Film Freak Central

The Batman (2022)

**/****
starring Robert Pattinson, Zoë Kravitz, Paul Dano, Colin Farrell
written by Matt Reeves & Peter Craig
directed by Matt Reeves

by Walter Chaw I love Matt Reeves. I think Cloverfield is exceptional, that I underestimated Let Me In upon its initial release, and that, for as popular as it was, the Planet of the Apes trilogy--to which he contributed two entries--remains underappreciated for how cogent and incisive a satire it is of the doomed trajectory of our irredeemable state. Reeves appears to be the rare bird who can work within the framework of franchise and intellectual property and still manage to produce largely uncompromised pieces, unbeholden to stock set-ups and happy pay-offs. I had the highest of hopes for his turn at the wheel of the Batman machine: if anyone was going to do a down Batman in defiance of the jealous protectors of a billion-dollar money tree, it was Reeves. Alas, The Batman is overlong, over-serious, poorly-paced, and the first of Reeves's films to show obvious production interference in the sort of narrative post-script--delivered via world-weary Blade Runner voiceover, no less--that is never not embarrassing for its awkward pandering. Any sins of structure can at least be attributed to Reeves and co-writer Peter Craig, who lean heavily on the "detective" part of Batman's "Dark Knight Detective" moniker in an earnest, all-in go at neo-noir. But the grafted-on epilogue suffers an instant, gaudy tissue rejection. It's sap in a movie that, for all its gravid clumsiness, has decidedly not been sap.

Adams Family Values: An Interview with the Creators of "Hellbender"

Walter Chaw interviews Hellbender creators
John Adams, Lulu Adams, Zelda Adams, and Toby Poser

Of all the movies I saw last year, two viscerally exhilarated me, making the hairs on the back of my neck stand on end for the power of their craft and the empowerment of their messages. The first was Steven Spielberg's West Side Story, the finest spectacle film I've seen in I can't remember how long--a smart updating of a well-travelled text by one of the few unquestioned masters of the medium. The other was Hellbender, the seventh film by a family of wanderers--and artists--who decided at some point to buy a rickety old RV, drive it across the U.S., and make a very particular brand of home movie to document their nights and days. Hellbender is so alive with the rapture of living that it almost pulsates; watching it is a tactile experience, and its celebration of women and coming into power feels effortless. It's not unlike the idea of "blood harmony"--when it happens, it's supernatural. Hellbender is the truth. So when I was offered the chance to interview filmmakers Toby Poser and John Adams and their daughters Lulu and Zelda Adams over Zoom one snowy afternoon, I was beside myself. It's fun to catch phenoms right before they take off into the stratosphere.

I'll Find You (2022)

*/****
starring Adelaide Clemens, Leo Suter, Ursula Parker, Stellan Skarsgård
screenplay by David S. Ward and Bozenna Intrator
directed by Martha Coolidge

by Walter Chaw Martha Coolidge's I'll Find You, in distribution limbo since 2019, is a lushly-filmed but dramatically inert WWII period romance about a trio of starcrossed lovers and musicians, separated by war and reunited by amour. Coolidge does her best with the material, but movies that employ flashbacks to when the characters are children exchanging doe-eyed stares are a little doomed from the start, even when they're not also saddled with having to somehow use the Holocaust as a plot device that inconveniences our lovers for a while like a pesky ex-boyfriend or a dream job that requires a move across the country. Alain Resnais pulled it off ("it" being love in a time of war) in Hiroshima Mon Amour, and Philip Kaufman similarly succeeded with The Unbearable Lightness of Being, but this is deep and shark-infested water, the moral and practical perils of which I'll Find You never fully reckons. Take the scene where hero tenor Robert (Leo Suter) searches for lost love Rachel (Adelaide Clemens) at recently-liberated Bergen-Belsen, where Robert shuffles disconsolately past a "Warning: Typhus" sign that serves as a jolting reminder of the housing of human beings like cattle in what feels essentially like a zombified but expensive Jane Austen adaptation. I'll Find You sands all the edges off, which is fine some of the time but never okay when it comes to genocide. Coolidge is a spirited director, the driving force behind all-time classics like the thornier-than-you-remember Valley Girl and the deceptively jagged Rambling Rose, contorted here to helm what is essentially a Rob Reiner vehicle.

Hellbender (2022) - Shudder

****/****
starring Zelda Adams, Toby Poser, Lulu Adams, John Adams
written and directed by Toby Poser & Zelda Adams & John Adams

by Walter Chaw Hellbender is rare and wild, alive with joy, bristling with the energy of its invention. Even though its story of a young woman coming of age and discovering her power is familiar (some would say overly so), the approach the film takes is bracingly unpredictable. I've never seen a movie quite like it, straddling the line between experimental and conventional while managing to be free somehow of anything like arrogance or pretension. This isn't an affectation forced upon an audience, it's a reflection of what appears to be a genuinely unique point of view. John Waters made movies like this; so does David Lynch. Hellbender falls somewhere between them while being beholden to neither. I haven't felt like this very often watching anything. The creators are the Adams family: father John Adams, mother Toby Poser, and their daughters, Zelda and Lulu Adams. Between them, they split multiple duties before and behind the camera. They pulled up their roots at some point a few years ago to travel across the country from their home base in the Catskills, telling stories through shooting movies and learning the technical aspects of their craft as they went along. This is the seventh film created under their "Wonder Wheel" production banner, and it's a work of art that's very much like a masterpiece.

Texas Chainsaw Massacre (2022) - Netflix

**½/****
starring Elsie Fisher, Mark Burnham, Moe Dunford, Alice Krige
screenplay by Chris Thomas Devlin
directed by David Blue Garcia

by Walter Chaw David Blue Garcia's re-quel Texas Chainsaw Massacre could've been a masterpiece with a minor tonal shift from deadly self-serious to wryly self-knowing. As it stands, it falls into the same Stanley Kramer pit as the Candyman reboot, where lectures take the place of plot--and infant cardboard pedagogues take the place of legible characters. Texas Chainsaw Massacre is the kind of graceless screed, in other words, that is everything its worst detractors accuse the original of being, making defending progressive messages in films like this difficult, if not impossible. Horror films in general--and Tobe Hooper's The Texas Chain Saw Massacre, in particular--are rich in subtext. Horror as a genre is primal (all of the Old Testament is an anthology of vile horror stories), and, as such, it's the first one to respond when toxins are introduced into our cultural ecosystem. Horror, for lack of a better descriptor, is potentially useful as both diagnosis of what's wrong with us and prognostication of the consequences, should we allow the poison in our systems to run its course. What's not helpful, however, are films that eschew subtext in favour of soapbox. If you empty the basement, your basement is empty. And if you enter into a thing with the idea that you're about to force people to get smarter, you'd better be sure that you're smarter than anyone who might want to watch your thing. Very few artists ever get away with being didactic.

The Lover (1992) [Collector's Edition] - 4K Ultra HD + Blu-ray

Please note that all framegrabs are from the 1080p version

**/**** Image A- Sound A- Extras A-
starring Jane March, Tony Leung, Frederique Meininger, Arnaud Giovaninetti
adapted by Gerard Brach, Jean-Jacques Annaud, based on the novel by Marguerite Duras
directed by Jean-Jacques Annaud

By Bill Chambers

"What must have happened is: I try it on just for fun, look at myself in the shopkeeper's glass, and see that there, beneath the man's hat, the thin awkward shape, the inadequacy of childhood, has turned into something else. Has ceased to be a harsh, inescapable imposition of nature. Has become, on the contrary, a provoking choice of nature, a choice of the mind. Suddenly it's deliberate. Suddenly I see myself as another, as another would be seen, outside myself, available to all, available to all eyes, in circulation for cities, journeys, desire. I take the hat, and am never parted from it. Having got it, this hat that all by itself makes me whole, I wear it all the time."

That's author Marguerite Duras in the opening pages of her best-selling 1984 memoir L'Amant, describing the "brownish-pink fedora with a broad black ribbon" she wore as a girl of 15-and-a-half. If you remember anything about Jean-Jacques Annaud's eponymous 1992 feature-film adaptation The Lover (apart from its prurient reputation, that is), chances are it's that hat, which actually captures some of the mythic quality Duras is getting at in the above-quoted passage. Watching the recent Holler, I realized that when I think back on it, I will likely remember it not as a movie about scrappers living in poverty but as the one with the girl in the Steve Zissou-esque red-knit beanie. Hats are incredibly cinematic, bestowing story and subtext on an actor's face. Yet while the hat that 19-year-old newcomer and former teen cover girl Jane March wears in The Lover may strike the right note of self-assurance, the pigtails sticking out from under it combine to give her an Anne of Green Gables look that hardly contradicts "the inadequacy of childhood," and I think that's deliberate. From the get-go, she's not just exotic fruit, she's forbidden fruit. The Lover takes a short, discursive book without dialogue typical of the Hiroshima mon amour screenwriter and almost miraculously extrapolates a linear, if episodic, framework from it, but it leans into the sordid details that Duras almost glosses over.

Dream House: An Interview with Albert Birney & Kentucker Audley

Walter Chaw interviews Strawberry Mansion creators
Albert Birney and Kentucker Audley

Strawberry Mansion is fascinating stuff: a film that runs the danger of being distracting for its quirkiness but is, in point of fact, a mature piece about investing in love with the full knowledge of how love is heartbreak. It isn't, in other words, odd for the sake of odd, but rather odd for the specific purpose of communicating a point of view, a creative ethos. It's...is the word "artisanal?" If it's not, it's like that. There's a lot of same going around (same as it always was, as it happens), but here's a new thing, and if you don't support it, then more new things don't happen. There's hope with a film like this, because it points to someone brave enough to make it and then a few more someones willing to find a way to get it into theatres and onto streaming services.

Kimi (2022)

***½/****
starring Zoë Kravitz, Rita Wilson, Derek DelGaudio, Robin Givens
written by David Koepp
directed by Steven Soderbergh

by Walter Chaw Steven Soderbergh's Kimi is an escapist paranoia fantasy that has as its most unlikely conceit not any of its dire depictions of a techno-surveillance state, but that it's possible for wealthy white men to see anything like consequences for their actions--actions up to, and including, murder. It may be Soderbergh and screenwriter David Koepp's cleverest sting in a clever film, this notion that at a time when satire feels impossible because reality is so obscene, the greatest stretch of the imagination is the promise of meaningful accountability for the 1%. You could call it Pollyannaism or toxic positivity (and I confess my first response to how this movie ends was irritation), but I've come to realize how that speaks more to my disappointment with the world than with the story Kimi is trying to tell. This isn't Night Moves or The Parallax View (or, more to the point, The Conversation or Blow Out), it's a fable about how trauma can be overcome, justice can be won, and the bad guys don't necessarily have to win every time. It could even be about how the future is minority and female and work-from-home. Or, thanks to one superb sequence, Kimi could be about a rejection of our desperate longing for superhuman intervention. Maybe it's each of those things at once. All a revolution takes is enough individuals, flawed as they are, broken as they may be, deciding they're mad as hell and aren't going to take it anymore. All it would take is cutting through the noise and the moral cannibalism and finally painting a target on our common tormentors.

Moonfall (2022)

***/****
starring Halle Berry, Patrick Wilson, John Bradley, Donald Sutherland
screenplay by Roland Emmerich & Harald Kloser & Spenser Cohen
directed by Roland Emmerich

by Walter Chaw Between The Day After Tomorrow and the new Moonfall, Roland Emmerich has become our unlikely climate disaster Tierisius: Oedipus's blind seer, dispensing fair warning to a population not paying any attention. In the earlier film, global warming causes a new Ice Age and an exodus of American refugees looking for sanctuary in Mexico, while Moonfall sees the entire west coast flooded and essentially everyone at sea level in the United States trying to get to Colorado. Both ideas are ripe with satiric irony, animated with a sense of gallows humour about how extraordinarily shortsighted American leadership is in the face of obvious signs and portents. Oh, and science, of course, which should have been enough once the evidence of our own eyes somehow proved inadequate. Even Moonfall's ultimate revelation--something about AI and space arks and a running gag about Elon Musk--speaks brilliantly, however intentionally, to our primate desire to conflate the hoarding of generational wealth with genius, when all the wealthy really want to do is escape the rapidly-changing planet they've strip-mined for its resources. All that, plus a broad redux of H.G. Wells's The First Men In the Moon, and, kids, we got ourselves the smart and unpretentious version of Don't Look Up.

John Carpenter's Escape from L.A. (1996) - Blu-ray Disc|4K Ultra HD + Digital Code

Please note that these screencaps are from an alternate source and do not necessarily reflect either of the discs covered herein.

**/****
BD - Image A- Sound B+
4K - Image A- Sound A-
starring Kurt Russell, Stacy Keach, Steve Buscemi, Cliff Robertson
screenplay by John Carpenter & Debra Hill & Kurt Russell
directed by John Carpenter

by Bryant Frazer The 1990s were unkind to John Carpenter: The stock market was booming, there was a Democrat in the White House, and the American horror film was at a low ebb. That was the decade when Carpenter--arguably the best B-movie auteur in the world during the 1980s and certainly the most audacious--lost his mojo. Exhausted from the experience of making two genre classics (They Live and Prince of Darkness) back to back, Carpenter took a couple of years off from filmmaking. When he was ready to work again, he considered making The Exorcist III but eventually settled on an ill-fated Chevy Chase vehicle, the $40 million sci-fi adaptation Memoirs of an Invisible Man, that torpedoed his attempted return to big-budget filmmaking. Carpenter tore through three more projects in the next three years--the Showtime horror anthology Body Bags, the Lovecraft riff In the Mouth of Madness, and a Village of the Damned remake--before deciding to pillage his own back catalogue with a sequel to the dystopian Escape from New York.

All the Moons (2020) - Shudder

Ilargi Guztiak
****/****
starring Haizea Carneros, Josean Bengoetxea, Itziar Ituño, Zorion Eguileor
written by Igor Legarreta, Jon Sagalá
directed by Igor Legarreta

by Walter Chaw The Catholic Church has an outsized influence in the events of the last couple of centuries. They have increasingly occupied the role of collective boogeyman in the West as we start to reckon with the consequences of Manifest Destiny, the Age of Exploration, and the attempts to eradicate indigenous peoples in the name of a wrathful God too small to allow other faiths. The mission project in the West, the Residential schools designed to separate children from their cultures in the name of a monoculture arrayed around a cannibalistic blood cult steeped in atrocities committed under the banner of their notion of Heaven. The Magdalene laundries in Europe, the sexual abuse scandals so rampant they're less scandals than functions of a diseased system that shelters monsters, shuffling them around to unsuspecting diocese to avoid coming clean about the extent of their callow predation. The church has aligned itself with the "pro-life" movement in the United States, a fanatical and radicalized cult invested in the oppression of women and sexuality. Heavily politicized, they suckle at the public teat and continue a baked-in tradition of profiting greatly from the fear and loathing of the very poor, the very desperate, the very stupid. Every new revelation is met with obfuscation, denial, and obstruction instead of a willingness to shine light into the corners of their unresolvable, bestial intolerance and sinfulness. Throughout history, the Catholic Church, as an organization, has proved emblematic of absolute power corrupting absolutely. It's become a synecdoche for abuse. Of course, this makes it a fertile plot where fulsome gardens of horror can grow.

Becoming: An Interview with Mark Pellington

Mark Pellington's body of work deserves serious reconsideration. It describes the arc of a serious artist, someone tapped into a collective threnody, a manifest weltschmerz expressed increasingly through techniques that move him away from traditional narratives into exclusive realms of movement and music. Schooled in rhetoric, Pellington made his mark as one of the early pioneers of MTV and music video, helming clips for artists as varied as U2 and Anthrax. His video for Pearl Jam's "Jeremy" is seen as a landmark for the form in terms of its expressiveness and willingness to venture into dark places (child abuse, bullying, suicide). Pellington was inspired at that moment by the recent loss of his father to dementia--an experience he hopes to turn into a movie someday--and it's that throughline of grief, as it moves through stages of rage, denial, and addiction, that informs the work of his lifetime. Each unimaginable loss feeds Pellington's next project. I'm in awe of his transparency and courage.

The Worst Person in the World (2021)

Verdens verste menneske
***½/****
starring starring Renate Reinsve, Anders Danielsen Lie, Herbert Nordrum
written by Eskil Vogt, Joachim Trier
directed by Joachim Trier

by Walter Chaw Joachim Trier has had his ear, unerring, pressed against the pulse of sweet melancholia and regret from the very beginning. He followed his first feature, Reprise, a downbeat essay of aspiring writers on the cusp of validation or immolation, with Oslo, August 31st, a jarring and indelible chronicle of one day in the life of a junkie trying for a second chance, maybe too late. Trier's English-language debut, Louder than Bombs, was about how a father and son remember their dead wife/mother differently, while his Thelma was a supernaturally-tinged coming-of-age film and my favourite movie of that year. Now comes this intense character study of the anxious generation, The Worst Person in the World. These films share an interest in people at a crossroads and forced to evolve. If I have a beef with Trier, it's that his endings of late have tended towards, if not tidiness exactly, at least a neatness not befitting his characters and their messy lives. It's less a failing of his than a failing of mine. I think what they do, though, these endings that feel like endings, is push his films a little away from realism and a little towards fable. The Worst Person in the World, accordingly, is a film through which it appears that Trier--32 at the time of Reprise, 47 now--is wrestling with what it means to be 30 in 2021 after providing such immediate and raw social landscapes in his early work. I wonder if fable is the only way to properly contextualize the young as we push into and past middle age. Maybe it would feel unseemly to pretend otherwise.

The Long Night (2022)

*/****
starring Scout Taylor-Compton, Nolan Gerard Funk, Kevin Ragsdale, Deborah Kara Unger
written by Robert Sheppe, Mark Young
directed by Rich Ragsdale

by Walter Chaw Rich Ragsdale's The Long Night is relentlessly familiar--which is too bad, because it features an excellent score by Sherri Chung, and DP Pierluigi Malavasi does yeoman's night-work and a mean drone shot. Their aptitude--indeed, elegance--is wholly at odds with the picture's smirky script (by Robert Sheppe and Mark Young) and solid wall of daft shoutiness. Star Scout Taylor-Compton spends so much of the picture shrieking, even before the bad things start happening in earnest, that the frequency of her hoarse emissions can be either the foundation for the world's newest and deadliest drinking game, or maybe merely The Long Night's most exhausting running joke. It's hard to say what this film wanted to be about, if it ever wanted to be about more than getting made--my obvious guess being all the supernatural doings as a metaphor for a disintegrating relationship. But if that's the case, that particular trope has been worn to a nub, and if you're not going to provide insight or approach it in a novel way, going through the motions really works the ol' patience muscle.