Film Freak Central

SDAFF '22: No Bears

****/****
starring Naser Hashemi, Reza Heydari, Mina Kavani, Bülent Keser
written and directed by Jafar Panahi

by Walter Chaw Jafar Panahi's No Bears is about imprisonment--a topic near and dear to the Iranian filmmaker's heart, as he has been, and is currently, a prisoner at the discretion of Iran's fascist government. First sentenced to six years in prison in 2010 for making films critical of the regime (a conviction that included a 20-year ban on filmmaking of any kind), Panahi spent that time under house arrest but was finally physically imprisoned in July of 2022 for raising a fuss on behalf of director and fellow prisoner-of-conscience Mohammad Rasoulof. Through clever subterfuge, Panahi has continued to direct new movies during his ban, of course--good ones, perhaps none so good as his latest, in which he plays himself, looking for a little peace and a wifi signal in a remote border town. He's directing a film by proxy, watching from his laptop as his AD, Reza (Reza Heydari), listens to his instructions regarding blocking, camera, even performance, transmitted across a physical and emotional distance through Reza's earbuds. "It's not the same without you," Reza tells Panahi; the energy is off with Panahi working through a surrogate. He can't pinpoint how, exactly, and Panahi, as he portrays himself, isn't one to make an awkward situation more comfortable. He listens more than he speaks. He waits for people to finish, then gives them an extra couple of seconds to regret what they've said. I've seen Werner Herzog do this in his documentaries, too--letting the camera run long past the point at which decorum would dictate relief from scrutiny. Panahi now lives under constant surveillance, after all, so why should any of his subjects suffer less?

FrightFest '18: The Devil's Doorway

***½/****
starring Lalor Roddy, Ciaran Flynn, Helena Bereen, Lauren Coe
screenplay by Martin Brennan, Michael B. Jackson, Aislinn Clarke
directed by Aislinn Clarke

by Walter Chaw Aislinn Clarke's hyphenate debut The Devil's Doorway is a found-footage concept shot on 16mm and set in a Magdalene Asylum circa 1960. Two priests are dispatched from the Vatican to investigate statues of the Virgin Mary that are apparently weeping blood. "Type O negative, female, pregnant," says wizened, world-weary Father Thomas (Lalor Roddy, a real discovery), who finds himself in the midst of a crisis of faith. It won't be a miracle, he's sure. When his young charge and de facto cameraman Father John (Ciaran Flynn) asks him why not, Thomas responds, "Because it never is." He's Fathers Merrin and Karras, both, from The Exorcist: the man of the cloth who can wield his faith, and the man of the cloth who wonders if he's lost his faith entirely. Thomas--dubbed "doubting" by John, naturally--expresses his rage and disgust at the asylums, also called "laundries," in Ireland where young "fallen" women were sent to hide the shame of unwanted pregnancies, nervous disorders, and other socially-objectionable "maladies" from judgmental neighbours. He's unimpressed, then, by cold, patrician Mother Superior (Helena Bereen), who lacks nuance in the way she sees her charges. And when things become inexplicable, as they are wont to do in haunted asylums, there's something like relief for Thomas to discover that if there's no God, there might at least be the Devil.

