MY WAY (Mai wei, Korea 2011)

 Greetings again from the darkness. Was anxious to see a big-budget Korean take on WWII, and overall came away impressed … despite the shortcomings and annoyances. My history with Korean films has been limited to small, intimate stories told with quiet manner, or frenetic action flicks with sub-standard stunt work. Director and co-writer Je-kyu Kang attempts to combine an intimate story of two young men with an epic war film with a record body count and an excruciatingly frequent number of cuts/edits.

The movie starts off by showing us how the lives of two boys first intersect. Jun-shik Kim (by Dong-gun Jong) is a farmer’s son whose dad works on the estate of Tatsuo Hasegawa’s (Jo Odagiri) grandfather. A wide class difference separates the boys, but their love of running generates a severe feud … a rivalry that won’t die easily. All of this takes place in Japan-occupied Korea, and it’s clear early on that the filmmaker sets out to defend all Korean actions.

Inspired by a real life 1944 photo that shows Korean soldiers being captured while wearing a Nazi uniform, the fictional story here is as strange and complex as any you have seen … unfortunately, it is handled with the manipulative touch of Kathy Bates swinging a sledge hammer. As their marathon-running rivalry reaches a crescendo, both boys are drawn into the Japanese Army, albeit via substantially different routes. Tatsuo is an officer, while Jun-shik is an enslaved line soldier. Their bitter rivalry does not stop for a little thing like WWII and it leads to many moments of near insanity.

What really is impressive about the film is the three main battle scenes, especially the storming of Normandy Beach. If you have seen Saving Private Ryan, then you know the model … however, this one takes it even further. It is intense, loud and brutal. The question of whether the rivalry can survive capture by Russians and then Nazi’s, or whether survival instincts take over is really the heart of the story.

As terrific as the battle scenes are, it is impossible not to mention the hyper-editing that lasts most of the film’s 142 minutes. It is hard on the senses and makes the action difficult to follow … which is a shame for a film that offers so much realism in war scenes. Still, it’s not an easy film to watch, yet we care enough about the two characters to put up with the eyeball attack we get in most scenes.

SEE THIS MOVIE IF: you would like to see war footage from Korea that is as epic as any ever seen on film

SKIP THIS MOVIE IF: you don’t wish to read subtitles for two and a half hours

Watch the trailer:

HEADHUNTERS (Hodejegerne, Norway 2011)

 Greetings again from the darkness. Based on the novel by Jo Nesbo, this one quickly sets up the main character Roger Brown as someone we neither trust nor necessarily even like. He is a smooth talking recruiter who also steals valuable artwork to (barely) support his luxurious lifestyle, which includes a near-super model girlfriend and modern mansion.  That we remain interested in Roger for 2 hours speaks to the strength and creativity of the story.

The film is based in Norway and director Morten Tyldum seems to have a very wicked sense of humor as he really puts Roger (Aksel Hennie) through some things not even found in the worst fraternity or military hazing. While it can be classified as a very taut thriller, it is also a demented ride that would make the Coen Brothers proud. As a matter of fact, it would surprise me if this one doesn’t get a U.S. remake very soon. The story and characters lend themselves very well to a star vehicle.

However, I don’t wish to sell this version short. It is well done and entertaining in a devilish way. When Roger meets Clas Greve (Nikolaj Coster-Waldau), the real fun begins. Many will recognize Coaster-Waldau from “Game of Thrones” and he proves to be a terrific adversary for Roger. Neither are what they seem, and both seem quite pleasant to everyone else. Roger’s girlfriend Diana is played by the beautiful Synnove Macody Lund, and even she brings a nice element of doubt to the story. There is also a nice supporting turn from Julie Olgaard as Lotte.

The tone and twists remind me a bit of the Coen Brothers classic Blood Simple, but this one is even a bit more outrageous as things spin out of control for the characters. Much of the film is a spent in chase mode and that leads to some drama, thrills and chuckles. That’s a pretty nice compliment for any movie.

watch the trailer:

A TRIP TO THE MOON (La Voyage dans la Lune, 1902)

 Greetings again from the darkness.  If you have seen Hugo, you know that a central figure in the Martin Scorcese film is Georges Melies, the grumpy train station vendor who catches young Hugo stealing from him.  Frenchman Georges Melies was an early innovator in filmmaking and his most famous work was A Trip to the Moon (La Voyage dans la Lune) from 1902.  The film is still studied today because of it’s ground-breaking work in animation and special effects, and is considered the first science-fiction film.  The story goes that Melies went bankrupt after Thomas Edison and his technicians copied the film and distributed it in the U.S. before Melies could.  It is also thought that this started the process of film copyrighting, so that ownership of film rights could be determined.

There are many versions of varying length in existence, but I could not find a complete 16 minute version which features the final parade.  The version below has English narration added (albeit with a heavy French accent), and the famous moon landing is at about the 5:45 mark.

 

 

 

THE KID WITH A BIKE (2012, Le gamin au velo, Belgium)

 Greetings again from the darkness. When Guy (Jeremie Renier) states that he can’t take care of his son Cyril (Thomas Douret) right now, I felt a rush of anger and disgust. Imagine if you were his 11 year old son hearing those words. Young kids should be able to count on their parents for emotional security above all else. There should be no fear of abandonment … those are issues no child should be forced to deal with (barring a natural disaster).

The Belgium writer/director team of brothers Jean-Pierre and Luc Dardenne have a history of taking on parenthood and childhood in a head-on manner. Cyril is dumped in an orphanage by his dad, and is convinced that he is just misplaced, not abandoned. So being the fiercely determined kid he is, he re-traces his steps from coffee shops to bars to their old apartment. Cyril knows with certainty that his dad would never would have sold his treasured bicycle, no matter how desperate for money he was.  It is crushing when Cyril discovers this “certainty” was not so certain after all.

Whatever confusion and hostility that you think Cyril might experience, once he confronts his dad, the filmmakers display it in the rawest possible form. Cyril is a symbol of need, hiding behind a wall of rebellion. A chance encounter with Samantha (Cecile de France) leads to weekend visitations and the start of an awkward quasi-family life for both of them. Cyril tests Samantha and all other authority figures in every possible manner, often to the breaking point.  It’s not difficult to imagine most giving up on him, but Samantha doesn’t.

 As a parent, it’s easy to spot the vulnerabilities that a child faces before they have the maturity to handle it. We see how easily Cyril falls in with the wrong crowd and how quickly things can get really bad. Luckily for Cyril, Samantha doesn’t abandon him. She answers “I don’t know” to his question of why she let him stay with her. Although, the filmmakers never let us in on her deepest thoughts, we suspect she was once not all so different than Cyril, and someone stepped up for her.

This film won the Grand Jury Prize at Cannes in 2011 and it’s easy to see how. It shows how difficult and messy ordinary life can be, yet things often turn out OK, though rarely perfect. Film lovers will recognize Cecile de France from her many films, including the recent Hereafter and the excellent Mesrine.

SEE THIS MOVIE IF: you need a quick lesson in how a kid reacts to abandonment

SKIP THIS MOVIE IF: someone told you this is the best bicycle movie since Pee-Wee’s Big Adventure (2005)

watch the trailer:

 

FOOTNOTE (Hearat Shulayim, Israel, 2011)

 Greetings again from the darkness. In the United States, we typically get limited access to the films of Israel. In recent years, there have been two that I like very much: The Band’s Visit, and Waltz for Bashir. Written and directed by Joseph Cedar, Footnote was nominated for the Best Foreign Language Academy Award. It’s a very creative and insightful story utilizing slight comedic elements to show the destructive forces of petty professional jealousy within a family.

Most parents wish for true happiness for their children. If the professional success of their offspring far exceeds their own … it is a reason to swell with parental pride. But what happens when father and son choose similar career paths? What happens when animosity builds as the father’s life work (30 years of research) is deemed unnecessary and irrelevant? What happens when the son becomes publicly revered and adored for his populist writing? Well, in the case of father Eliezer (Shlomo Bar-Aba) and son Uriel (Lior Ashkenazi), we get strained relations and a thesis on the pitfalls of pride and ego.

 All of that is sufficiently fascinating for a story, but here we get an even more severe test of human nature. The father is erroneously informed that he has won the prestigious Israel Award, providing vindication and meaning to his work and well, his being. See, the award was supposed to go to the other Professor Shkolnik … yes, his son. This much is shown in the trailer, but the true guts of this story is what happens after this mistake.

There are a few impactful scenes in the film, but two really jumped out for me. In a very early scene, the son is receiving yet another reward and he is attempting to provide some credit for his father’s inspiration. However, the words seem to add credence to his irrelevancy instead. The best part? The camera never leaves the face of the father as he sits quietly listening in immeasurable pain. The other scene takes place in a beyond cramped meeting room for the Award committee to discuss the mistake with Uriel. The manner it is filmed and the choreography more than make up for the fact that the group of brilliant academics never thought to find a more suitable meeting place.

The score of the film is one that I would appreciate more without having the film playing. The music is wonderful, but often distracting to the moment. It is interesting to note how it changes along with the posture and walking pace of Eliezer after he is informed of his award. One need not be an academic researcher or writer to understand the damaged relationship between father and son … and how it has impacted wives, mothers and sons. That’s a story that is painful in any language.

SEE THE MOVIE IF: you want to see an insightful Israeli film exposing the dangers of misplaced ego and pride within the family circle.

SKIP THE MOVIE IF: selfish parents or competitive contempt are subjects you prefer to avoid … in any language

watch the trailer:

OSCAR NOMINATED SHORTS – Live Action and Animated (2011)

Greetings again from the darkness. Every year I mention how the Magnolia Theatre in Dallas presents one of my favorite movie events … the Oscar nominated short films. Three hours of quality filmmaking! It’s also a reminder of just how frustrating it is that so few people actually get to see these interesting short films.  Why aren’t they screened periodically throughout the year in association with major film releases?  Pixar manages to do this successfully, so it only makes sense that others could follow suit.  With all of that being said, I must regrettably report that this year’s batch didn’t light the fire for me the way past years have.  The quality of the filmmaking was present, but the creative storytelling fell a bit short.

Below is my recap by category, and in order of preference:

LIVE ACTION

 THE SHORE (Ireland) directed by Terry George.  This one is probably the most mainstream/accessible because it tells a story that is easily relatable.  Ciaran Hinds stars as a man returning home to Ireland after 25 years.  He has his grown daughter (Kerry Condon) in tow, and she is much more anxious than he to reassemble the pieces of his past. As he reconnects with his former best friend and fiancé, we learn they have each harbored secrets and guilt since last they saw each other.  Watching how it plays out is actually quite touching, and includes some humorous moments as well.

TUBA ATLANTIC (Norway) directed by Hallvar Witzo.  Our lead character is an elderly man who has been told by his doctor that he has six days to live.  He is then visited by a self-described Angel of Death – a teenage girl volunteering to spend time with him, and help him through the stages of dying.  Their time together involves her causing him to lose one of his six days thanks to sleeping pills.  She also joins in on his personal vendetta against the local sea gulls, who clearly have been a menace for years. We also see the giant tuba that brings him some peace.

TIME FREAK (USA) directed by Andrew Bowler. One of the two characters has invented a time travel machine for the purpose of realizing his dream of visiting ancient Rome. Instead of visiting Caesar, he jumps off-track due to his inability to get over the minutae of life.  We also get the best Oceanography reference since “Seinfeld”.

PENTECOST (Ireland) directed by Peter McDaniel. We are dropped into 1977 Ireland as a young alter boy makes a critical mistake during mass.  His punishment forces him to miss his beloved futbol team’s big game. Given a second chance, we witness quite a funny pep talk by the local priest.  The sports analogy is impossible to miss, but the young man proves he may be a bit more hard-headed than first thought.

RAJU (Germany) directed by Max Zahle. A young couple travel to India to adopt an orphan boy. What they soon discover is that they are mere bit players in a human trafficking scam.  We see how differently the two people react and how self-interest can sometimes cloud one’s judgment.

ANIMATION

 THE FANTASTIC FLYING BOOKS OF MR MORRIS LESSMORE (USA) directed by William Joyce and Brandon Oldenburg. Despite a title that is impossible to remember, this little film was my favorite of the day. In a pretty creative way, it touts the impact that books can have on our lives. It has a tribute to Hurricane Katrina and The Wizard of Oz while it reminds us of the role books can play in providing hopes and dreams.  Humpty Dumpty and Pop Goes the Weasel both play a key role as we see books spring to life, and bring color to the world of kids and adults.

LA LUNA (USA) directed by Enrico Casarosa. This category wouldn’t be complete without the latest gem from Pixar. We see a young boy being introduced to a most unusual family business run by his father and grandfather. His real challenge is finding a way to keep them happy while still making his own mark. He succeeds in very dramatic fashion.

A MORNING STROLL (UK) directed by Grant Orchard. A NYC street scene plays out in three widely different eras: 1959, 2009, 2059.  The twist here is we see a chicken doing the same thing in all 3 time periods, while the people he confronts, and the environment, shift each time.

DIMANCHE / SUNDAY (Canada) directed by Patrick Doyon. A boy is searching for something interesting to do while his family carries on with their Sunday visit.  Things involved include a house-rattling train, 3 crows that mimic the old men, a “mounted” bear and a bunny rabbit.

WILD LIFE (Canada) directed by Amanda Forbis and Wendy Tilby. An English gentleman settles into a simple cabin in the harsh Alberta frontier in 1909.  His letters home paint a rosier picture than what reality dishes. The film compares his plight to that of a comet, replete with burnout.

A SEPARATION (Jodaeiye Nader az Simin, Iran)

 Greetings again from the darkness. This one finally made it to Dallas and it’s now clear why it is not only the Oscar favorite for Best Foreign Language Film, but also received a Best Original Screenplay nomination. It’s truly that good … and powerful … and thought provoking. I caught myself changing my mind more than once on some of the issues these characters faced.

The film opens with Nader and Simin (Peyman Moadi and Leila Hatami) in front of a judge to determine if they will be granted a divorce. Simin wants to take their daughter Termeh (Sarina Farhadi, the director’s daughter) to study abroad. Nader doesn’t disagree with the plan, only the timing. He refuses to leave his Dad, who suffers from Alzheimer’s, alone in Iran. In a poignant moment, Nader points out that while his dad may not know him, he still certainly knows his dad. This is the first of a recurring theme throughout … there are numerous ways to look at every issue.

When Simin moves in with her mother, Nader hires Razieh (Sareh Bayat) to be his dad’s caregiver. After a few days, Nader and Razieh have a heated argument and he pushes her out of the apartment. Next thing he knows, she is in the hospital after a miscarriage. She and her husband (Shahab Hosseini) file a claim saying Nader pushed her down the stairs causing the miscarriage. The core of the story is the actions of the key characters during the inquisition process by the judge/inspector. Nothing seems clear cut, and each character’s recall and statements vary from moment to moment.

 A key point is that these are all basically good and moral people. Muslim believers in various stages. None would purposefully sin, yet each is trying to protect something or someone. The script is fascinating in its detail and subtlety. It moves like real life rather than a movie trying to get crammed into a 2 hour window. Written and directed by Asghar Farhad, the film deserves all accolades and acclaim. Let’s hope it finds an audience in the U.S. We could certainly use more stories and films like this. My reasoning for keeping my comments short here is that I believe this movie is most effective when one can watch this movie with few pre-conceived notions. Let your mind follow its own path.

SEE THIS MOVIE IF: if you want to see one of the best films of 2011 OR you would like an example of superb  and complex screenwriting

SKIP THIS MOVIE: if you prefer movies that don’t require you to engage the decision-making part of your brain (this one keeps you working!)

watch the trailer:

THE SKIN I LIVE IN (La piel que habito, sp)

 Greetings again from the darkness. I will readily admit to being a huge Pedro Almodovar fan. His films regularly place on my ”Best Of” list every two years. I so admire his creativity, tough women characters, visual acumen and multi-dimensional stories. With Almodovar, we can bank on some type of dalliance with death, a brush with sexual deviance, non-linear time lines, plots that twist and turn incessantly, a color palette to make Frida Kahlo envious and psychological darkness that forces us to look inward. All of these elements are present here … yet somehow it doesn’t quite click.

 Antonio Banderas plays Dr. Robert Ledgard, a plastic surgeon revered for his work in face transplants. What the medical profession doesn’t know is that Dr. Ledgard takes the mad scientist label to whole new dimension. And he does it with the coolness reserved for the other side of the pillow. I will not go into details of the story other than to say Banderas’ character would make Dr. Frankenstein turn away in disgust.

Dr. Ledgard lives in a beautiful mansion with his protective housekeeper played by Almodovar veteran Marissa Paredes. He also has a live-in patient named Vera, played wonderfully by Elena Anaya. You will recognize Ms. Anaya if you took my advice and tracked down Mesrine parts 1 and 2. Support work is also provided by Jim Cornet as Vicente. I wish I could tell you more of the characters, but can’t without giving away too much.

 Dr. Legard and Vera are two of the most fascinating characters ever written by Almodovar, and the film is a twisted road to discomfort all wrapped up in a silky smooth picture frame. From a filmmaking perspective, I couldn’t rate it much higher. From an entertainment perspective, it would be near the bottom of the most interesting or desirable Almodovar films. Am I disappointed? Sure, a little. But not enough to override my excitement for the next film by Almodovar!

SEE THIS MOVIE IF: like me, you must see every Almodovar film OR you want to see Antonio Banderas in his most intense role in quite some time.

SKIP THIS MOVIE IF: you have yet to enter the film realm of Almodovar … this is not the best for an introduction

watch the trailer:

MY AFTERNOONS WITH MARGUERITTE (La tete en friche, FR.)

 Greetings again from the darkness. It’s nice to see a sweet, charming, lovely little movie get made and distributed. The characters are people we immediately recognize and feel like we know … or wish we did. Based on a novel by Marie-Sabine Roger, it’s directed by Jean Becker who clearly loves the characters, dialogue and message.

Gerard Depardieu stars as Germain, a giant hulking mass of man who labors to breathe and doubts his lot in life.  He is both likable and a bit of a target for good-hearted barbs by his buddies at the café where they all hang out. Germain is the kind of guy who tends a garden of home grown veggies, and finishes his handyman work when the job is done … even if it means he gets cheated out of a few dollars.

 One day Germain meets Margueritte. Seems they both like to feed the pigeons from the same park bench. The two of them fall in love. OK, it’s not quite that simple. Margueritte (Gisele Casadesus) is 95 years old and lives at a retirement center nearby. Her world consists mostly of reading books and counting pigeons. That is, until she meets Germain. Her wise, but failing eyes, recognize a wounded man. A man with a giant and kind heart. And mostly a man who is a wonderful listener. See, Margueritte READS aloud to Germain, who was mistreated as a child by his mother and teacher, and never developed any self-esteem or refined social skills. Margueritte helps him overcome through the words she reads … and the stories he visualizes.

 This simple story shows what an impact we can have on others by listening, or through a simple act of kindness. Margueritte’s efforts open up the world for Germain, while his willingness to listen and care, give her hope for another day. There are side stories involving Germain’s mother (Claire Maurier), whom he still cares for, Germain’s younger girlfriend Annette (Sophie Guillemin), and the circle of friends at the café/pub. These are all French people and full of life and emotion and judgment and caring.

Despite the shaky ending, this movie made me smile and had me hoping to spend an afternoon on the park bench with Margueritte and Germain … reading The Plague by Albert Camus. Now that’s a movie first!

SEE THIS MOVIE IF: you want to see an unconventional and sweet story of friendship and love OR you have been wondering where all the 95 year old movie stars are!

SKIP THIS MOVIE IF: French films with subtitles and senior citizens feeding pigeons and reading aloud makes you long for boxing robots

watch the trailer:

THE HEDGEHOG (Le Herisson, Fr.)

 Greetings again from the darkness. The directorial feature debut from Mona Achache is based on the French bestseller “The Elegance of the Hedgehog” by Muriel Barbery. The meticulous pace masks whirlwind of emotion and thought occurring in the three key characters. Three characters whom each of us might be guilty of overlooking on a daily basis.

For those who don’t know, the film defines a hedgehog as a prickly-on- the-outside, cuddly-on-the-inside critter that is often misjudged. Our three characters all fit this description in some manner. Paloma (Garance LeGuillermic) is an 11 year old artistic and observant girl who plans to kill herself on her 12th birthday because no one understands her.  Her life is filled with what are the minor inconveniences of being an 11 year old – her mother talks to plants more than she talks to her, her father is a distracted workaholic, and her self-centered teenage sister is, well, a self-centered teenager. Madame Renee Michel (Josiane Balasko) is the building’s caretaker. Self-described as old and ugly, she lives the life of quiet desperation, hiding with her cat and massive library of books and chocolate. The building’s new tenant is Kakuro Ozu (Togo Igawa), a mysterious and elegant man who immediately sees through Madame Michel’s prickly exterior.

 Paloma spends much of her day documenting by video camera the goings on in her life and of those in her building. She often adds her insightful and humorous narrative to the scene as it occurs. Her view on life and its possibilities begins to change as she observes and gets to know Madame Michel and Mr. Ozu, and more importantly, observes their interactions.

 The underlying storyline of an 11 year old girl contemplating suicide can be quite disturbing, but director Achache never really lets that occur. Instead we focus on very simple acts of kindness and subtle smiles and gestures that indicate life can be rewarding and worthwhile. I also found Madame Michel’s surrender to the state of invisibility to be quite disturbing, but her awakening to be fascinating. She had not been rejected by society as much as simply overlooked.

Unlike many French movies that bombard us with rapid fire, overlapping exchanges, this one instead relies on patience and a sharp eye … think of it as the slight squeeze while holding a loved one’s hand.

SEE THIS MOVIE IF: you are intrigued by a subtle intersection of three seemingly unrelated characters who happen to live in the same building and are brought together by a cat, goldfish, chocolate, books and a video camera.

SKIP THIS MOVIE IF: just the thought of a slow moving character drama in French with subtitles makes you yawn.

see the trailer: