Uncle Boonmee Who Can Recall His Past Lives



Uncle Boonmee Who Can Recall His Past Lives (NR) ★★★★

Grasping a film such as this one may require some major attention from the viewer himself and even when the attention is there, frustration may come about as a result of the film's abstractedness and non-linear narrative. This is all not so surprising when you consider Apichatpong Weerasethakul's filmography and his constant acknowledgment of nature and the way it binds to us as human beings. Have I lost you yet? snoozing? That's how some folks might react when watching Uncle Boonmee Who Can Recall His Past Lives.

The plot involves a dying man who lives in an unknown countryside with his wife, son and Thai helper. It gets complicated when a ghost-like monkey and dead family member shows up one night to his front porch. We are then transported into a world that is spiritual and essential to understanding the world Weerasethakul conjures. There's a subplot involving a horny catfish and a princess, a cave sequence that will have you scratching your head and an ambiguous finale that will most likely have you thinking for days on in about what just happened. It's a puzzle and one that has -for some- a comatose pace to its structure. Weerasethakul has always had a knack for taking his time and slowly developing in narrative.

It was surprising to watch Weerasethakul's film getting the palme d'or at Cannes earlier this year. It must have hit a real chord with the jury headed by Tim Burton- who was very open in his acclaim for the film. However coming out of the screening I attended earlier this year, there was a kind of head scratching vibe in the air. It was as if Weerasethakul's film had not only confused to the general public as to its overall praise but actually angered them in frustration with what they had witnessed. After all, a word of caution is always necessary before going into any of his films, because this is really the definition of an art film, capital A in art of course. I dug it for the its mystery and its dream like tendencies.

Romance & Breillat



Catherine Breillat's Romance is not pornography. No matter what you hear people say about it, it is instead a film with a lot going for it. The main character that goes into a kind of transformative sexual odyssey is someone that is unhappy and unsatisfied with her dead-beat boyfriend, who's libido is practically non existent. Of course, she feels trapped and does not know what keeps her from escaping her relationship with him. It is however not surprising that we see this woman madly in love with a man that doesn't give her any attention because, well, he doesn't give her attention. It's all psychological and has gotten to her head. She's always been the one that's been chased but this time she's chasing the guy. Well, we of course as the viewer pull her for her to dump this schlub, yet she doesn't. However, because she can't let go, she does end up cheating on him through numerous sexual encounters which include her boss, a man she meets at a bar and a random street howler. I'm not encouraging this kind of behaviour nor am I encouraging what she does at the film's howlingly hilarious and interesting climax but hell, i had a blast which might give you an idea of my frame of mind or telling some of the folks condemning this film to not take it so damn seriously. It's another feminist, theoretical cinematic endeavour for Breillat and it reminds you of a time when she was making focused, real films instead of the fairy tales she's making now.

Image Of The Day 10/18/10


Oh Sharon. You trusted the Verhoven and this is what happened. Good for us. Bad for you.

Happy Birthday Martin Scorsese



The great American director is 68 today and he's still releasing great films -Shutter Island anybody? Maybe it's time to name a street after him or something, because as far as I'm concerned this guy has contributed far too much to the American arts and their overall impact around the world. I still think the man has another genuinely great film in him and that it won't take long for that film to get released. Maybe one last Deniro collaboration? that would be one anticipated film, although I do genuinely like what he has done with Leonardo Dicaprio the last decade or so with Gangs Of New York, The Departed, The Aviator and the aforementioned Shutter Island (which will surely make my ten best list when I publish it next month).

One thing that has always astonished me is how Scorsese always seemed to adjust with the times. His style has somewhat changed and adapted to the 80's, 90's and today but whatever the change, when watching something like -say- The Departed, it is a Martin Scorsese picture through and through. I don't know many filmmakers that have learned to adapt so well, decade after decade. Which brings me to my next point, which is that we don't have many like him left anymore. The more I think about it, the more I realize that the mavericks that shaped the 70's are slowly fading away, what with the deaths of Robert Altman and Stanley Kubrick, a now irrelevant Coppola and Woody Allen and Sidney Lumet getting turning 85 and recently hospitalized. What are we left with? Scorsese and Polanski, whom incidentally have made two of the best pictures this year and are still making personal, relevant statements in the art of cinema.

Image Of The Day 12/10/10



I'm Still Here (R) ★★★½

If Casey Affleck's absurdly goofy documentary -or is it a mockumentary?- I'm Still Here is a look into his step brother Joaquin Phoenix's downfall, it is also meant to not only mirror tragedy but has comic touches that are impeccably laid out in its framework. You see, this documentary is proof that Phoenix, no matter how crazy or goofy he might seem to look with his Hassidic-like beard, overgrown hobo hair and usual dark shades , is a master craftsman and quite possibly the best actor of his generation. I'm saying all this based on the fact that Affleck has personally come out recently and confirmed that this was in fact all an act and that even David Letterman was in on it when Phoenix had that legendarily awkward appearance on his show more than a year ago now. To say that Phoenix's performance is something to be seen is besides the point. He embodies a man that quite frankly was sick of all the consumerist bullshit that had surrounded him in Hollywood. His performance is that of a man trying to break the chains that are attached to him and follow his own road, whichever road that may be and in this case it's a considerably failed Hip Hop career. Good for him, now if only Oscar would listen up and give him a well deserved nomination. Then again I doubt that, I'm Still Here is as avant guard as American cinema comes to be.

Another Year is another Mike Leigh triumph



Another Year (R) ★★★★

Mike Leigh’s Another Year owes a lot to the British Free Cinema movement (1959-1963). In fact, most of Mike Leigh’s pictures from Secrets And Lies to his incendiary Naked are inspired by Free Cinema. The Kitchen Sink movement had to happen because of the lack of relevance in British cinema , as Colin Gardner points out ”British cinema seemed to us out of touch with what was going on, and stiflingly class-bound: it was due for a radical shake-up.” These new wave movies focused on “urban, working-class life, at work and play” and were grim in their depiction of what it meant to be British and Working Class in the 60’s.

Another Year is Leigh’s chronicling of a year in the lives of a thoroughly civilized and harmless London couple in their 60’s called Tom and Jerri (Jim Broadbent and Ruth Sheen). Jerri's troubled, alcholic co-Ken worker Mary (Leslie Manville), the couple's single, positive son Joe(Oliver Maltman), and a few others, most notably Tom's Hull-based pal Ken (Peter Wight), another hard drinker and Tom's very quiet older brother Ronnie (David Bradley) who appears at the film’s end. Tom and Jerri are a working class couple that are surrounded by death in the family, alcoholic friends and a working class lifestyle, yet they come away from life with such positiveness that it is almost infectious on the viewer. The people around them are down and depressed, especially their close friend Mary (Lesley Manville), an alcoholic co worker of Gerri’s that turns to alcohol for her lack of a man in her life.

Leigh’s film is a focus of what Elizabeth Sussex would call Kitchen Sink “the relationship between art and society”. It’s a mélange of what was happening to the working class during the 60’s, mixed with dramatic elements that had a relevance to the targeted audience, for example poverty, work and relationship issues. All those themes are present in Another Year which– just like Karl Weisz’s 1967 movie Saturday Night and Sunday Morning- is conceived with no flashiness and is just a simply told but effective story. The working class was not necessarily explored in British cinema pre Kitchen Sink, in fact if there was any mention of it, it would be to drive comic relief to the story. Which is why films by the likes of Weisz and Tony Richardson were seen as a fresh new vision.



However, the one thing that distinguishes Leigh’s film as a relevant, contemporary twin to its New Wave predecessors is its realist style and the way every word and every scene is made to have a realism that can sometimes be hard to watch in its authenticity. Leigh doesn’t flinch when telling the story, it’s clear he knows people like these in real life and does his best to tell their story. Leigh's realism allows for few narrative devices of preparation, and since the camera is only allowed to show plausible slices of reality, the viewer must supply a great many explanations for herself. Accordingly, the film operates on viewers' experiences to produce results which can differ widely for different viewers. Leigh doesn’t condemn his characters’ actions nor does he make fun of them in his film. Instead he just sits back and let’s them be who they are. In example the character of Mary can easily be mocked at if treated by a different director, especially with all the desperation and alcoholism that is injected into her life but Leigh doesn’t comment or force us to judge. His camera just tells the story and we are left with our own interpretation of Mary.

Although Leigh still makes Free Cinema-influenced films such as Another Year, they are rare and few in British cinema, Film Critic Glenn Kenny puts it this way “at this late stage of his career it seems that the alikeness is beginning to wear on certain critics. I'm not one of them, and I would (gently) counsel those who take him for granted that they ought not. Because nobody makes films that feel and play the way his do, for better or for worse, and after he's gone, it's doubtful that anybody else is going to. His deep-dish method of creation—involving intensive preparation with his actors and a huge amount of controlled and oft turned-over improvisation—has been much discussed in various venue” (Some Came Running).



It all has to do with Leigh’s constant search for a social realism in his film(s) and to achieve that realism with the same spoken words people would be inducedto churn out in real life. In Another Year, we rarely notice Leigh’s camera, it’s as if we are glimpsing at a form of reality where grittiness and slightness are in co existence, a far cry from the flashiness of Godard or Truffaut’s French New Wave films. Plotting is thin in Mike Leigh’s film, which makes way for a harder, more concentrated look at the social troubles of the middle class and the small things that matter most in their daily unflashy routines. Another Year has a carefree attitude towards having a plot. Its overall impact is on the characterizations of its characters and the small things that resonate in life. From these small things, come big things in the overall punch the movie gives it viewer with its shattering final shot.

She spits on your grave



If any one's seen the original I Spit On Your Grave from back in he 70s, you know just know how gruesome, exploitative and gory it was. So, much to that film's haters dismay, here's a remake of that film, which featured a 40 minute rape scene and the victim taking brutal, bloody revenge on her attackers (and by brutal, bloody I really mean it). This remake directed by Steven R. Monroe has all the exploitative fever of the original and then some. The only thing that got tamed was the rape scene, which lasts 10 minute less but is just as unbearable to watch as the original. The revenge this time is more brutal and more inventive in its bloody celebration of -well- revenge. You see, what some critics are missing out with this one in their negatively written reviews is the fact that this is exploitation cinema with a certain kind of intrigue to it.

That intrigue is simple; how far is too far when you try to avenge a deranged act (rape) and how low would you go to attain the level of your very own attacker? What the main female victim is avenging is in fact the loss of her dignity and identity- it was stolen with the rape and she knows that she has nothing to lose at her disposal, because quite frankly she sees no reason to live without an identity. Am I siding with her and the criminal activity she does in the film? I believe so and quite frankly these thugs just had it coming. Call it what you want but I Spit On Your Grave was a tremendously entertaining exploitation film, hard to watch but never without interest to see what sick, twisted thing will happen next. The substance might not be in high quantity but some of it is there to see.



Watching Fellini's classic for the first time is like walking into an empty room and diving into a conversation with people you don't know. While talking to them, you are not sure whether what is happening is fantasy or reality yet you still go on visualizing everything and trying to piece it all together. A dream? reality? a mix of both? That's what Fellini's means to me. It's a classic of cinema and deserves repeat viewings. It is an art film through and through, and one of the most personal statements and visions a director has ever given to us. This film is a landmark of cinema because every time you see it you discover new things about its plotting, background action and the characters that you might not have payed attention to the first time around. This is a must for anybody that claims they know movies. is a dreamy vision from a man that wasn't scared to make us think and get us to to see him naked, with his darkest, deepest secrets laid bare on-screen.

So what else makes this film so remarkable? The fact that every image, every sound and every word is important and integral to the story. People have tried to distinguish what Marcello mightbe dreaming and what he might be living. Chances are the more you see it, the more you uncover its deeply pristine secrets. 8 1/2 is the perfect choice for a shot by shot examinations that Roger Ebert used to give at his film classes. It's also interesting to think of the reaction of bewilderment this film got in the 60s with Pauline Kael calling it a "structural disaster".

Just like Fellini at the time, 8 1/2's film director has creative block and is looking for inspiration through fantasy and the diverse people around him. At the time Fellini was struggling to make his next film, but couldn't come up with anything new to say and so he decided to make a film about his actual struggle to find creative nirvana.  8 1/2 is about a filmmaker that is looking for ideas but can't find them. It's a Charlie Kaufman movie made before Kaufman as even born. A meta-exploration of what it takes to be an artist. This might have, quite possibly, been the first full-on meta movie of the cinema. The film has so much depth and so much going for it that it should get studied in Psychology classes as its depiction of the human mind is nothing short of exhaustive and revolutionary.

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