There’s no easy way to evaluate a film like Holy Motors after a single viewing. That’s why I watched my screener copy twice. Of course, I still feel somewhat behind the eight ball as I try in earnest to write my review, but in my own defense it’s worth noting that I’ve never seen anything like Holy Motors before in my life. (Continuing in that vein: I’d wager that there are more critics who share my position than not.) In fact, the film is so unique, original, and rampantly weird that calling it a new entry in surreal cinema feels like an observation of family resemblance and nothing more. How…
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G-S-T Review…Wreck-It Ralph
Should you manage to see Wreck-It Ralph blind and with no knowledge of its source of origination, you might be inclined to credit the film to Pixar. And while that wouldn’t be an unreasonable guess, you’d be wrong. Ralph has all the bearings of Pixar at its finest, yet Rich Moore’s first feature length effort comes to us from none other than the Mouse House itself. Arriving six months after the release of Brave, Ralph gives weight to the theory that both animation studios are just blurring together more and more in the wake of Pixar’s acquisition by Disney in 2006. If that strikes anyone as a bad sign for creativity, then the news that Wreck-It Ralph happens to…
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G-S-T Review…A Late Quartet
If A Late Quartet, the second feature by Yaron Zilberman and his first film since his 2004 documentary Watermarks, proves anything, it’s that good performances can elevate average movies. To say that Zilberman’s cast saves his picture would be somewhat generous, though. They only distract us from its inadequacies, which are numerous, though perhaps this is a harsher judgment than the film really deserves. A Late Quartet is harmless, airy fluff, small-scale prestige cinema that smartly gathers together a group of very gifted actors in the service of exploring life lessons filtered through the overarching motif of Beethoven’s Opus 131 String Quartet (in C-sharp minor); it’s also painfully undercooked to…
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We Don't Need to Be Friends: Stoker International Poster and Promo Clip
In the last month, we’ve seen the release of two different trailers for South Korean maestro Chan-wook Park‘s newest film, Stoker, and while three’s a crowd the newest preview footage for the production is too good not to share. Grant that I’m a massive admirer of Park’s work, and as far as I’m concerned just about anything released in the service of promoting his work is worth getting excited about; also grant that I’m capable of being objective, and so when I say that this is a pretty great video, I mean it with every ounce of sincerity I can muster given my clear bias. Have a look: Admittedly, some of…
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The Criterion Files: Carnival of Souls
Carnival of Souls: Directed by: Herk Harvey Written by: Herk Harvey, John Clifford Starring: Candace Hilligoss, Herk Harvey, Frances Feist, Sidney Berger, Art Ellison Cinematography by: Maurice Prather Music by: Gene Moore Released: September 26th, 1962 Since starting up the Criterion Files series back in February of this year, I’ve only chosen to analyze and contextualize one film that I’m not one hundred percent willing to champion on grounds of quality. The film in question– The Naked City— by chance happens to be the very first Criterion release I wrote about, one which I identified as being less than impressive; it’s not terrible, but it also doesn’t stand up against…
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Rice Paper and Bone Claws: 'The Wolverine' Teaser Poster
Sticking with my usual policy of honesty, I’m going to come right and say that there’s very little that could get me interested in Fox’s pending The Wolverine. Like many, I don’t much care for where the franchise has gone since the excellent second film (which is even to say that I didn’t enjoy First Class quite as much as others did, though I still liked it), and the only announcement that had my curiosity piqued came in 2011 when Darren Aronofsky flirted with the project before walking away. If you want to level an argument that my lack of familiarity with the source material, which has been described to me as…
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G-S-T Review…Cloud Atlas
Following Cloud Atlas, viewers will invariably find themselves armed with a variety of useful adjectives to describe the film in a single word: grand, towering, epic, inspiring, heartbreaking, heartwarming, hodgepodge. But in adapting David Mitchell’s 2004 novel of the same name, siblings Andy and Lana Wachowski and Tom Tykwer have created a singular, unique work that majestically shrugs off attempts at quick, careless classification. Cloud Atlas is a cinematic medley of narratives connected together through time and space, driven by a sense of enterprise and purpose, and defined by its advocacy of basic, simple morality and human compassion; fitting the film into traditional categories would not be unlike forcing a square…
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G-S-T Review…Pusher
After seeing Pusher, the British remake of G-S-T favorite Nicholas Winding Refn’s 1996 debut feature of the same name, I’m still struggling with questions about the cinematic space it ultimately occupies. None of them, mind you, are germane to discussions of the film’s quality which is respectable, so in the end I’m probably just navel gazing. But the concept of remaking a movie remains contentious even though filmmakers have been remaking movies for decades, so Pusher will inevitably be subjected to value tests based on its recycled nature, which leads me to the good news: Luis Prieto has made a strong, vibrant crime film. The bad news, though, is that…
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Sweet Trailer…'Iron Man 3'
Well, we all knew this was coming, so let’s skip the preamble shall we? For my part, I’m tempering my reaction to this footage with caution. I’ve been burned before by great Iron Man trailers that failed to live up to their promise. Frankly, I don’t want to be in that position again, and so I’m taking the wary path. That said, there’s a lot in here that has piqued my curiosity and interest– namely Ben Kingsley’s voice and appearance as the Mandarin, and also the hint that he’ll actually represent such a real threat to Tony that the film will actually have stakes and tension. And of course there’s…
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Off the Netflix Queue…’The Aggression Scale’
Describing Steven C. Miller’s The Aggression Scale as a violent Home Alone riff feels almost too retro-hip for my liking, but it’s almost impossible not to. The similarities between the two films are clear; pit seemingly defenseless children against brutish home invaders, watch the former embarrass and defeat the latter. But Kevin McAllister didn’t know how to work a pump-action shotgun, and possessed a much cuter propensity for violence. Owen (Ryan Hartwig), his analogue here, favors all manner of sharp objects and potent cocktails of ammonia and bleach. (They both admire the efficacy of a nail through the foot.) The clearer difference, though, lies in pathos– Kevin’s just a self-indulgent…
