Connect with us

Film

Review: No Strings Attached

No Strings Attached is a desperate movie, scrambling to patch its by-the-numbers story with hastily tacked-on bona fides.

1.5

Published

on

No Strings Attached
Photo: Paramount Pictures

Never mind its veneer of crude, insouciant cool: Ivan Reitman’s No Strings Attached is a desperate movie, scrambling to patch its by-the-numbers story with hastily tacked-on bona fides. Following the inevitable progression of Adam Franklin (Ashton Kutcher) and Emma Kurtzman (Natalie Portman) from friends to lovers to soul mates, the film sets off coarse jokes like signal flares, positioned to distract from its otherwise dowdy makeup. Like Adam’s aging father, Alvin (Kevin Kline), a former TV star clinging to youth via recreational drug use and Lil Wayne fanship, it hides its mustiness through surface touches, burying itself in of-the-moment signifiers.

This includes all manners of contemporary allusions: forced references to Internet memes and ‘90s nostalgia, food trucks, rock covers of Jay-Z hits, and so many scenes featuring Adam’s iPhone that it might as well be a secondary character. Its other tactic is surprise, trading on its fresh-faced cast to shock us with gags about cunnilingus and fingering. Yet none of this raunchy posturing distracts from the moldy, simplistic politics on display, the insistence that good, attractive people exist solely to fall in love with one another, with a few annoying weirdos thrown in to obfuscate that goal. Where Seinfeld mined a similar scenario 20 years ago to explore the reasoning behind societal norms, No Strings Attached employs it as another feint, a lead-in to enforcing the ideal of wholesome monogamy.

All this might pass by harmlessly were the film’s mechanics not so visible. The central dilemma, which keeps the clearly perfect for each other protagonists apart for nearly two hours, is that neither is interested a serious relationship. This is sketchily established, and the reasons for it therefore feel assembled after the fact, and not even with much thought: she’s busy, and fears intimacy; he’s a good-natured pushover who seems up for anything. It’s the same kind of narrative laziness which lets us know that because Emma works at a hospital, that location will become a juncture for future dramatic situations, with several characters injuring themselves mostly to move the story along.

Without all this fuss and bother, the film might make for a plausible diversion. If it settled for acceptance of its rom-com limitations, the creaky concept, paired with the inherent likeability of its two stars, might let their chemistry take over the movie. The writing can also be neat and propulsive, when it’s not going for broke to set off vulgar comedic bombs.

But it’s these kinds of things that define the type of film this is trying to be, its attempts to glom onto the current model of effortlessly lewd comedies. Early on, after one of the chance meetings that set up their eventual affair, Emma invites Adam to accompany her to “some stupid thing” she’s committed to the following day. That obligation—spoiler alert—turns out to be, wait for it, her father’s funeral, an occasion that allows for the juxtaposition of a somber graveside scene with Adam, dressed in flip flops and a yellow hoodie. It’s a theoretically funny scenario, but one that abandons any pretense of logic and character in service of a cheap joke, leaving that joke feeling desperate and over-extended.

Cast: Natalie Portman, Ashton Kutcher, Kevin Kline, Cary Elwes, Greta Gerwig, Lake Bell, Olivia Thirlby, Chris "Ludacris" Bridges Director: Ivan Reitman Screenwriter: Elizabeth Meriwether Distributor: Paramount Pictures Running Time: 110 min Rating: R Year: 2011 Buy: Video

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Advertisement
Comments

Film

Review: Danny Boyle’s Yesterday Is a Romanic Comedy with a Rubber Soul

The film curiously avoids exploring the complexities of introducing the Beatles’s music into a radically different milieu.

1.5

Published

on

Yesterday
Photo: Universal Pictures

Decades after their breakup and well after the end of rock’s rule over the music charts, the Beatles still loom large over popular culture. So synonymous is the group with musical evolution, technological recording advances, and the concept of the pop star as a legitimate artist that it’s impossible to imagine what today’s musical landscape would sound like had they never existed. And it’s no easier to imagine that scenario after seeing Danny Boyle’s Yesterday, which depicts a planet that suddenly loses all memory of the Beatles after an unexplained global blackout but ignores the butterfly-effect fallout of the sudden gaping void in the middle of pop history in order to focus on the lucrative opportunity afforded to the one man who happens to remember John, Paul, George, and Ringo.

We meet Jack Malik (Himesh Patel) as a failed singer-songwriter who’s had enough of happy-hour gigs mostly attended by his obliging friends. After getting into a cycling accident during the global power outage and regaining consciousness, Jack slowly discovers that he’s the only person on Earth who knows the Beatles. And after briefly wrestling with his conscience, he decides to pass off the Fab Four’s songs as his own. Jack’s career trajectory skyrockets as local gigs lead to a low-budget recording session and a helping hand from Ed Sheeran, who invites Jack on tour and gets him a deal with a major record label. The film moves through Jack’s meteoric rise at a rapid clip, effectively compressing the Beatles’s own extended stretch of stardom to the span of a few months as Jack simultaneously raids eight years of masterpieces.

In this rush, though, the film neglects to explore the implications of its premise. At first, Jack’s covers go nowhere, performing as he does to the same disinterested crowds of bar and restaurant patrons that he did with his original compositions. There’s a kernel of insight there in terms of the Beatles’s music possibly sounding old hat if recorded for the first time today, but soon things blow up for Jack. His success is taken as inevitable, and the film makes no attempt to parcel out whether playing Beatles songs in 2019 in a landscape dominated by R&B, hip-hop, and electronic pop would just naturally rise like cream to the top of the charts.

As Jack’s star rises, Yesterday curiously avoids exploring the complexities of introducing the Beatles’s music into a radically different milieu. (Can you imagine “I Saw Her Standing There,” which is played several times in the film, being released today and not inspiring countless think pieces for its opening refrain of “She was just 17, if you know what I mean”?) This is music that was crafted with a level of creative autonomy that’s unheard of today in an over-managed, focus-tested entertainment industry. Yet there’s no mention of having to license music for commercials or find a corporate sponsor for touring, with the film’s ostensible satire restricted to gags like a marketing meeting to craft generic album titles or a tweak to turn “Hey Jude” into the more banally universal “Hey Dude.” In general, the depiction of the music industry is laughably toothless, with all the venality and exploitation of the business reduced to the casually insulting behavior of a label executive (Kate McKinnon, doing her SNL shtick of turning a flat piece of dialogue into a punchline with caricatured facial expressions).

And this being a film written by Richard Curtis, Yesterday ultimately gets bogged down in mawkish romance, here between Jack and his lifelong devoted friend, Ellie (Lily James). James’s bright, guileless screen presence seems made for Curtis’s sentimentality, but it’s beyond her abilities to convey any sense of natural longing when Ellie bemoans that she’s a lonely teacher pining for “the world’s greatest singer-songwriter.” The film, though predicated on the massive importance of the Beatles’s sound, only allows the band’s absence to be felt in the ill-judged romance between Jack and Ellie. Only toward the end, when the implications of a world without the Beatles are taken to a wild and unexpected extreme, does Yesterday briefly hint at the sort of film it could have been beyond the fluffiest of musical tributes.

Cast: Himesh Patel, Lily James, Joel Fry, Ed Sheeran, Kate McKinnon, Lamorne Morris, Sophia Di Martino, Ellise Chappell, Sanjeev Bhaskar, Meera Syal, James Corden Director: Danny Boyle Screenwriter: Richard Curtis Distributor: Universal Pictures Running Time: 117 min Rating: PG-13 Year: 2019 Buy: Soundtrack

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

Film

Review: Ophelia Wants, and Fails, to Transform a Victim into a Girl-Power Icon

Transforming Ophelia’s abuser into a helpful co-conspirator hardly seems like the most daring feminist reading of Hamlet.

1.5

Published

on

Ophelia
Photo: IFC Films

Based on the young adult novel by Lisa Klein of the same name, Claire McCarthy’s Ophelia reimagines Shakespeare’s Hamlet from the perspective of the troubled Danish prince’s would-be betrothed. Here, Ophelia (Daisy Ridley) is a tomboy forced into court-life femininity, her tragedy rewritten as a triumph, but it’s hard to say that she comes out, in the end, either as a more full-blooded character or as a girl-power icon.

Given Hamlet’s sustained cultural influence, Ophelia might be described as the original “refrigerator woman,” the girlfriend or wife whose shocking death serves to motivate the male main character to action. In Shakespeare’s play, the vengeance-obsessed Hamlet callously drives her to suicide, first by spurning her as part of his insanity charade, and then by accidentally murdering her father, Polonius. Gone mad due to her lover’s too-perfect performance of madness, Ophelia drowns herself in a river, her death exacerbating both Hamlet’s anguish and his simmering feud with her brother, Laertes.

In the film, Ophelia recounts her side of the story in voiceover: how she, the common-born daughter of an advisor to the Danish crown, was taken in by Queen Gertrude (Naomi Watts) and raised as one of her handmaidens; how she became privy to Gertrude’s affair with the king’s brother, Claudius (Clive Owen, glowering throughout from within a villainously matted Severus Snape wig); and how she fell in love with Hamlet (George MacKay), the crown prince with the awful bowl cut. But first, the film opens with a fake-out, the camera skimming along the water of a river until it lands on Ophelia’s floating body, surrounded by water lilies and other vegetation in a vision of tragic, all-natural femininity. It turns out that she’s alive, and that floating peacefully in the river is just a habit of hers, which has the unintentional effect of fooling us into thinking the film’s about to end every time Ophelia slinks into the water.

Ophelia looks and feels like a syndicated ‘90s television special, with its blandly lit sets, skeletal romance between the girlish Ophelia and its bro-ish version of Hamlet, and haphazard imagining of 15th-century speech and customs. The film can never quite decide whether it should be exploding or paying homage to Shakespeare’s text. What we see isn’t simply the events of the play from Ophelia’s perspective, but it also isn’t something radically new. Unintentional humor results: In the well-known scene from the play in which Hamlet first maniacally spurns Ophelia, they whisper secret messages to each other between simplified Shakespearean lines—margin notes as dialogue. Rather than an alternate take on the play, such moments simply shoehorn new material into the old. Other lines clumsily rewrite the play’s sexism by turning Hamlet’s verbal abuse into lovers’ code: When Hamlet advises Ophelia “get thee to a nunnery,” he’s just telling her to hide out from the coming violence.

McCarthy’s film concocts an original plot involving a medicine woman in the woods outside the castle who’s a dead ringer for the queen (and is also played by Watts), which ultimately places Ophelia in the Danish grand hall as the bloody climax from Hamlet plays out. In this moment, Ophelia, who’s been known to everyone in the court since childhood, improbably passes as a male page because her shock of red hair is a few inches shorter. It might be argued that resonant whispers and unlikely misrecognitions are a part of the Shakespeare toolbox, but Ophelia otherwise makes few pretentions to replicating the tropes of the Elizabethan stage. Early in the film there’s some woeful faux-Shakespearean banter between Hamlet and Ophelia, but the filmmakers quickly abandon a dialogue-driven approach in favor of a plot-heavy structure of court intrigue and scandalous revelations.

Ophelia, in fact, ends the film at a nunnery, a twist which completes the process of transforming Hamlet’s abusive words—symbols in the original play of the blurry line between cruelty and its simulation—into the signs of true love. In the end, Ophelia’s no longer defined by her victimhood, but transforming her abuser into a helpful co-conspirator hardly seems like the most daring feminist reading of English literature’s most well-known drama.

Cast: Daisy Ridley, Naomi Watts, Clive Owen, George McKay, Tom Felton, Dominic Mefham Director: Claire McCarthy Screenwriter: Semi Chellas Distributor: IFC Films Running Time: 114 min Rating: PG-13 Year: 2019

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

Film

Review: Annabelle Comes Home Suggests a Harmless Game of Dress-Up

The film is at least as likely to elicit laughs as shrieks, and certainly unlikely to leave a lasting impression.

1.5

Published

on

Annabelle Comes Home
Photo: New Line Cinema

The Conjuring Universe suggests the rural cousin to Disney’s Marvel Cinematic Universe. Though the latter is breezy, bright, and flippantly secular and the former is heavy, dark, and noticeably Christian, the genetic link between them is unmistakable. Both have succeeded by streamlining a popular genre in the extreme, subordinating writerly or directorial personality to the tone and narrative trajectory of the whole; both have concocted a palatable, PG-13 version of their genre’s inherent violence that’s neither offensive nor impressive; and part of the appeal of each universe is the way the films are connected by a network of allusive Easter eggs designed to create that satisfying in-group feeling.

Watching Annabelle Comes Home, the third title in the Annabelle series and the seventh in the Conjuring Universe, one sees that this cinematic universe and the MCU are also coming to share a tone of self-parodic humor. The film knows you know what its mechanisms are. When psychic paranormal investigator Lorraine Warren (Vera Farmiga), in the first real scene of suspense, holds up a road map and obscures the camera’s view of the graveyard outside her car’s passenger window, Annabelle Comes Home takes the opportunity to wink at its fans. Obscured parts of the frame obviously spell danger, and therefore the reveal is a joke rather than a genuine scare—a reversal that happens so often across the film’s early stretches that it becomes as tiresome as Tony Stark making a crack about a flamboyant superhero costume.

In the film’s prologue, Lorraine and her husband, Ed (Patrick Wilson), who as the connecting thread of the Conjuring films are kind of its version of Marvel’s S.H.I.E.L.D., have recovered the malicious titular doll from whatever family she was most recently haunting. Annabelle the doll is, as Lorraine helpfully explains in the film’s opening shot, not possessed, but is rather a conduit for the demon who follows her around. Later, Lorraine will revise her expert opinion and describe Annabelle as a beacon for evil. That the film never feels the need to specify or reconcile the meaning of “conduit” and “beacon” in this context suits the general incoherence of the series’s mythology, based as it is in the Warrens’ scattershot pronouncements.

Annabelle Comes Home ties together a disparate set of unsettling phenomena using the single, paper-thin premise that demon-conduit Annabelle is also a demon-beacon. After Wilson and Farmiga have delivered their universe-consolidating cameo, their pre-teen daughter, Judy (McKenna Grace), her babysitter, Mary Ellen (Madison Iseman), and the latter’s friend, Daniela (Katie Sarife), are left alone in the Warrens’ home. The married paranormal investigators have stashed Annabelle in their storeroom of assorted mystical curios, all brought to demonic life when Daniela—so inquisitive, mischievous, sexually adventurous, and so forth—lets the doll out of her glass case of honor/imprisonment.

The series is still gore-lessly devoted to making us jump by following moments of extended silence with sudden cacophony, but with all its noisy phantoms from the beyond, Annabelle Comes Home is undeniably silly, a monster team-up movie that often feels like a harmless game of dress-up. An undead bride bearing a kitchen knife, a Charon-esque ghost come to ferry people to hell, a monstrous hound from Essex, a TV that foretells the future, a haunted suit of samurai armor, and Annabelle herself comprise the ragtag team that (rather ineffectively) hunts the three teen girls now trapped in Warren’s house. The scares, untethered to any deeper concept or theme, are more akin to friendly pranks than they are to distressing events, as if the monsters were friends jumping from around corners in rubber masks.

Annabelle Comes Home is a series of scenes that all follow the same structure: One of the girls finds herself alone in a space and doesn’t notice the malevolent presence in the room until well after the audience does. It’s then that she screams in horror and the film smash cuts to a different room where the same scenario is playing out with a different girl. There’s a certain game-like quality to predicting the precise moment the scare will pop up in each scene, but it’s a formula that, after a few repetitions, no longer holds much tension. Gary Dauberman’s film is a carnival ride of cheap thrills, at least as likely to elicit laughs as shrieks—there can only be so many slow-zooms on Annabelle’s blue-gray face before the doll becomes funnier than she is creepy—and certainly unlikely to leave a lasting impression.

Cast: McKenna Grace, Madison Iseman, Katie Sarife, Vera Farmiga, Patrick Wilson, Michael Cimino Director: Gary Dauberman Screenwriter: Gary Dauberman, James Wan Distributor: New Line Cinema Running Time: 106 min Rating: PG-13 Year: 2019

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

Film

Review: Three Peaks Tensely Charts the Dissolution of a Would-Be Family

The film ably plumbs the fears of a well-meaning man who tries his best to play by the rules of middle-aged courtship.

2.5

Published

on

Three Peaks
Photo: Greenwich Entertainment

Throughout Three Peaks, writer-director Jan Zabeil acutely mines a specific kind of familial tension as he follows a couple, Aaron (Alexander Fehling) and Lea (Bérénice Bejo), vacationing in the Italian Dolomites with Lea’s young son, Tristan (Arian Montgomery). This trip is a try-out for a new arrangement, mostly for Aaron as a husband and undefined parental figure to Tristan, as Aaron and Lea are contemplating a move to Paris, which would take Tristan far away from his biological father. Tristan, a sharp child, can read this subtext, and toggles between affection and contempt for Aaron, sometimes in a matter of seconds. The suspense of the narrative is driven by a question of deliberation: Is Tristan actively screwing with Aaron, grieving over his parents’ divorce, or both?

At times, Three Peaks resembles a relatively realist version of horror thrillers in which an evil child orchestrates a conspiracy to undo a family, but Zabeil doesn’t go for melodrama until the third act. The film is mostly an exercise in tension, driven by an ironic emasculation, as Aaron, a sensitive outdoorsy stud who would be the dream of most women, is continually embarrassed and upstaged by the withdrawn Tristan. These characters are essentially in a no-exit situation, and their forbidden emotions are often expressed via fleeting, often disturbing gestures—as in Tristan threatening Aaron with a saw, and the suggestion that Aaron might throw Tristan off a mountainside—that Zabeil complements with increasingly self-conscious symbolism. Looking at the gorgeous Three Peaks Mountains, Tristan remarks that they resemble a father, mother, and a child, and he often references a story, about a giant, that scans as a sort of rebuke of Aaron’s attempt to be the new man of the figurative house.

The verbal metaphors feel too clever and on point, though Zabeil’s imagery often shrewdly telegraphs the family’s shifting power dynamics. In the opening scene, we see close-ups of Aaron and Tristan’s faces as they play a game in a swimming pool, trying to hear what each person is saying underwater. This moment also foreshadows the climax, a perverse life-and-death dilemma that’s reminiscent of the ending of The Good Son. In fact, every game that Aaron and Tristan play in the film becomes an expression of their oscillating desire and contempt for communion, from the languages they use (Tristan pointedly refuses to speak French, signaling his resistance to Paris) to the hikes the boy and man go on in the Three Peaks. Most poignantly, Tristan calls Aaron “papa,” though he quickly reassumes the role of nemesis, leading one to wonder if this brief bonding moment was an illusion of some kind.

Zabeil and Montgomery, in a mature and measured performance, capture the casual eeriness of children, particularly to outsiders who can discern how easily kids can command and manipulate their guardians’ attentions. The filmmaker’s sympathies are with Aaron, as Lea is disappointingly pushed aside in the narrative, functioning mostly as a MacGuffin, the center of an unconventional masculine duel. Yet Tristan is never reduced either to victim or aggressor, not even in the film’s nearly biblical survival climax, which resolves little of the family’s issues except to posit, potentially, that Tristan isn’t an overt sociopath.

One supposes that’s a start, though it’s evident that Tristan is a barrier, between Lea and every potential suitor, which might never be breached. This lonely possibility is suggested by the mountaintops, nearly mythical wonders that stand in front of the characters, reachable yet ultimately dangerous and unknowable. By the end of Three Peaks, the mountains transcend Zabeil’s early thematic handwringing to become a haunting symbol of estrangement, as the filmmaker has ably plumbed the fears of a single mother and a well-meaning man who tries his best to play by the rules of middle-aged courtship.

Cast: Alexander Fehling, Bérénice Bejo, Arian Montgomery Director: Jan Zabeil Screenwriter: Jan Zabeil Distributor: Greenwich Entertainment Running Time: 93 min Rating: NR Year: 2017

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

Film

Review: Avi Nesher’s The Other Story Is Melodramatically Replete with Incident

Through this endless string of undercooked subplots, Nesher’s film continually trips over itself.

2

Published

on

The Other Story
Photo: Strand Releasing

Director Avi Nesher’s The Other Story probes the tensions between the secular and religious worlds of modern-day Jerusalem. The story pivots around Anat (Joy Rieger), who, alongside her formerly drug-addicted boyfriend, Sachar (Nathan Goshen), recently shunned her hedonistic past so as to devote her life to studying the Torah. But it’s Anat’s decision to marry Sachar—thus committing herself to the restrictive moral code and officially sanctioned subjugation of women required by Orthodox Judaism—that serves as the film’s true inciting incident, causing her atheist mother, Tali (Maya Dagan), and grandfather, Shlomo (Sasson Gabai), to join forces, even going so far as to recruit Anat’s estranged father, Yonatan (Yuval Segal), to help thwart the impending marriage.

It’s a compelling setup, namely in the ways it pits harsh dogmatism of orthodoxy against an equally stringent form of atheism that, as a moral philosophy, is just as closed-minded and fiercely held as the religion it rejects. When the film homes in on the strained father-daughter relationship between Anat and Yonatan, who left the family for America when his daughter was a young child, it precisely renders and examines the tremendous emotional baggage behind Anat’s drastic decision to convert while also retaining a clarity in its broader allegory about the role of religion in Israel. Through Yonatan and Anat’s clashing of perspectives, one gets a sense of how their competing belief systems can be weaponized to both self-destructive and vengeful ends, all but ensuring an unbridgeable gap between two sides.

As The Other Story teases out the myriad causes for Anat and her father’s troubled relationship, it also taps into the resentment Tali feels toward Yonathan for leaving her and follows Shlomo’s attempts to rebuild his bond with Yonathan. It’s already a narrative with quite a few moving parts, so when a secondary story arises involving a married couple, Rami (Maayan Bloom) and Sari (Avigail Harari), to whom Shlomo provides court-mandated counseling, the film slowly begins to come apart at the seams, with a once intimate account of one family’s travails giving way to needlessly convoluted melodrama.

While Anat finds herself increasingly drawn to Judaism, Sari is ultimately repelled by it, becoming entrenched in a feminist cult whose pagan rituals she eventually exposes to her son to, and in spite of Rami’s vehement protests. Nesher tries to draw parallels to the two women’s equally extreme experiences, which lead them to swing in opposite directions on the pendulum from hedonism to asceticism. Yet as these two stories intertwine, one creaky subplot after another is introduced, effectively dulling the emotional resonance of either woman’s story by drowning them out it an abundance of trivial incident.

Not only does Anat’s involvement with Sari’s affairs result in an unlikely friendship between the women, but it also leads to Anat bonding with her father as they do the legwork to investigate whether or not the cult is putting Sari’s child in danger. All the while, Yonathan and Tali’s passions are somewhat reignited as they’re forced to work together for the supposed good of their daughter. Through this endless string of undercooked subplots, The Other Story continually trips over itself, struggling to weave together far too many disparate threads. Both character behaviors and the film’s action become driven less by any sense of cultural specificity than a cheap and manipulative need to ramp up the emotional stakes at all cost.

Cast: Sasson Gabai, Joy Rieger, Yuval Segal, Maya Dagan, Nathan Goshen, Avigail Harari, Maayan Bloom, Orna Fitousi Director: Avi Nesher Screenwriter: Avi Nesher, Noam Shpancer Distributor: Strand Releasing Running Time: 112 min Rating: NR Year: 2018

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

Film

Music at a Crossroads: Les Blank’s Chulas Fronteras and Del Mero Corazón

Blank’s films on norteño music provide typically peppy examples of the director’s immersive, seemingly effortless style.

Published

on

Chulas Fronteras
Photo: Argot Pictures

Les Blank, a filmmaker deeply enamored of the sights, smells, and flavors of particular regional subcultures, was devoted to activating the viewer’s senses, and sometimes in unconventional ways. Depending on which one of his films was playing in a theater, you could count on the scent of red beans or garlic to be piped into the room. It was a process that was cheekily called “Aromaround.” But even without such accompaniment, his work remains some of the richest, most palpable sensory experiences ever committed to celluloid—films that welcome viewers into vibrant, authentic cultural spaces and treat them like special guests.

Newly restored in 4K, Blank’s companion films on the norteño music that originated in the Texas-Mexico borderlands, 1976’s hour-long Chulas Fronteras and 1979’s 30-minute Del Mero Corazón, provide typically peppy examples of the director’s immersive, seemingly effortless style. Eschewing explanatory narration or canned talking-head interviews, Blank isn’t all that interested in teaching us about this jaunty, polka-like style of music. Instead, he wants us to experience for ourselves the cultural ferment from which it arises.

Both films play like mixtape travelogues, bouncing around from beer joints to backyard barbecues to a 50th wedding anniversary—anywhere and everywhere that norteño music is played. In Chulas Fronteras, a few interviewees explain their personal career trajectories, and one musician traces the style’s roots in German polka. (It’s essentially the same, he claims, except that Tejanos “give it a different taste.”) Predominately, however, these aren’t films about the development of norteño, but rather works that use the music as a lens through which to view an entire subculture of food, celebration, family, and labor.

If the dominant mood of Chulas Fronteras and Del Mero Corazón is undoubtedly festive—a perfect match for the jubilant accordions and lively vocals that fill their soundtracks—a deeper pain nevertheless courses through these films. Many of the lyrics to the songs we hear touch on difficult subjects, such as labor struggles, personal loss, and racism. Blank brings these issues to the fore in many of the films’ loose-limbed interview segments, which generally catch the subjects while they’re cooking up a big meal or just about to perform a song. In one, a migrant farm worker discusses his life of transience, ceaselessly moving from one area to another, follow the crops. In another, a musician relates an infuriating anecdote about being refused service at a roadside hamburger stand because of his ethnicity.

Blank, though, isn’t one to dwell on such cultural strife, as there’s a different song being sung elsewhere. There are simply too many wondrous sights to take in for Blank to linger on any one subject too long, like the priest blessing cars with holy water or the woman scooping the meat out of a pig’s head to make tamales. Blank’s approach to documentary is immersive and inquisitive, at one point rendering a cockfight, an event that’s potentially off-putting to outsiders, as the authentic divertissement it is for the people of the region.

Of the two films, Chulas Fronteras is the clear standout, offering a deeper cultural immersion. Del Mero Corazón, which Blank co-directed with Guillermo Hernández, Chris Strachwitz, and Maureen Gosling—the last of whom would become Blank’s regular collaborator—is a bit more lyrical, focusing on its subjects’ personal relationship to their music and interspersing poetic quotations from love songs and folk tales throughout its running time. But the similarities between the two films overwhelm their differences. They’re essentially extensions of each other, with Del Mero Corazón moving beyond the Texas-Mexico border to explore a bit of the San Jose norteño scene, particularly singer and accordionist Chavela Ortiz.

More than 40 years after their making, Chulas Fronteras and Del Mero Corazón not only provide a rich portrait of a region and its people, but an amusing time capsule of mid-to-late 1970s tackiness as well. Providing an unvarnished look at kitchen interiors full of ugly wood cabinets and orange laminate countertops and men in checkered polyester pants sucking down cans of Schlitz, these films are also a blast from an ineffably gaudy past.

And yet, at a time when migrants are relentlessly demonized and brutalized, held indefinitely in government detention centers for the crime of crossing a somewhat arbitrary line separating two nations, Chulas Fronteras and Del Mero Corazón offer a timely and incisive reminder of how porous and artificial the U.S.-Mexico border really is. Cultural exchange doesn’t stop at the Rio Grande, a fact of which the people in these films are acutely aware: As the group Los Pingüinos del Norte proudly sings in Chulas Fronteras, “Mexican by ancestry/American by destiny/I am of the golden race/I am Mexican American.”

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

Film

Review: Though Inspiring, Maiden Doesn’t Evince the Daring of Its Subjects

Director Alex Holmes ultimately takes a frustratingly simplistic approach to his thematically rich material.

2

Published

on

Maiden
Photo: Sony Pictures Classics

Alex Holmes’s documentary Maiden is an account of the true adventure of the first all-female crew to enter the Whitbread Round the World Race. As their filmed testimonials attest, skipper Tracy Edwards and her crewmembers’ defiance of the sailing circuit’s rampant sexism back in 1989 proved to be just as grueling as their journey of 33,000 miles through the Earth’s harshest oceans. The film, at heart, is the story of women dramatically pitted against the dual forces of nature and human nature. Pity, then, that Holmes ultimately takes a frustratingly simplistic approach to the thematically rich material.

The film paints a vivid portrait of the patriarchal sailing community during Edwards’s period as an up-and-coming skipper, even gathering male sports journalists and sailors who seem all too eager to cop to their past chauvinistic viewpoints. Of course, while this effectively establishes some of the large obstacles faced by Edwards and her crew, there’s a feeling of repetition in the subsequent inclusion of the subjects’ stories about their feelings of vindication in proving the naysaying men wrong by successfully staying the course.

Each anecdote begins to sound like a rehash of the last, and to the point where they feel as if they’re intended as applause lines. The detailing of the immense mental and physical strength that the Maiden’s crew summoned in order to sail around the around is scant. In fact, Holmes is so frustratingly short on specifics that, with the exception of Edwards, you’ll walk away from the documentary without knowing what role each woman filled aboard the vessel.

By extension, we hardly get a sense of the camaraderie that started to build among the crew during the race. It comes off as an empty moment, then, when Edwards describes how each woman essentially knew what the other was thinking by race’s end. The fascinating and candid archival footage shot during the race hints at the singular sisterhood formed on the boat that Edwards speaks of, with each member helping one another out through tedium and the dangers of the sea. It feels like a missed opportunity that Holmes didn’t utilize this footage of fortitude through female unity more frequently as a statement against sailing’s sexism, but, then again, it’s in line with a film that doesn’t evince the daring spirit of its subjects.

Director: Alex Holmes Distributor: Sony Pictures Classics Running Time: 97 min Rating: PG Year: 2018

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

Features

The Best Films of 2019 So Far

Whatever the outcome of the streaming wars, we hope that when the dust clears, there’s still a digital home for films like these.

Published

on

Transit
Photo: Music Box Films

In our present day, it feels like we’re sitting on the edge of too many abysses to count. Confining our perspective to the world of film, it’s arguable that the streaming apocalypse has arrived. Consumers are already fed up with the glut of services offering a library of films at low, low prices that, in sum, add up to the price of the premium cable package we thought we’d escaped. We’re still months away from the launch of Disney+, which now looks not so much like the herald of the apocalypse as a behemoth that will arrive in its wake to rule over the vestiges of the internet’s cine-civilization.

And there’s a different ongoing streaming apocalypse, at least according to the defenders of the movies as a unique medium. The year opened with cinema’s old guard attempting to forestall the effects of streaming’s rise on the rest of the film industry: Most visibly, Steven Spielberg attempted to cajole the Academy of Motion Picture Arts and Sciences into disqualifying Netflix-produced films from competing for Oscars. And is streaming also to blame for this summer season’s dismal box-office numbers? Perhaps in part. In any case, the cracks in the Hollywood fortifications are showing. For years, prognosticators have predicted the unsustainability of the “tent pole” model of film production, but the outcome is that everything is coming up Disney: Even Fox is Disney now, or soon will be.

But if streaming is indeed facilitating the long-delayed collapse of the tent-pole model, then more power to it. The year so far has been disappointing from the perspective of box-office returns, and it has been downright dreadful in terms of the so-called blockbusters themselves—another summer of sequels, side-quels, and soft reboots that has made it difficult to recall a time when big-budget superhero flicks like Dark Phoenix felt like cultural events.

That said, it’s worth noting that streaming isn’t simply killing the box office, but offering an alternative to a moribund institution, as the best chance to see many of this year’s best films, for those outside the country’s major markets, will be on streaming services. Whatever the outcome of the streaming wars, we should hope that when the dust clears, there’s still a digital home for films like the ones on our list. Pat Brown


3 Faces

3 Faces (Jafar Panahi)

Jafar Panahi works references into his film to some of the compositions, landscapes, and boundary-pushing plays of fiction and documentary evidenced in Abbas Kiarostami’s cinema. But instead of mere replication, 3 Faces filters these elements through Panahi’s own unique sensibilities. Rather than letting the mysteries in his film stand, or prolonging its ambiguities, Panahi prefers to signify potential plot directions and formal strategies and then promptly pivot away from them at the moment they outlast their usefulness. This isn’t the mark of a lesser filmmaker, but merely one who recognizes that his own strengths lie in his intuitiveness, his wit, and his humor. Sam C. Mac


Ash Is Purest White

Ash Is Purest White (Jia Zhang-ke)

The political dimensions of Jia Zhang-ke’s films hve led to a strained relationship with state censors in the past—and so the director’s appointment this year as a representative of China’s 13th National People’s Congress, and the larger indication that he was working to gain the favor of the state, created some worries about the integrity of his films going forward. But thankfully, the clever, subversive, and hugely ambitious Ash Is Purest White assuages those concerns. The film serves as a considered retrospection, and a coherent transition between Jia’s neorealist early films and his more recent populist melodramas. It’s a quixotic and profound statement on the spatial and temporal dissonances that inform life in 21st-century China. Mac


The Beach Bum

The Beach Bum (Harmony Korine)

Despite its lax, vignette-like quality, The Beach Bum is perhaps Harmony Korine’s most straightforward film to date, even while its form fully embraces its inherently circuitous, nonsensical subject matter. Indeed, the way Moondog (Matthew McConaughey) buoyantly moves from locale to locale, Korine’s semi-elliptical style, and a tendency for events to just happen lend the film a chronic haziness where even life-threatening occurrences are treated with a cheery dementia. At one point, a character loses a limb, but it’s “just a flesh wound”—something to quickly move on from and to the next toke. Not for nothing has Korine likened the film’s structure to pot smoke. Its dreamy, associative style is pitched to its characters’ almost random inclinations, while mirroring the spatiotemporal dilation of a high. Peter Goldberg


Birds of Passage

Birds of Passage (Cristina Gallego and Ciro Guerra)

A narcotrafficking origin story embedded inside an ethnographic study of a vanishing culture, Cristina Gallego and Ciro Guerra’s Birds of Passage starts and ends in the harsh Guajira desert peninsula that sticks into the Caribbean Sea from northern Colombia. Showing the same fascination with the interstices of Western and native cultures that Guerro and Jacques Toulemonde Vidal brought to Embrace of the Serpent, the story initially takes a back seat to an examination of ritual and belief. While the basics of the narrative are familiar from other stories about how Colombia tore itself apart serving America’s drug culture, the film stands apart for Gallego and Guerra’s studied focus on the drip-drip-drip of traditions falling before encroaching modernity as a family grows in wealth and shrinks in awareness. Also, their arresting visual sense power the story in the eeriest of ways, from the sweeping vistas of desert and sky to the surreal appearance of a glistening white mansion where an ancient village once stood. Chris Barsanti


Black Mother

Black Mother (Khalik Allah)

Black Mother finds Khalik Allah doubling down on his established aesthetic to bold, hypnotic ends. This essayistic documentary is organized into “trimesters,” chapter headings marked by the growing stomach of a naked woman, and it drifts between digital, Super 8, and Bolex footage as Allah tours the home country of his mother, beginning with a remarkably cogent examination of Jamaican political and religious history through the voices of those the director encounters on the street, before sprawling into more existential terrain, chiefly the feedback loop between humans and the environment. Allah is attracted to loud, confident voices, and the ways in which they hold forth about poverty, sex work, spirituality, and food is crucial to the filmmaker’s vision of the proud, angry beating heart of a nation. Christopher Gray

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

Film

Review: Child’s Play Is Cheeky Before It Becomes More of the Same

By the end, it becomes what it initially parodies: a dime-a-dozen slasher film with a silly-looking doll as the villain.

2

Published

on

Child's Play
Photo: United Artists Releasing

Much to the very public chagrin of Don Mancini, creator of the knife-wielding Chucky doll, Lars Klevberg’s Child’s Play unceremoniously wipes the slate clean by more or less pretending that the seven prior films (all written by Mancini) in the franchise never happened. On paper, the film certainly looks like another shameless Hollywood cash grab, an unnecessary reboot of a series that its creator had still planned on continuing. Its winks and nods to the 1988 original will certainly only serve to twist the knife even deeper into Mancini’s back. Yet, despite all signs pointing to a dearth of imagination, Klevberg’s film finds a new avenue from which to approach the Chucky mythos and does so with an initially gleeful cheekiness in its approach to the inherently absurd concept of a slasher toy run amok.

The voodoo-based origin story of the original Chucky, in which a serial killer is transported into the doll’s body, is here replaced with one of artificial intelligence gone bad. One of thousands in a line of technologically enhanced “Buddi” dolls, the new Chucky’s (voiced by Mark Hamill) lack of restraint when it comes to both speech and its capacity for violence stems from a disgruntled sweatshop employee who reprogrammed it before killing himself. In a clever twist, Chucky isn’t evil right out of the box. In fact, he uses a laser scan to immediately bond with the young Andy (Gabriel Bateman), who he will go to great—and eventually very unnecessary—lengths to protect. Chucky genuinely just wants to play with Andy, and simply learns that it sometimes takes a bit of bloodletting to achieve that goal.

It’s one thing for Chucky to wake Andy up in the middle of the night to sing with him, but when Chucky strangles a cat after it scratches Andy, the boy senses something might be off with his new toy. Pity that the boy’s mother, Karen (Aubrey Plaza), won’t heed his warnings. The subsequent escalation of Chucky’s psychosis makes for the film’s most unexpectedly amusing stretches, effectively playing the doll’s deadpan penchant for violence off of Andy’s horror at Chucky’s extreme reactions to his complaints about things that bother him. Whether it’s Chucky’s stalking of Karen’s asshole boyfriend (David Lewis) or his learning how to kill while Andy and his friends are watching Tobe Hooper’s The Texas Chainsaw Massacre 2, a much-needed levity accompanies Chucky’s growing fatal attraction to Andy, especially as his friends Falyn (Beatrice Kitsos) and Pugg (Ty Consiglio) come into the fold.

Once Chucky turns into a full-on psycho, though, Child’s Play starts taking the tongue-in-cheek bite out of its approach to horror, with the unconventional interplay between a boy and his toy sidelined by an abundance of mindless gore and jump scares. Although this final act allows the filmmakers to take more advantage of Chucky’s technological prowess, particularly the doll’s ability to record video and connect to nearly any electronic device, the humorlessness of Child’s Play by this point effectively transforms the film into the very thing it initially poked fun at: a dime-a-dozen slasher film with a silly-looking doll as the villain.

Cast: Aubrey Plaza, Mark Hamill, Gabriel Bateman, Brian Tyree Henry, Tim Matheson, David Lewis, Beatrice Kitsos, Trent Redekop, Amber Taylor, Kristin York, Ty Consiglio Director: Lars Klevberg Screenwriter: Tyler Burton Smith Distributor: United Artists Releasing Running Time: 88 min Rating: R Year: 2019

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading

Film

Review: Nightmare Cinema Offers a Mishmash of Horror Mischief

The anthology justifies Mick Garris’s passion for horror, though he ironically proves to be one of his project’s liabilities.

2.5

Published

on

Nightmare Cinema
Photo: Good Dead Entertainment

As he proved with the anthology shows Masters of Horror and Fear Itself, Mick Garris has no problem recruiting once-great filmmakers and getting them to enthusiastically recycle horror cinema’s most obvious tropes. With only a few exceptions, such as episodes directed by Takashi Miike and Dario Argento, both of these productions often suggest the horror equivalent of an aging rock band at a stadium, playing music that’s leeched of its former danger. With Nightmare Cinema, Garris semi-successfully brings this act to the increasingly figurative big screen, assembling directors Joe Dante, David Slade, Alejandro Brugués, Ryûhei Kitamura, and himself for more genre mischief.

Nightmare Cinema is generally of a higher caliber than Masters of Horror, and particularly of Fear Itself. The film starts almost in medias res, with Brugués’s “The Thing in the Woods” approximating the third act of a slasher movie. It’s a relief to skip the expositional throat clearing that usually gluts the opening of such a narrative, and Brugués stages the stalk-and-slash set pieces with style, energy, and a flair for macabre humor. There’s also a twist that leads to a wonderfully irrational image. The murderer who stalks the requisitely attractive young people, called The Welder for his choice of mask and killing instruments, is revealed to be a sort of hero, having discovered that alien spiders are nesting in the skulls of his friends.

Dante’s “Mirari,” written by Richard Christian Matheson, is even more deranged. Anna (Zarah Mahler) is about to marry a handsome man (Mark Grossman) who manipulates her into undergoing plastic surgery so that she may live up to the ideal set by his mother. The joke, a good one that recalls a famous episode of The Twilight Zone, is that Anna is already quite beautiful, though tormented by a scar running down her face. The plastic surgeon is Mirari (Richard Chamberlain), who turns out to be the orchestrator of a surreal asylum of horrors. Chamberlain is pitched perfectly over the top, lampooning his own past as a pretty boy, and Dante’s direction is loose and spry—authentically channeling the spirit of his best work.

Nightmare Cinema hits a significant speed bump with Kitamura’s “Mashit,” a tedious and nonsensical gothic in which a demon terrorizes a Catholic church, but rebounds beautifully with Slade’s nightmarish “This Way to Egress,” in which Elizabeth Reaser plays Helen, a woman who’s either losing her mind or slipping into another realm of reality. Slade has directed some of the most formally accomplished hours of recent television, particularly Hannibal, and he brings to Nightmare Cinema a similarly sophisticated palette. “This Way to Egress” is filmed in stark black and white, and the clinic treating Helen suddenly becomes a setting of apparent mass murder, with blood-splattered walls that come to resemble a series of abstract paintings. Meanwhile, the people in the clinic become deformed monsters, talking in gurgles and plunging unseen masses out of sinks. (Giving Nightmare Cinema’s best performance, Reaser ties all of this inspired insanity together with an emotional vibrancy.)

Garris directs “The Projectionist,” Nightmare Cinema’s framing episode, in which a theater portends doom for the film’s various characters while Mickey Rourke saunters around, lending the production his usual found-object weirdness. Garris also concludes the anthology with “Dead,” a grab bag of clichés in which a young piano student (Faly Rakotohavana) grapples with a near-death experience in a hospital while evading pursuit by a psychopath (Orson Chaplin). Characteristically, Garris over-telegraphs the scares with cheesy music and evinces no sense of specificity or reality even for a story that’s set on such a heightened plane. (One may wonder how a boy recovering from a gunshot wound to the chest can defend himself against a much larger madman.) “Dead” also bears an unfortunate structural resemblance to the vastly superior “This Way to Egress,” which is also a surreal journey of a character within an institution. There are notable, surprising highpoints in Nightmare Cinema that justify Garris’s passion for horror, though he ironically proves to be one of his project’s liabilities.

Cast: Mickey Rourke, Richard Chamberlain, Adam Godley, Orson Chaplin, Elizabeth Reaser, Maurice Benard, Kevin Fonteyne, Belinda Balaski, Lucas Barker, Reid Cox, Ezra Buzzington, Pablo Guisa Koestinger, Dan Martin, Zarah Mahler, Lexy Panterra, Faly Rakotohavana, Patrick Wilson, Sarah Elizabeth Withers Director: Mick Garris, Alejandro Brugués, Joe Dante, Ryûhei Kitamura, David Slade Screenwriter: Sandra Becerril, Alejandro Brugués, Lawrence C. Connolly, Mick Garris, Richard Christian Matheson, David Slade Distributor: Good Dead Entertainment Running Time: 119 min Rating: R Year: 2018

We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a SLANT patron:
Continue Reading
Advertisement

Giveaways

Advertisement

Newsletter

Advertisement

Preview

Trending