Movie Loner

No one enjoys the success of ‘little movies that could’ more than myself. I find it extremely satisfying when a film with a budget a hundred times less than a Hollywood tent-pole manages to crawl through the high grass and cultivate an audience. I’m not talking about movies like Juno either. As much as I liked Juno it is not an independent movie; one of its Producers was John Malkovich and its Director, Jason Reitman, while young, is not a neophyte when it comes to the movie game. Legit independent films are made “outside” of the system for relatively little cash and star unknown actors. Movies like Once, a quaint romance that snagged a Best Original Song Oscar in 2007.

A struggling Dublin singer/songwriter (Glen Hansard) repairs vacuum cleaners by day while peddling his songs at night for a pittance. His heartfelt melodies draw the attention of a young immigrant woman (Marketa Irglova) who probes him with questions. Once she learns he works at a Hoover shop she solicits his help in fixing her busted cleaner. The following day she brings him her vacuum. The two end up spending the day together and discover they share a love of music. A fast friendship forms as they reveal tales of heartache and use the power of music to help heal one another.

Armed with renewed fervor, he gains the courage to take his talents off the sidewalk and into the studio. Accompanied by her on piano and a collection of fellow street performers, he turns a weekend recording session into a demo disc. With disc in hand, next stop is London to secure a record deal. However, a reluctance to leave is further complicated by his feelings for her and the rare bond they have built. Unwilling to admit their true desires, an unrequited love is manifested through their songs. Will he leave for London to find fame and fortune? Will she allow him to leave without acknowledging their passionate connection?

Writer/Director John Carney filmed Once over a three week period with only two digital camcorders at a budget of roughly $145,000. That’s what I call independent. A simple story about chasing dreams and falling in love, Carney did more with $100,000 than most filmmakers achieve with $100 million. Hansard and Irglova are both professional singers and had never acted prior to this project. Since then the duo has taken the music world by storm performing songs from the film and releasing an album together, “The Swell Season.” By the way, the songs are all fantastic. Once in a while a tiny movie like Once comes along and breaks into the mainstream. If your like me and appreciate when this phenomenon occurs do yourself a service and see Once.

The trailer for Once:

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I don’t know what it says about our society that we seem inordinately fascinated with serial killer films. Perhaps it’s simply a morbid curiosity with all things evil, or maybe it’s something darker and disturbing. Who am I to say? As nutty as the Ted Bundys and David Berkowitzs of the world were, cinema always manages to concoct more and more inventive lunatics. The Saw movies, Seven and the iconic Silence of the Lambs all feature a particular brand of psycho killer. Normally reserved to Hollywood, France has taken the serial killer ball and ran with it in recent years. The Crimson Rivers offers a different twist in this extremely popular genre.

Jean Reno plays Commissioner Pierre Niemans, a Paris top-cop dispatched to the university hamlet of Guernon to investigate the torture and murder of a young professor. Guernon, nestled in a picturesque mountain valley, is home to the country’s best and brightest minds. Pierre takes little time gathering clues and piecing together the puzzle. Sixty miles away, in the town of Sarzac, Lt. Max Kerkerian (Vincent Cassel) is probing the desecration of a grave-site belonging to a little girl who was killed twenty years prior. Dogged detective work leads Max to the girl’s mother who claims her daughter wasn’t killed but rather kidnapped by “demons.”

Pierre’s and Max’s cases intertwine. The two men soon cross paths and reluctantly team-up. Two more gruesome murders occur and a link between the three victims is discovered. The evidence leads Pierre and Max to the university at Guernon where dark secrets and bizarre goings-on are revealed. As the inspectors close in on the killer they become targets of an underground elite with Nazi ties bent on perpetuating a sinister master-plan. A hair-raising finale atop the snow covered  French Alps pits Pierre and Max against an unexpected enemy.

It’s great to watch two of France’s best actors, Reno and Cassel, side-by-side. They tackle the typical “buddy cop” roles but do so with equal parts humor and seriousness. Yeah, they deliver the usual clever quips, and of course don’t like each other at first, but it’s not to the absurd level of say, Rush Hour III. Director Mathieu Kassovitz keeps a winding plot from unraveling by sustaining a logical progression. There are a few left turns, but none that steer away from the central plot. However, a quick trip to the kitchen for a drink refill may leave you scrambling if you forget to press pause. An intense snowy-night foot chase and gorgeous mountain scenery add some additional flavor. Serial killer movies have become somewhat pedestrian, but The Crimson Rivers provides more than its share of thrills.

The trailer for The Crimson Rivers:

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Some films defy explanation. They can’t easily be categorized or placed in a specific genre. These movies are rare indeed, but they’re out there. Whenever I stumble-upon such a find I make a point to view it twice before passing judgment and writing a review. I first watched Oldboy a couple years ago and was completely blown away. I was so impressed I greedily stowed away the memory for fear it might be spoiled by a second pass. Well, I caught Oldboy a few nights ago and my opinion has not wavered. It is a masterwork and without question one of the best movies I’ve seen in the last ten years.

Oh Dae-su is an alcoholic loudmouth with a wife and little girl. After a nightlong bender, he wakes up imprisoned in a strange room. Unable to decipher the reason for his incarceration Oh Dae-su spends his days beating his fists against the walls and watching countless hours of television. Fifteen years pass before Oh Dae-su is released. He reenters society a bitter, hardened man. Soon after he meets Mi-do, a young female sushi chef. Mi-do takes him home with her and the two form an instant bond. But Oh Dae-su is consumed by vengeance and embarks on a violent vendetta to find his mysterious captor.

Oh Dae-su’s bloody mission leads him to Woo-jin Lee, the cryptic man responsible for his long confinement. Woo-jin Lee’s face-to-face meeting with Oh Dae-su is part of his master-plan, a plan that Oh Dae-su must unravel. Along with Mi-do, Oh Dae-su searches for why Woo-jin Lee chose to punish him. As he pieces the puzzle together he finds the answers he’s been seeking. A final confrontation at Woo-jin Lee’s penthouse apartment uncovers a devious plot that will force Oh-Dae su to deal with a fate far worse than imprisonment.

Director Chan-wook Park constantly keeps you guessing throughout this meticulous story. Just when you think you’ve figured it out, he slips in another detour. Precise pacing incites curiosity rather than frustration. We are aware a shocking climax is coming and when it does it fails to disappoint. Park’s choice to unleash the big reveal to Oh-Dae su and the audience simultaneously is absolute brilliance. The awe becomes that much more powerful. Min-sik Choi portrays the tortured Oh-Dae su with admirable gusto. Oh-Dae su plows through humanity like a crazed superhero bent on finding a truth all too painful. It is a memorable character and performance that rivals any I’ve EVER seen. I could sing this film’s praises for another two paragraphs but I won’t. Instead, just trust me and see Oldboy.

The trailer for Oldboy:

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I consider myself well informed geographically speaking, but I have to admit I never heard of Bruges prior to watching this movie. The tiny Belgian city has managed to maintain a low profile. Everyone knows about Brussels, not only the capital of Belgium but also the capital of the European Union. If your familiar with World War II history you know that a major battle was fought in Antwerp in 1944 with the British liberating the city from German occupation. As far as Bruges goes, I was at a loss until now. Thanks to In Bruges, I know a little bit more about Belgium.

Ken and Ray, two professional hitmen, just completed a bloody job in London. Ordered to lay low by their boss Harry, the two killers are sent to Bruges, a quaint medieval city located in Northern Belgium. Bruges, a colder, less romantic version of Venice, is definitely an acquired taste. Ken takes an immediate liking to the ancient architecture, quiet canals and cobbled streets, while Ray’s disdain is apparent due to his repeated use of the term “shithole.” Immersing himself in the Flemish culture, Ken makes the best of the situation. Ray, haunted by his actions in London, fights boredom by making a date with a local drug dealer named Chloe. Ken and Ray find themselves at a moral crossroads as both begin to question their current occupation.

A call from Harry further complicates things for the boys in Bruges. Ken is tasked with eliminating Ray, but his fatherly affection for the younger man prevents him from doing the deed. A softened Ken feels an obligation to keep Ray safe from harm. Enraged by Ken’s defiance, Harry heads for Bruges to confront his brazen employee. Harry’s arrival sets up a gruesome finale that reveals even killers operate by a code of conduct. Along the way we are introduced to an eclectic mix of characters that include a pregnant hotel owner, an obese American family, a perturbed Canadian couple and a dwarf actor, all of whom are vital parts to an intricate story.

Writer/Director Martin McDonagh crafts a darkly comic original script that is both odd and charming. His characters are multifaceted, conflicted people and therefore wholly human. Ken, Ray and Harry are all likable and amusing, but McDonagh doesn’t allow them to escape the consequences of their actions. They may be as normal as the next guy, but they are still murderers. Brendan Gleeson is superb playing the older, reflective Ken. Colin Farrell delivers one of his best performances as Ray, a moody romantic battling a host of demons. I’d be remiss if I didn’t mention Ralph Fiennes’ exact portrayal of psycho boss Harry. He is as funny as he is scary. In Bruges slipped through the cracks earlier this year but it is more than deserving of finding an audience.

The trailer for In Bruges:

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I have to admit, I know very little about Finnish cinema. Quick research enlightened me that the first film produced in Finland was in 1907. A country populated by a mere 5.2 million people still releases 15-20 features annually. Its most recognized and lauded Writer/Director, Aki Kaurismaki, has put himself on the proverbial movie map with titles like Drifting Clouds and The Man Without a Past. Completing his “loneliness” trilogy is Lights in the Dusk, a deliberately paced gloomy comedy about, what else, a lonely guy.

Koistinen (Janne Hyytiainen) is a sad sack security guard living the dullest of dull lives in Helsinki. The chain smoking, laconic also-ran frequents dim pubs and uncrowded eateries when not visiting his sole friend, a demure lunch truck owner named Aila. Koistinen’s predictable existence gets derailed after meeting Mirja, a Russian femme fatale with illicit motives. A chance meeting leads to an impromptu date. Dinner, movie and a trip to a disco is all it takes for the lovelorn Koistinen to become smitten. Unfortunately, Mirja and her crime boss boyfriend are setting poor Koistinen up for a big fall.

Naive and trusting, Koistinen makes a perfect patsy in a planned jewelry store robbery. Once the heist is completed a broken hearted Koistinen is under arrest and out of a job. He willingly accepts blame and resigns himself to a fate of incarceration. Only Aila shows concern, but Koistinen’s time away deepens his desire for isolationism. Upon his release from prison, his life continues a downward spiral. Anger and a need for vengeance erodes all hope and places Koistinen in a dangerous position. Aila’s unconditional love provides a glimmer of light in Koistinen’s otherwise dark life, but he must open his eyes to see it.

Deadpan and glib, Kaurismaki seems to relish anything and everything miserable. It’s difficult to feel sorry for his protagonist because the guy is such an insufferable loser. But that’s the point. You keep waiting for some sort of redemption that will never come. If it did, it would ring false. Koistinen is who he is, significant change while not impossible, appears unlikely. Janne Hyytiainen’s performance is spot on; he never strays from playing the misfit, but still manages to be endearing. If Lights in the Dusk is representative of Finnish film, I look forward to discovering more of what this little country has to offer.

The trailer for Lights in the Dusk:

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Hmm, Euro Pudding. Who doesn’t love a big bowl? Actually, I don’t know anyone who likes pudding of any kind, but I do know that L’auberge Espagnole translates to Euro Pudding in English. Truth be told this movie has more damn titles than Robert Evans has ex-wives. Heyoh!! Where’s my rimshot? Sorry. Anyway, Pot Luck, Casa de locos, and The Spanish Apartment are all alternate monikers to this romantic French farce. Whatever you want to call it, L’auberge Espagnole is a pretty darn good film.

Xavier, a straight-laced economics student, is traveling from Paris to Barcelona for grad school. He leaves behind his longtime girlfriend Martine which only adds to his homesickness. After his accommodations fall through Xavier crashes with young French newlyweds he met at the airport. Not wanting to inconvenience Anne-Sophie and Jean-Michel, Xavier sets out to find a place to stay before classes begin. He survives a probing interview and is accepted at an apartment with five international roommates: an English girl, a German guy, a Spanish girl, a German guy, and a dude from Italy. It’s what Xavier refers to as Euro Pudding, an eclectic mixture of European personalities.

Despite obvious language barriers, Xavier adapts to the Spanish lifestyle. He and his merry band of roomies form fast bonds with the aid of booze and pot while battling for precious refrigerator space. When not carousing with the gang, Xavier struggles to keep Martine which is hampered by his growing attraction to Anne-Sophie whom he accompanies on long walks exploring Barcelona. Romantic entanglements ensue and new-found friendships are tested as Xavier’s personal journey of self-discovery in a foreign city comes to an end. He will leave Barcelona a little wiser and armed with the knowledge that life can take you to unexpected places.

Writer/director Cedric Klapisch captures the folly of youth perfectly. Facing responsibility for the first time can be maddening, but it can also be wicked fun. Klapisch never forgets this important fact as he allows all his characters to find themselves in their own way. Watching Xavier navigate the trial and error process of becoming an adult is both amusing and fascinating. We’ve all been there or one day will be, so if you’re looking for a trip down memory lane or a glimpse into the future kick back and watch L’auberge Espagnole. Or whatever you call it.

The trailer for L’auberge Espagnole:

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One of my favorite films is Fight Club. If you haven’t seen it, shame on you, but if you haven’t stop reading because I’m going to give away the story. The movie is about a paranoid schizophrenic who wages a crusade against capitalism and everything associated with the “establishment.” Despite the presence of Brad Pitt the film is quite subversive, taking shots at everything from self-help groups to IKEA furniture. I dig subversive movies; they are becoming a rare breed in American cinema. Luckily, European filmmakers still have balls. From Germany, I give you The Edukators.

Peter and Jan are best friends and budding revolutionists. Their method of sticking it to the “man” consists of breaking into mansions and rearranging furniture. To top it off, they leave mundane notes that read “you make too much money,” signed The Edukators. Jule is Peter’s girlfriend. Drowning in debt, Jule is forced to give up her apartment and move in with Peter and Jan. After Peter leaves on a trip to Spain, Jan and Jule begin hanging out. Jule soon takes a liking to Jan’s idealistic ways. Jan reveals his late-night transgressions to Jule, prompting her to press Jan into infiltrating the estate owned by the man she is indebted to, a man named Hardenberg.

Carelessness leads Jan and Jule to be discovered by a returning from vacation Hardenberg. Jan and Jule panic, knock out Hardenberg, then call Peter for advice. Peter arrives and the three decide the best course of action is to kidnap Hardenberg. They head for a remote mountain cabin to hide out until they figure their next move. Hardenberg is chastised for his extravagant lifestyle. Jan and Jule try to conceal their romance from Peter. Their cozy retreat becomes a hotbed for political debate as the two sides expound philosophies only to learn that they share much in common. The older, content Hardenberg rediscovers his defiant past. Jan, Jule and Peter accept responsibility for their youthful misdeeds. Everyone receives a much needed education.

Director Hans Weingartner deserves praise for keeping the story tied to reality. Intelligent discourse as opposed to needless violence steers the plot. Weingartner gives his characters time to fully develop, allowing the audience to witness each one’s transformation from start to finish. Fine performances are delivered by the four leads, in particular a convincing Daniel Bruhl who plays the rebellious Jan. The Edukators is about combating the system, but it’s also about friendship, young love, and the complacency of wealth, making it a complete film worth seeing.

The trailer for The Edukators:

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Writer/director Hal Hartley helped shape independent cinema in the 1990s. Films like The Unbelievable Truth, Trust, Simple Men, and Henry Fool stood out for their unique consistent styles. Deadpan dialogue and oddball characters defined Hartley’s peculiar method of filmmaking. Be it emotionally unstable loners or undiscovered geniuses, Hartley never failed to craft memorable screen personas. His best film, in my opinion, is Amateur, a clever little caper about pornography and nymphomaniac nuns. Seriously, I’m not kidding.

World famous porn star Sofia just pushed her notorious porn kingpin husband Thomas out the window. Sofia, believing Thomas to be dead, flees to the streets of NYC. Thomas, not dead, wakes up with amnesia and stumbles into a diner where he meets ex-nun turned erotic writer Isabelle. Bored and starving for experiences, Isabelle takes in Thomas in part to help him discover his identity. Meanwhile, Sofia calls old friend Edward and sweet talks him into revealing Thomas’ boss Jaque, a corporate tyrant who doesn’t like loose ends.

A naive Sofia gives Jaque a ring claiming she has some incriminating floppy disks in her possession. Jaque dispatches a couple nattily attired hitmen to take care of Sofia and collect the disks. Edward gets tortured by the hitmen. One of the hitmen gets whacked by Sofia. Then Isabelle, Thomas and Sofia head upstate to hide out with the one remaining hitman, a crazed Edward, and a bevy of NYPD in hot pursuit. Oh yeah, in between all that Isabelle professes she’s a nymphomaniac (even though she’s a virgin) and falls for Thomas.

Did you get all that? This is a typical Hal Hartley narrative, nonsensical but absurdly funny. Hartley regulars like Martin Donovan and Elina Lowensohn fill out an eclectic cast. Scant set pieces and a minimalist score are signature Hartley and it’s these simplicities that make his films original. His budgets have always been super-low and Amateur is no exception, but he’s always manages to squeeze the most out of every dollar. Amateur, like all Hartley’s movies, is an acquired taste but I promise it’s worth sampling.

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