TIFF '13: The Sacrament

*/****
written and directed by Ti West

by Bill Chambers Surrendering once again to V/H/S found-footage mode, writer-director Ti West brazenly co-opts the particulars of the mass suicide at Jonestown, Guyana, abandoning only the names and most expensive details (two planes become one helicopter, for instance, while the late-'70s become the present). The result is a counterfeit film without the element of surprise that also denies the viewer the lurid satisfaction of a true-crime thriller. AJ Bowen, Joe Swanberg, and Kentucker Audley--Austin's answer to the Brat Pack (or the Three Stooges)--play VICE journalists doing a story on Eden Parrish, a hippie utopia/cult compound in NotGuyana. They're guests of Audley's sister (Amy Seimetz, who doesn't, ultimately to her credit, do deluded well), an ambassador of sorts to the commune's snake-oil leader, an ersatz Jim Jones who goes by Father (Gene Jones--no relation, I hope). Playing the role as part Strother Martin, part game-show host, Jones--Gene Jones, that is--hits a home run in his big scene with the comically-outmatched Bowen; if anything comes out of this movie, I expect it will be the career rebirth of Jones, whose handful of memorable appearances prior to this include the gas-station attendant in No Country for Old Men. (West, too, does a pretty good job of transcribing Jones's--Jim Jones's, that is--televangelist rhetoric.) But Jones's starmaking entrance may as well be his exit, as no sooner have the VICE boys landed on Eden Parrish than are they running for their lives, so beholden is the film to the chronology of the Peoples Temple's accelerated downfall. It's West's weakness here that he can't seem to tell a story that doesn't take place over a matter of hours or days, and The Sacrament depicts a tragedy ascribed meaning only by the landmark PBS documentary Jonestown: The Life and Death of Peoples Temple, which turns out to be an essential primer denied due credit. The poached gravity of the closing title card--"167 people died at Eden Parrish"--is especially galling: no one died at "Eden Parrish," though more than 900 perished in Jonestown's Kool-Aid apocalypse. I can't wait until West makes a movie about the Shworld Shtrade Shenter.

Europa Report (2013)

**/****
starring Christian Camargo, Anamaria Marinca, Michael Nyqvyst, Sharlto Copley
screenplay by Philip Gelatt
directed by Sebastián Cordero

by Walter Chaw Sebastián Cordero's found-footage sci-fi  flick Europa Report tells the tale of the first manned trip to the titular moon of Jupiter in search of some kind of lifeform lurking there beneath a thick layer of ice. Never mind that this is a premise Arthur C. Clarke's 2010: Odyssey Two already explored to similar consequence, nor that Europa Report is essentially an intergalactic The Blair Witch Project: best to focus on an unfortunate framing story that dumbs down the proceedings, emotionally and intellectually, at the exact moment the picture appears to be gaining momentum. It's all the more puzzling, given the existence of something so pandering and condescending, that the group apparently most enamoured with this movie is the scientific community, who I would have guessed would have taken more offense at being talked down to. Maybe they're so beaten into submission by the idiotic things Damon Lindelof passes off as "science" that they're willing to forgive Europa Report its more minor trespasses.

TIFF 2010 Day 1: Stone; I'm Still Here

originally published September 9, 2010
I started the morning off on a bum note by boarding the wrong subway train (which caused me to miss The Town), but other than that, the day went off without a hitch. I found the new homebase of the Festival okay, spotted Karina Longworth (who like most critics of note looks part cartoon character), got mistaken for a stand-up comic (am I the only one who feels bizarrely contrite when this happens?), and managed to park my ass in a cinema just as Stone was beginning to unspool. As an aside, I now see a real upside to holding the press screenings at the Scotiabank instead of the Varsity, as the larger auditoriums are cutting down on the last-minute scrambles to find a seat; at both of my movies today, the first few neck-straining rows were almost entirely empty. It's a throwback, really, to the good old days of the Uptown.

Cloverfield (2008) - DVD|Blu-ray Disc

***½/****
DVD - Image A Sound A Extras A
BD - Image A Sound A+ Extras A
starring Lizzy Caplan, Jessica Lucas, T.J. Miller, Michael Stahl-David
screenplay by Drew Goddard
directed by Matt Reeves 

by Walter Chaw I love this movie. I love its freedom and its exuberance, its sense of fun and its creativity. I love that it uses The Blair Witch Project as a launchpad for its low-tech, found-footage brilliance; I love its genius-level viral marketing campaign and its Ludditism and overt technophobia. Where The Blair Witch Project skewered trust-fund kids picking a particularly unfortunate senior project, Cloverfield takes on twentysomething urbanites on top of the world in Manhattan, celebrating the departure of one of their own on the night the chickens come home to roost. There's no explanation of the mayhem in Cloverfield beyond that a monster has attacked and that the recoil its rampage spawns inevitably resembles memories of our collective scarring by 9/11. All it does, really, is clarify that when people at Ground Zero referred to the falling of the WTC as "just like in a movie," it didn't point to a divorce from reality but to an inability, utterly, to conceive of anything so epoch-shaking as possible outside the prism of our precious, silver-graven images. The history depicted in our films is the only history we know.

1900 (1976) [Two-Disc Collector's Edition] + La Commune (Paris, 1871) (2000) - DVDs

1900
**½/**** Image A- Sound B+ Extras B+
starring Robert De Niro, Gerard Depardieu, Dominique Sanda, Francesca Bertini
screenplay by Franco Arcalli, Giuseppe Bertolucci, Bernardo Bertolucci
directed by Bernardo Bertolucci

LA COMMUNE (PARIS, 1871)
****/**** Image B- Sound C+ Extras C+
directed by Peter Watkins

by Travis Mackenzie Hoover In this corner, Bernardo Bertolucci, weighing in with a massive budget courtesy of Alberto Grimaldi and a cast that includes De Niro, Depardieu, Sutherland, Lancaster, Hayden, and Sanda. Over here we have Peter Watkins, working for peanuts on a single soundstage with a cast of nobodies recruited from Paris and its environs. The fight, as it turns out, is more than one over who can make the longest movie (5hrs15mins for Bertolucci, 5hrs45mins for Watkins) or grab the most attention. The issue is: what are the conditions necessary for a revolutionary epic--moreover, what conditions get in the way? This is the real purpose of comparing 1900 and La Commune (Paris, 1871) (hereafter La Commune), for each film throws down for the Communist cause but only one is conscious of the nuances. Where Watkins and his troupe constantly reframe the idea of what it means to foment revolution, Bertolucci thinks he's got the idea--and proves, through mindless repetition, that he really doesn't.

Borat! Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006) + This Film is Not Yet Rated (2006)

BORAT! CULTURAL LEARNINGS OF AMERICA FOR MAKE BENEFIT GLORIOUS NATION OF KAZAKHSTAN
***/****
directed by Larry Charles

THIS FILM IS NOT YET RATED
*½/****
directed by Kirby Dick

by Walter Chaw British Comedian Sacha Baron Cohen, as his Kazakhstani journalist alter ego Borat, tells former Georgia senator Bob Barr that the cheese Barr's just eaten was made from his wife's breast milk, and he does it in such a way as to suggest the naïf savage stereotype's unaffected innocence as it preys on the secret bigot in us all. Borat! Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan plays on America's belief that the rest of the world is run and populated by ridiculous children alternately in need of careful guidance and firm scolding. The Borat character, then, is very much a creation of the shortsightedness of a condescending American intolerance, while his ability to infiltrate America's living rooms speaks to a complex national desire to fold the aliens it abhors to its breast in some sort of misplaced act of missionary grace. If we reduce the aim of evangelical Christianity down to the twin compulsions of damnation and salvation, what Borat really does is reveal the hypocrisy at the root of our professed acceptance and, more troublingly, highlight how divorced we are from the guiding principles of this sea to shining sea. In a film that does this much to expose the ugly undercurrent of homophobia, racism, and xenophobia in this country, it's no great surprise when New York subway riders threaten to kill Borat for kissing them on the lips in exuberantly misguided greeting--and the reactions of these Big Apple commuters strike me as refreshingly honest.

