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April 27, 2008

Laziness Rules

BabymamaThe summer movie season begins tomorrow with the NYC press screening of Iron Man, and to prepare for this coming onslaught of popcorn, I've been saying my prayers, taking my vitamins, and...oh, wait, that's someone else. Actually, I've been doing very little other than working and sleeping, the latter of which is to blame for this link dump's tardiness.

Playing:
Baby Mama (Slant magazine)
Harold & Kumar Escape From Guantanamo Bay (Slant
Footfistway magazine)
Deception (Slant magazine)
Up the Yangtze (Slant magazine)

Forthcoming:
Tell No One (Slant magazine)
The Foot Fist Way (Slant magazine)
Mongol (Slant magazine)

April 26, 2008

Baghead (2008): B-

BagheadWhen it pokes fun at itself – and the low-fi “mumblecore” movement from which it sprang – Baghead can be a minor lark. However, when this latest from Jay and Mark Duplass (The Puffy Chair) attempts to both scare and, to a lesser extent, deconstruct its own horror movie devices, it deflates rapidly. With considerable compassion, the directors focus on four struggling actors desperate to make it big but either untalented or unmotivated enough to actually accomplish their dreams. After attending a well-received screening of some indie hack’s black-and-white film (the filmmakers’ amusing jab at themselves and their mumbly brethren), the foursome retire to a forest cabin for the weekend with plans to write a movie in which they’ll star. Rather than professional productivity, though, the excursion results in romantic tension, as the getaway exposes each individual’s pent-up longing, desires and jealousies. As with The Puffy Chair, the Duplass Brothers, in terms of depicting the knotty emotions that spring from amorous entanglements, get some decent mileage from their Cassavetes-lite, semi-improvisatory filmmaking approach, capturing authenticity in their cast’s fumbling gestures, half-spoken lines, and stumbling advances. And their genuine interest in these screwy people is mildly contagious. However, while our concern for these struggling thespians should, in theory, heighten the subsequent tension once the group – having reluctantly decided to make a thriller about a guy with a bag on his head – finds itself actually stalked by a baghead, the directors botch most every attempt at terror. This is somewhat intentional, as the film often seems to be as much about cinema’s inherent manipulations as it is about straightforward genre chills. But a lackadaisical focus eventually proves debilitating, with the end result of its myriad intentions – character study, relationship drama, scary movie, meta-scary movie – being that Baghead spreads itself thin to the point of flimsiness.

April 22, 2008

Errol Morris' Procedure

Errolmorris_2
Acclaimed documentarian Errol Morris tackles the infamous Abu Ghraib photos with Standard Operating Procedure, though his latest film is ultimately less an investigation into uncovering the scandal's true villains than an examination of image construction and interpretation. Morris discussed his motivations for making the film, as well as his dramatic recreations of the Abu Ghraib pics, when I spoke with him earlier this month for IFC News.

Errol Morris on Standard Operating Procedure (IFC News)

April 21, 2008

Standard Operating Procedure (2008): B-

StandardoperatingprocedureErrol Morris’ trademark aesthetic – a combination of free-reign confessional interviews, dramatic recreations, expressionistic interludes and a grandiose score (here by Danny Elfman) – does more harm than good in Standard Operating Procedure, the documentarian’s examination of the Abu Ghraib scandal. For his latest, Morris provides a forum for the thoughts of, among others, Lynndie England, Sabrina Harman and Megan Ambuhl (but not Charles Graner, whose ongoing prison stint prevented participation) regarding the photos that made them infamous, while simultaneously scrutinizing the snapshots themselves and restaging them in artful sequences. His well-argued point is that the real culprits behind the crimes committed weren’t the grunts doing the actual dirty work but the higher ups who encouraged and sanctioned such behavior. As those folks aren’t in the photos, Standard Operating Procedure becomes a semiotics-tinged investigation into the nature of images themselves: how the contents, arrangement, and manipulation of the frame (such as with the dog-leash photo, where Ambuhl was deliberately cropped out) all affect interpretation and help define meaning. This thematic preoccupation comes to an eye-opening head during a centerpiece sequence in which Morris reveals which of these distasteful photos contained behavior that was “illegal” and which contained actions that were merely “standard operating procedure,” forcefully highlighting the power (and subjectivity) of the visual image. Yet given the filmmaker’s subject matter, it’s exasperating (if, given his past history, not overly surprising) to find him distastefully fetishizing the images via a series of recreations shot with plenty of lavish, self-conscious attention to visual beauty. Epitomized by gorgeous close-ups of dripping blood and shadow-drenched men in hoods, these segments – disingenuously elegant and classy, and thus wholly devoid of the real photos’ raw, ugly power – don’t bring us any closer to a profound understanding of what happened or who’s to blame. Rather, they’re just examples of Morris’ own insistent desire to creatively embellish the central images for unseemly dramatic effect.

April 18, 2008

Slow Going

SonoframbowBecause most of this week's new films screened early, and because Iron Man seems to have scared most other movies away from late-April, early-May, I only have three new links - including my second zero-star review in 7 days! - for this gorgeous Friday morning. Enjoy.

Out Now:
Expelled: No Intelligence Allowed (Slant magazine)

Out Later:
Son of Rambow (Slant magazine)
Noise (Slant magazine)

April 16, 2008

Leatherheads (2008): C

LeatherheadsGeorge Clooney loses the proverbial thread with his third directorial outing Leatherheads, a 1920s football saga that blends rusty screwball comedy and perfunctory romance under a period piece veneer. Clooney is Dodge Connelly, the leader of a ragamuffin pro football team during an era when the sport was played with few pads, no rules, and in fields of grazing cows. When he hears that his squad is about to fold, Dodge sets in motion a scheme to recruit legendary high school player and celebrated WWI hero Carter Rutherford (The Office’s John Krasinski), who’s accompanied by a devious agent (Jonathan Pryce) and a tough-cookie reporter named Lexie Littleton (Renée Zellweger) who’s secretly planning to expose Carter’s combat heroism as a charade. Clooney means to generate humor from the resultant romantic triangle between Dodge, Carter and Lexie, but his script delivers neither zippy dialogue nor dynamic scenarios, leaving his “screwball” sequences sluggish and limp. The rest of the film fares similarly, seeing as it charts Dodge and Lexie’s budding affair with a dewy earnestness undeserved by this chemistry-free pairing’s shrug-worthy amour. All the while, Clooney (working from a script by Duncan Brantley and Rick Reilly that he reportedly also had a hand in penning) perplexingly avoids concentrating on the quirky particulars of anything-goes ‘20s pigskin. Consequently, he thoroughly sabotages a climax in which Dodge is ordered to avoid using illegal trick plays during the big game, a directive that’s meant to spell monumental trouble but – because his team’s reliance on such chicanery hasn’t been previously established – just seems random and tacked-on.

Street Kings (2008): C

StreetkingsLos Angeles crime novelist extraordinaire James Ellroy is credited as one of Street Kings’ three screenwriters, though that doesn’t prevent David Ayers’ second directorial outing from being a lousy mediocrity. Ayers’ latest is, after 2006’s Harsh Times, his second straight overwrought and unfulfilling tale concerning a loco white boy knee-deep in the City of Angels’ criminal scene, albeit the primary focus here isn’t the metropolis’ underbelly but its halls of law enforcement. Tom Ludlow (Keanu Reeves) is a surly, boozing Dirty Harry lapdog to Captain Wander (Forest Whitaker), who has Tom do his dirty work and then cleans up the resultant mess. When Tom’s former partner (Terry Crews), who’s supposedly working with Internal Affairs to send Tom up the river, is gunned down in a convenience store in front of the roughneck cop’s eyes, he ignores his captain’s warnings to let the affair go and commences an investigation into the slayings. Shit, meet fan, though the nastiness Tom discovers – corruption, deception, betrayal – is so dreadfully unsurprising that it’s easy to believe in Tom’s oft-remarked-upon blindness to what’s going on around him. Ayers has a thing for L.A.’s seedy side yet little to say about it save for the fact that it’s a modern Wild West, and in Reeves, his protagonist seems only half-conceived, convincingly wrought with guilt and regret but lacking credibility as a kill-‘em-all vigilante. Reeves’ robotic monotony brings some welcome stillness to the surrounding whirlwind of blustery machismo. Too bad, then, that Street Kings goes nowhere except into clichéd revelations and trite epiphanies, merely another example of its maker’s over-the-top infatuation with tough guys talkin’ smack from behind raised pistols.

April 11, 2008

High School Hell

Promnight2008This week's batch o' links features my first zero-star review in some time, for the unnecessary and - worse - monumentally incompetent remake of 1980's Prom Night. And to compound that negativity, may I present my write-up of the largely intolerable Smart People as well.

Still, the week wasn't a total loss, as evidenced by my more positive feelings toward Forgetting Sarah Marshall, Young@Heart, and well, yeah, that's about it.


Out Today:
Prom Night (2008) (Slant magazine)
Smart People (Slant magazine)
Young@Heart (Slant magazine)

Out on Future Todays:
Forgetting Sarah Marshall (Slant magazine)
The Forbidden Kingdom (Slant magazine)
Anamorph (Slant magazine)

April 08, 2008

Sketchy Comedy

Rickjames
IFC News and Nerve.com have teamed up to determine the 50 Greatest Comedy Sketches of All Time, and I've chimed in with my own thoughts on a few of the list's selections. Below is a link to the feature's main page, but for my own capsules, check out numbers 40, 18, 16, and 14.

50 Greatest Comedy Sketches of All Time (IFC News)

April 04, 2008

Post Full of Kryptonite

88minutesI can't believe I just made a Spin Doctor's reference in this post's title. My 18-year-old self would be absolutely disgusted. Nonetheless, for your Friday evening reading pleasure, here are links to myriad less-than-flattering reviews, the nastiest of which is probably for Al Pacino's latest.

Today:
Nim's Island (Slant magazine)
The Ruins (Slant magazine)
Sex and Death 101 (Slant magazine)
Tuya's Marriage (Slant magazine)

Future Todays:
88 Minutes (Slant magazine)
Before the Rains (Slant magazine)
Bra Boys (Slant magazine)

DVD:
There Will Be Blood - DVD (Slant magazine)

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