.

Twelve-year-old Oskar is a lonely lad facing constant abuse from school bullies. Meek and friendless, Oskar needs a severe confidence boost. Things change when a young girl named Eli moves in next door. Eli is bit of an odd bird, but she and Oskar become fast friends. There’s one small problem with the mysterious Eli: she’s a vampire. Her need to feed directly conflicts with her budding relationship with Eli. Not to mention the blood-drained bodies that are piling up in the neighborhood. Despite her affliction, Oskar falls hard for Eli. Together, they navigate the pitfalls of adolescent love while attempting to keep Eli’s secret under wraps. Her blood thirst threatens to crumble their game of house as the locals close in on uncovering her nest.

If you’re looking for a nonstop gore-fest, this won’t be your cup of tea (or blood). Let the Right One In is all about intense, nuanced character interaction. Like most pre-teen relationships, Oskar and Eli’s is destined to meet an unhappy end. Their naivete prevents the couple from fully understanding how doomed their situation is. Although, a very manipulative presence hangs over Eli. Her desperation to find a new companion reeks of her using Oskar for personal gain. She may be twelve on the outside, but her internal wisdom dwarfs Oskar’s. This dynamic adds more flavor to their involvement with one another. Can Oskar really trust a vampire?

Director Tomas Alfredson casts a moody haze over this absorbing chiller. A cold, pale palette enhances the creepy aura, as does an appropriately eerie soundtrack. Loneliness and exile are recurrent themes interwoven throughout the plot. Although from completely different worlds, Oskar and Eli have a kinship that will forever bind them to one another. In a film where the specter of divorce lingers, it is little coincidence that their seemingly dysfunctional coupling is in reality the most stable. Kare Hedebrant and Lina Leandersson both deliver courageous performances as Oskar and Eli. If you like your horror different and are searching for something besides masked maniacs and flesh-eating zombies, don’t forget to Let the Right One In.

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I haven’t done this in a while. Rather than fully expound on one film in particular, I thought I’d recommend a few films quick-hitter style. Here are five quality titles deserving of finding a larger audience.

Appaloosa (2008) - This underrated western directed by and starring Ed Harris slipped through the cracks last year. Gritty and well-acted, it tells the story of two hired guns’ attempt to rescue a small New Mexico town from the grips of a murderous rancher. It’s a terrific film about loyalty, friendship and jealousy co-starring Viggo Mortensen, Jeremy Irons and Renee Zellweger.

Reprise (2006) - A nuanced character study about two life-long friends who go their separate ways after becoming published writers. One is a lovelorn genius battling depression. The other a timid nice guy who struggles to step out from his friend’s shadow. This beautifully photographed meditation on the madness of love and the pitfalls of success reflects well on Danish cinema.

Humboldt County (2008) - An appropriate movie to discuss on 4/20. Nebbish med student Peter Hadley checks out of his life for a while and lands smack dab in the middle of marijuana country. The counterculture clashes with the suit and tie crowd in this offbeat comedy. A stand out performance by Brad Dourif as an ex-professor turned pot dealer highlights this below the radar gem.

The Host (2006) - This South Korean horror flick about a mutant creature terrorizing the residents dwelling on the River Han generated some buzz a couple years ago. The Host is more about a distant family coming together than a giant man-eating lizard, which separates itself from most movies in the genre. Credible special effects keep this one from treading into the land of the silly.

The New Guy (2002) - It’s not just another slapstick high school comedy about a nerd becoming popular. Well, maybe it is, but it’s still entertaining. DJ Qualls does his best Patrick Dempsey impression from 1987’s Can’t Buy Me Love and carries the movie on his narrow back. Look for guest apperances from Lyle Lovett, Tony Hawk, Gene Simmons, Tommy Lee, Henry Rollins, David Hasselhoff and Vanilla Ice. Now that’s casting, folks!

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Whatever happened to the good old fashioned mystery? It’s a genre that has been severely lacking in recent years. Movies like Eagle Eye and Deja Vu masquerade as mysteries, but ultimately they fail to achieve the standards of a true whodunit. I guess they deserve credit for trying, although being loud and intense can’t substitute for a well-written script and clever plotting. When I think of quality mysteries, films like All the President’s Men and The Conversation come to mind. It seems no one is willing or capable of producing intelligent, high quality stories on the same level as those seminal masterpieces. Well, at least not in Hollywood. The best mystery I’ve seen in years comes from France. It’s called Tell No One and it takes you on one helluva ride.

Eight years ago, Alexandre Beck’s wife Margot was murdered near a lake in the woods. Alexandre has never fully recovered from the tragedy, so when he receives an anonymous email from who be believes is Margot, his suspicions are raised. The discovery of two bodies buried near where Margot was found dead further enhances Alexandre’s assertion Margot may still be alive. The police re-open the case, but just like eight years before, their leading suspect is Alexandre. While attempting to clear his name and uncover the truth, Alexandre is framed for murder and pursued by an unknown group who have a keen interest in whether or not Margot is in fact dead. What follows is a complex game of cat and mouse that will open a vault filled with secrets, lies and betrayal.

Writer/Director Guillaume Canet unravels a detailed plot that will keep you guessing throughout. He puts the audience directly in the shoes of Alexandre. We know what he knows. There is no spoon-feeding of clues or misplaced hints along the way. Alexandre must learn to adapt on the fly and improvise during several perilous situations. The mild-mannered pediatrician is forced to get his hands dirty in order to save himself. His actions may seem unrealistic at points, but they are completely justifiable when the magnitude of the conspiracy is taken into account. The survival instinct takes control when backed into a corner. Canet gives his protagonist an appropriate amount of leeway to find the answers he seeks. This vivid exploration into man’s capabilities when properly pushed is what makes the film resonate.

The pacing resembles The Fugitive. Canet accelerates the action with a heart-pounding foot chase sequence that rivals those from The Firm and Casino Royale. The violence is sharp and brutal but isn’t glorified or celebrated. Canet’s camera is a steady observer; it has a story to tell, but only through the eyes of Alexandre. It captures the bucolic countryside and congested streets from a distance, never venturing too close, reminding us their is something hidden we cannot yet see. Be it an empty wooden dock or a crowded public park, the feeling that someone else is watching is impossible to shake. It adds discomfort to an already unnerving film.

Music proves integral as well. U2’s “With or Without You” serves as a critical plot device, and a beautiful montage set to Jeff Buckley’s haunting cover of “Lilac Wine” provides a glimpse into Alexandre’s tortured soul. An excellent cast is anchored by Francois Cluzet and Kristen Scott Thomas. Cluzet plays Alexandre as angry and confused; it’s difficult not to root for a character who must endure such feats. Scott Thomas is stalwart as usual as Helene, Alexandre’s sole friend and confidante. My only quibble with Tell No One is the lengthy end scene that explains all. It came off as slightly pedantic and too convenient for such an enigmatic story. However, it’s nowhere near enough to spoil a truly great mystery. I suggest you tell everyone about Tell No One.

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I love a good journey movie. You know, the kind that spans the globe and concludes with a satisfying payoff. It doesn’t have to feature exotic locales, but it helps the narrative if it does. That’s probably why I dig Bond movies so much; hopping from one cool place to another keeps things interesting. However, more important than location is the story. Enduring hardships, overcoming adversity and reaching a goal can make for a powerful film if executed correctly. The Pirates of the Caribbean is an example of a good journey movie. Another would be Vanishing Point. Each are very different but both deal with an attempt by a person or persons to achieve a goal. Like the old adage says, it’s not the destination that matters, it’s the journey. The Beautiful Country takes us on a long, heartfelt trip from Vietnam to Sweetwater, Texas.

Binh is a “bui doi,” which is the not-so-flattering term given to Vietnamese children with American fathers. It means less than dust, and Binh’s awful treatment in his homeland has labeled him an outcast. There is no longer a place for Binh in his village, so he sets off for Saigon to reunite with his long-lost mother. He finds her working as a maid and along with his younger half-brother Tam, the three attempt to make a home together. However, an unexpected tragedy forces Binh and Tam to flee Saigon for America in search of the father he’s never known.

Their travels land them in an Indonesian refugee camp where they meet Ling, a damaged young prostitute. Binh falls for Ling, but she sees him more as a friend. Wanting to see Binh and Tam get to America, Ling pays their way onto a freighter headed for the states. The ship’s captain is a human trafficker and grants Binh passage only if he agrees to work when he arrives in America. More heartache ensues, but Binh finally reaches New York City. His adventure is far from over. Emboldened by the taste of freedom, he heads to the desolate plains of Texas to find his father.

Director Hans Petter Moland and writer Sabina Murray craft three movies into one narrative. Binh’s life in Vietnam, his perilous ocean journey, and his time in America are all woven together seamlessly. The innate beauty of Vietnam contrasts wonderfully against the cramped, dingy bowels of a rusty freighter and the hustle and bustle of big city USA. Moland unfolds an epic story that defines the dangers of immigrating to a foreign country. Scared and virtually alone, Binh must fight every step of the way to stay alive and protect those he loves. His quest is sad, but also inspirational and admirable.

Damien Nguyen shines in his debut big-screen performance as Binh. Nguyen tackles a difficult role fearlessly; he hurdles a range of emotions from sad and lonely to courageous and determined. Asking an inexperienced actor to carry a film of this magnitude is risky, but Nguyen delivers at every turn. Binh constantly being referred to as “ugly” does nothing to lessen his internal kindness. All he wants is to locate his place in the world, to gain acceptance into a family and to establish his own identity. Bai Ling, Tim Roth and Nick Nolte provide solid support. Roth, in particular, is quite convincing as the hardened Captain Oh. Movies like The Beautiful Country can easily slip into the overblown melodrama category, but this one steers clear thanks to great direction and outstanding performances. It’s a journey movie worth your time.

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I’ve always been leery of musicians testing out their acting chops. Being an entertainer or a performer can encompass many areas. Technically, a mime is an entertainer, but I doubt Scorsese or P.T. Anderson is planning on casting one in their next film. Sure, John Malkovich made the transition to puppeteering, but I chalk that up to a one in a million shot. Wink, wink. At any rate, many singers have thrown their hats into the acting ring with mixed results. Mick Jagger and James Brown were laughable. Tupac and Cher were naturals. Everyone from Elvis to Justin Timberlake have been cast in multiple movie roles in hopes of strengthening their star power. Australian singer/songwriter Ben Lee has made one film: The Rage in Placid Lake.

Lee plays the titular character, Placid Lake, an odd youngster prone to abuse from bullies and defying authority. His one friend in the world is Gemma, the genius girl next door. Placid and Gemma are both graduating from high school and unsure of what their futures hold. Placid’s hippie parents prefer their son to carry on the family tradition of non-conformity. Gemma’s protective father wants his brilliant daughter to attend university. Placid has been accused of being fearless, so in order to alter this perception he performs the ultimate act of rebellion by accepting a job at an insurance firm. He has a plan to become a “normal” person. On the fast track to corporate servitude, Placid begins to change for the worse, confusing and angering his parents and Gemma. Will he become another casualty of the system or will he regain his free-spirited nature?

Ben Lee, who never acted before or since, delivers a credible performance in this eccentric comedy. Placid is your typical adolescent searching for direction, but Lee gives the character a jolt of originality. Smart and witty, Placid hides behind his humor and buries his fears deep inside. He presents a false bravado to help cope with the loneliness of feeling out of place in the world. His foray into the insurance game is an attempt to discover where he belongs. Emotionally abandoned by his parents and rejected by Gemma, Placid embraces the camaraderie and security of a suit and tie existence. However, sleeping with the enemy exposes a cold and uncaring life worse than one Placid left behind. Conforming to rules and regulations proves to be a suffocating decision certain to strip him of his uniqueness.

Writer/Director Tony McNamara unleashes a sneak attack on the corporate machine. I would place this film in the same category as Napoleon Dynamite and Juno. All are me-against-the-world stories that rely on off-center lead characters who must find a comfortable niche they can call their own. McNamara doesn’t break any new ground, but he does allow his cast to carry a thin plot to great heights. Miranda Richardson and Garry McDonald stand out portraying Placid’s conflicted parents, and Rose Byrne is sweetly amusing as Gemma. The Rage in Placid Lake is perfect for a rainy day. It won’t change your life, but it will cheer you up.

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