They Shoot Movies, Don't They? ...The Making of Mirage (2000) - DVD

***/**** Image B Sound B+ Extras C-
directed by Frank Gallagher

by Travis Mackenzie Hoover BIG-TIME SPOILER WARNING IN EFFECT. There's a deception driving They Shoot Movies, Don't They? ...The Making of Mirage that almost invalidates its considerable power. I can't actually write an in-depth review without telling you that this doc-doppelgänger is, in fact, fiction--a detail conveniently omitted from the keepcase and promotional materials so as to drive home its point while you take it all at face value. I was furious once the commentary finally cemented that "subject" Tom Paulson wasn't real and that his rise and fall never actually took place--but although I question the ethics of that sin of omission, there's no denying that the film is totally convincing as the genuine article. Director Frank Gallagher and his collaborators have clearly lived at the foot of the Hollywood mountain long enough to note the kind of desperation that destroys perspective and inflates egos, and they're painfully accurate in showing how an obsession with success can be a sure path to destruction.

Incident at Loch Ness (2004) - DVD

**½/**** Image A Sound B Extras A
directed by Zak Penn

by Walter Chaw You could say that Werner Herzog has been hunting monsters for the whole of his career. (Chasing demons: even better.) Find in that the reason the satirical Incident at Loch Ness works to the extent that it does. The picture locates the mad German on the Scottish loch, where he's ostensibly shooting a documentary on Nessie under the auspices of Hollywood wunderkind Zak Penn while a film crew, led by veteran cinematographer John Bailey, shoots Herzog for a piece on the director's method called "Herzog in Wonderland." It's a fake documentary about the making of a fake documentary, in other words, commenting at several points about authenticity in a way that pings off the whimsical existentialism of Being John Malkovich at its best--and off the sudden shift into darkness of the same at its worst. Mocking the capricious ignorance of Hollywood moneymen is always sporting, I guess, and as Penn simultaneously acts the monster (he insists on the crew wearing matching jumpsuits) and surreptitiously slips a plastic monster-bot into the wake, the picture can be satisfying in a familiar way. But by this point in our progressive cynicism, anyone watching the film--and, more particularly, anyone at all familiar with Herzog--could say the same things regarding the venality of the blockbuster mentality with less effort. This doesn't mean that the film's closing shot of a sunglasses-wearing Herzog walking in front of his team in a Michael Bay heroic slow-motion is any less funny, but it does add up to a generally empty, if fitfully amusing, experience.

The Buried Secret of M. Night Shyamalan (2004) + Pauly Shore is Dead (2004) - DVDs

THE BURIED SECRET OF M. NIGHT SHYAMALAN
ZERO STARS/**** Image A Sound A
written by Melissa Foster
directed by Nathaniel Kahn

PAULY SHORE IS DEAD
½*/**** Image C Sound B Extras D
starring Pauly Shore, Jaime Bergman, Todd Bridges, Rick Ducommon
screenplay by Pauly Shore and Kirk Fox
directed by Pauly Shore

by Walter Chaw The only thing separating M. Night Shyamalan from Pauly Shore is that Shyamalan actually has a couple of classic modern suspensers under his belt and Shore doesn't have anything on his resume that could be remotely considered indispensable. Both are weasels, both have spent some period of time being really popular, both have endured a critical and popular backlash, and both have produced mock-documentaries detailing how interesting they think they are. But at the end of the day, only Shore's Pauly Shore Is Dead has anything like an affecting, self-deprecating, clear-eyed sense of self: The Buried Secret of M. Night Shyamalan is an embarrassing and cripplingly self-congratulatory PR gag. Shore knows that he's like nails across a chalkboard for most sentient beings on this planet (going so far as to portray his remaining fanbase as a hilljack in a trailer somewhere in Kentucky); Shyamalan thinks that a fake documentary shot in the style of Curse of the Blair Witch is a cute way to not only publicize his sham of a post-9/11 psychodrama The Village, but also debunk some of the venomous press (and leaked memorandums) that he's been amassing ever since deciding to start giving himself top-billing and face-time within the promotional materials for his films. (Check out the Signs DVD's packaging and cast your mind back to the last time you saw a picture of the director incorporated into the cover art of any release.) Shore knows he's become an object of ridicule; Shyamalan thinks he's become a national treasure--or at least the poet laureate.

The Office Special (2003) - DVD

Image A- Sound A Extras B+

by Travis Mackenzie Hoover I suppose the hot streak had to end sometime: "The Office" was so meticulously detailed, so vividly characterized, and so totally uncompromising in making you feel the agony of workaday life, that it can perhaps be forgiven for wanting to give back to the characters it had so spectacularly abused and humiliated. Thus we have "The Office Special", which is smart enough to know that the ride on the gravy train is over but can't bear to leave our heroes in limbo and thus forces a closure that violates everything the series stood for. It's still "The Office" and it's still worth watching, but its movement towards climactic release is incongruous after the two years of droning sameness that went on--hilariously--with no end in sight.

September Tapes (2004)

Septem8er Tapes
ZERO STARS/****
starring George Calil, Wali Razaqi
screenplay by Christian Johnston & Christian Van Gregg
directed by Christian Johnston

by Walter Chaw Exactly the kind of exploitative garbage that fellow post-9/11er The Guys was, September Tapes recasts The Blair Witch Project as a hunt for Osama Bin Laden in the wilderness of Afghanistan. It's this sort of film that takes collective tragedy and renders it something several degrees south of inconsequential, boiling horror down to soups and bones. The film is a vile, thick reduction, making a 9/11 victim's last cries the catalyst for a dimwitted first-person shooter with an unsympathetic protagonist and such stunning--and stunningly unsubstantiated--claims as, "America's not serious about tracking down Bin Laden." Maybe so, maybe not, but September Tapes isn't about politics, it's about bad filmmakers armed with a bad idea teaching an audience they imagine is less-informed than they are a lesson in seeking vengeance like a man. It's the "let's roll" school of Yankee machismo, the "bring it on" theory of diplomacy and warfare, and when the flick turns into the nightmare revisionist cartoon of Rambo, that susurration you hear isn't tension, it's resignation and maybe disgust. 9/11 has to be more than an excuse to make bad action/adventure flicks or (like The Guys) self-pitying chamber dramas.

The Office: The Complete Second Series (2002) - DVD

Image A Sound A- Extras C+

by Travis Mackenzie Hoover Fans of "The Office" are in for a lopsided evening if they plan to do a marathon of both seasons. Much as I loved series one, there's no denying that it deals purely with the inertia of office life, of living with the petty nuisances of an obnoxious boss (Ricky Gervais as David Brent), a "weasel-faced ass" (Mackenzie Crook as Gareth Keenan) at the desk across from you, and a long stretch of boredom as the mindless work you do stretches on into infinity. Creators Gervais and Stephen Merchant could have easily riffed on this for years and run out of ideas along the way, but wanting to go out with a bang ("The Office" is, by all accounts, finished), they decided to play the series out by throwing the office environment into flux. Thus we have "The Office: The Complete Second Series", a brilliant and unlikely cross between Basil Fawlty and Arthur Miller that starts off subtly hilarious and ends as one of the most wrenching tragedies ever to crash through the small screen.

The Office: The Complete First Series (2001) - DVD

Image A- Sound A Extras B+
"Downsize", "Work Experience", "The Quiz", "Training", "New Girl", "Judgement"

by Travis Mackenzie Hoover

"I've had several e-mails complaining about a suggestion I made in this column that we should give cannabis to anorexics so they get the munchies. This was a satirical joke and was not meant to offend. I do not advocate the use of illegal drugs and I do not find any eating disorders amusing."
-David Brent, writing in the WERNHAM-HOGG NEWS

A Mighty Wind (2003)

**½/****
starring Christopher Guest, Eugene Levy, Michael McKean, Bob Balaban
screenplay by Christopher Guest & Eugene Levy
directed by Christopher Guest

by Walter Chaw Though Waiting for Guffman remains the best of the three Christopher Guest-directed improv-sketch mockumentaries, A Mighty Wind finds Guest's troupe returning somewhat to form after the disappointing and mean-spirited dog show spoof Best in Show. Following the efforts of grieving son Jonathan Steinbloom (Bob Balaban) to reunite the folk acts represented by his late father Irving for a tribute concert to be broadcast on public television, the picture is essentially an outline fleshed-out through a bunch of improvisations tied loosely together by largely disconnected vignettes. Free, for the most part, of the cheap shots of Best in Show, A Mighty Wind's failures are again a cartoonish turn by Eugene Levy and a healthy dose of sentiment that goes down suspiciously like arrogance. If there's a unifying thread to Guest et al's forays into parody (including Rob Reiner's directorial debut This is Spinal Tap), it's that faint, pervasive whiff of superiority... And the atmosphere appears to be getting thicker.

DIFF '02: Zero Day

ZERO STARS/****
starring Cal Robertson, Andre Keuck, Serataren Adragna , Melissa Banks
written by Ben Coccio & Christopher Coccio
directed by Ben Coccio

by Walter Chaw Obviously inspired by the discovery of videotapes made by Eric Harris and Dylan Kleibold, the grating and amateurish Zero Day is sensationalistic and prurient, offering nothing in the way of insight while falling uncomfortably into the exploitation camp. Shot on digital video in a style popularized by The Blair Witch Project, the picture makes weak-kneed attempts to address the media-makes-killers controversy, hoping to find poignancy in the pointed incineration of CDs, DVDs, and Lord of the Flies. (Points for not zooming in on a copy of Catcher in the Rye, but it occurs to me that if they really wanted to be clever, they'd have burned a copy of Book of Ruth or some other similarly brain-sucking pod product of Oprah's Book Club.) Its performances horrible and obviously improvised, Zero Day gives no explanation for the obvious editing and dated title cards of its "found footage" as it searches in vain for something chilling in extended scenes of the née Kleibold/Harris musing about the beauty of a dying campfire. Ending with 15 minutes of mocked-up footage from school surveillance cameras as our two teen anti-heroes rampage through suspiciously familiar halls, Zero Day is exactly the kind of broad, simple-minded exploration of the root causes of violence that its protagonists purport to despise.

DIFF '02: Interview with the Assassin

***/****
starring Raymond J. Barry, Dylan Haggerty, Jimmy Burke, Renee Faia
written and directed by Neil Burger

by Walter Chaw One of the truest children of The Blair Witch Project, Neil Burger's Interview with the Assassin is a mockumentary shot on digital video that mixes an urban myth and our current fascination (and ease) with digital imaging technologies. Voyeurism is touched upon, as are its attached issues of privacy and the loss thereof in our information dystopia; that the picture manages to juggle its points of view while remaining faithful to its one-camera pony is testament to the cleverness of Burger's debut screenplay and direction. (Its faithfulness in this arena also separates it from the inferior The Last Broadcast.) Interview with the Assassin, rather than dealing with an imaginary beastie, deals with the phantom second-gunman on the grassy knoll--played by veteran character actor Raymond J. Barry--as he's interviewed by a faux-documentarian played by Dylan Haggerty. Interview with the Assassin, then, also tackles the fear of suburban monsters, rednecks, and middle-class mid-life malaise that leads spoonfed milquetoasts to believe that they, too, can be filmmakers. At its heart--again like Blair Witch Project--a cautionary tale about the accumulation of knowledge and the foolhardiness and prejudices of a certain class, Interview with the Assassin impresses most with a super-creepy home-invasion sequence and Berry's fabulous, seething performance.

Walking with Dinosaurs (1999) - DVD

Image A Sound B+ Extras B+
"New Blood," "Cruel Sea," "Time of the Titans," "Giant of the Skies," "Spirits of the Ice Forest," "Death of a Dynasty"

by Bill Chambers Walking With Dinosaurs is such a fantastic idea for a television show that two thoughts kept returning as I waded through it: