Staff Picks: Movies
Staff-recommended viewing from the KPL catalog.
I was afraid that the movie You’re Nextwas going to be just another slasher movie. Go for the gore, forget about the plot. But I was pleased with You’re Next. It did have the blood splashings and it did have a guy get shot in the head with a crossbow but it also had a guy get shot in back with a crossbow and a guy get his head caved in by a meat cleaver and a guy get his head chewed up by a blender. So yeah it had the gore. It also tried for the freaky suspense and the bad guys wore animal masks. Always creepy when can not see your attackers face and even creepier if he is wearing a mask. I gotta say it did enhance my movie experience to see a guy in a lambs head mask take a sledge hammer and use it like a golf club or maybe a crochet mallet to the head of one of their prey. It also had a bit of a mystery to it. Why are they being attacked. Mostly the suspense was what will happen next. Oh, and I did learn a few things, like if you take a board and drive nails through it, it makes a good deterrent for anyone sneaking in through your window, but it also makes them good and mad. If you are looking for a horror type movie but with humans in animal masks, try You’re Nextavailable with many other titles at KPL.
As a new parent, my interest in stories of kidnapping and child abduction has suspiciously dwindled, and yet the stellar reviews for Denis Villeneuve’s recent film Prisoners compelled me to watch it. In it, Hugh Jackman plays Keller Dover, a survivalist father whose daughter goes missing along with her best friend. A suspicious camper is seen in the nearby area, and when the police attempt to question the driver, he behaves erratically and tries to flee. The suspect, Alex Jones (Paul Dano), is arrested, questioned, and his camper and home are combed over by a forensic crew. No evidence is discovered, and the police deem Jones to be mentally incapable of taking the children without a leaving a trace, so he is released. This incenses Dover, who believes the children are still out there, waiting to be rescued. When it’s clear that the lead detective, played by Jake Gyllenhaal, has moved on to other leads, Dover decides to take the matter into his own hands. He kidnaps Jones, holes him up in an abandoned building, and proceeds to torture the suspect in hopes that it will lead to the whereabouts of the girls.
Despite the bleak premise, Prisoners ends up sticking with you for all the right reasons. The film dares you to question how far you would go to rescue your own endangered child. At once you want Dover to push through the barriers created by a plodding police investigation, yet his vigilantism clearly veers out of control. We’ve seen Jones behave villainously, but by the time Dover has beaten him to an unrecognizable pulp, it’s hard not to feel reluctant sympathy. On top of this, Villeneuve does a great job getting the viewer to wonder whether or not Jones is guilty; in one great sequence, Dover believes he hears Jones say something incriminating under his breath that no one else around them catches, and smartly, the audio is too muffled to allow the audience to hear it either.
Prisoners succeeds in no small part because of its actors: Hugh Jackman gives a performance that in less-crowded years might have been considered for a Best Actor Academy Award nomination; Paul Dano is reliably creepy; Melissa Leo continues her streak of stellar turns; and Jake Gyllenhall brings the right level of world-weariness to the lead detective who seems to be hindered by an overwhelming bleakness that has beaten him down over the years.
When I first saw a preview for Prisoners I was put off by what seemed to be a very by-the-numbers revenge mystery. Thankfully, the film turned out to be so much more, and as I settle into this pre-Oscars period of assembling my favorite films of the past year, it’s looking more and more like this movie I cannot shake is going to make my top ten.
As rabid a film watcher as I am, time restrictions will forever thwart my capacity to plow through KPL’s stellar movie collection but here is an abbreviated list of some of my favorite films from KPL’s collection, watched over the past year. While we add new releases each week, don’t forget about the diversified depth of our collection. We can’t purchase every movie that is requested or inquired about but we can work toward the goal of having most titles for most of our patrons, most of the time.
Upstream Color: With the exception of the increasingly abstract, fragmented and non-linear narratives of Terrence Malick, there have been few notable American films over the past decade or so that have attempted to remake the kind of Eurocentric, anti-classical/realist/romantic films of the 1960’s and 70’s (think: Godard, Bresson, Tarr, Tarkovsky, Resnais, Warhol, Antonioni). With Upstream Color, a sort of Hiroshima Mon Amour for our contemporary times, one hopes that young filmmakers will continue to take the value of abstraction seriously, reimagining it in new and thoughtful ways.
Hedwig and the Angry Inch: A film that came out (pun intended) way ahead of its time. It’s kind of an absurdist musical that is in-your-face bonkers, but bonkers in the most vital, transgressive and beautifully rebellious way. A postmodern Hair.
Young Adult: Charlize Theron gives a great performance as an unraveled mess of a person that attempts to transition from a life of boredom and narcissism toward a more complete, self-aware state where the adjective ‘young’ can finally wither away.
Sullivan’s Travels: I checked this film out because the great American director Preston Sturges’ name kept popping up in literature on director/writer Wes Anderson (a favorite of mine). This well-written and acted screwball comedy hits the mark and lives up to its acclaim as one of the 1940’s best films.
My Dinner with Andre: A film like few others--this conventions-busting mixture of fiction and nonfiction, storytelling and improvised riffing will either bore you into slumber or thrill you with its originality. We almost forget, due to the strong writing, that the great French autuer Louis Malle was its director.
Insignificance: I’m still not sure I ‘get’ this peculiar film but it was certainly compelling, the way in which a film can unfold as both an irritant and a puzzling enigma.
Hiroshima Mon Amour: Before I saw this Alain Resnais masterpiece about memory, love and loss, I considered Harold and Maude my favorite film. Now it’s number two.
12 Angry Men: Watch this fictional, court room drama and then the documentary The Central Park Five. The very notion of facts, evidence, justice and human objectivity are brilliantly rendered as a hollow collection of outdated concepts with tragic application.
Hunger: Not to be mistaken with Steve McQueen’s first film about the imprisonment of IRA soldiers of the same name but rather the nimble and haunting adaptation of the classic, existential novella by Danish writer Knut Hamsun.
Summer with Monika: Arguably, my favorite film of Bergman’s but nowhere near his best. That distinction belongs to his magnum opus Scenes from a Marriage, a film that should only be approached by the single and the happily married couple.
Rules of the Game: My goal for movie watching this year was to view a handful of those classics considered important to the historical development of the art form according to the Sight and Sound Magazine’s list of 250 Greatest Films; a list created every ten years by an esteemed cadre of critics. Renoir’s masterpiece (rated at No. 4) is there for a reason and its influence can be seen in almost every film made since 1939 that skewers the vacuity of the rich and clueless.
La Jetee/Sans Soleil: Made by maverick film essayist Chris Marker, these two films are quite distinct from one another in both content and style. Both represent the best in avant-garde, envelope-pushing cinema that emerged parallel with the various manifestations of the European New Wave movement.
Picnic at Hanging Rock: This 70’s cult classic by Peter Weir still holds up as a truly original film that tackles the subject of loss, regret and repressed longing, all of which are tied to a mystery that leaves an Australian women’s school in shock and confusion.
Other notable films: L’ Avventura, Stroszek, Bringing Up Baby, Amarcord, The Killing, Neighboring Sounds, Damnation, The Lives of Others, Magnificent Ambersons, Harvey, Pat and Mike, The Third Man, Ali: Fear Eats the Soul, The Searchers, Elevator to the Gallows, As I Lay Dying, Cleo from 5 to 7, Frances Ha, The Silence, Winter Light, Cries and Whispers, Blast of Silence, Through a Glass Darkly, Argo, Shallow Grave, Band of Outsiders, Fanny and Alexander, Mud, Harry and Tonto, Chasing Ice, and Guess Who’s Coming to Dinner.
Usually I am disappointed with Cuba Gooding Jr. movies. Maybe I lowered my expectations or maybe this is a good movie, you watch and decide. The Ticking Clock is about a true crime reporter becoming involved in a murder. When Lewis Hicks (Cuba Gooding Jr.) girlfriend, or maybe better said the woman he is seeing while he is separated from his wife, is murdered. Lewis chases the guy and in a scuffle the murderer drops his journal. When Lewis reads the journal there are entries for more murders to take place in the future. Keech (Neal McDonough) is our murderer and he makes a good one. Lewis is not liked by the police as he has written negative things about them in previous articles so they are not very willing to help him. Everything keeps pointing to a 9 year old boy in an orphanage who is interested in science and time machines. Keech is that grown up boy and is traveling back in time murdering people thinking that he can change things and make his future better. He murders his abusive mother but instead of making things right he is now raised by his aunt and she is worse. Lewis investigates and finds this boy at the orphanage and visits him, takes him to the zoo, is tempted to smother the boy with a pillow and change the future. I think my problem with Cuba Gooding Jr. is his face. He has a face for stern, or mad or thinking and it is the same face. His smiling face is a little different.
The less I say about the BBC America thrillerOrphan Black, probably the better. Full of suspense, the show centers around Sarah, a drug-dealing petty criminal who suddenly finds herself in the middle of a mystery when she sees a woman jump in front of a subway train. The thing is, the woman looks like her—and not just a little bit, but exactly like her. Sarah then embarks on a journey to find out who the dead woman is and ends up questioning her own story. The plot is fascinating and always surprising; there are no red herrings here. As details unfold, perspectives change but nothing is thrown in just as a ploy to lead the audience astray (a sign of a good mystery if you ask me). Tatiana Maslany, the star of the show, does an excellent job playing multiple, demanding roles that would not work in the hands of a less talented actress. Orphan Black will definitely make it onto my “best of 2013” list.
In The Apparitionfour college kids perform an experiment trying to recreate the Charles experiment from the 1970s, only this time they want to manifest the spirit into this world. They have a figurine of Charles that they concentrate on and with the help of computers magnify their concentration from 4 to 4,000 and it works. The table shakes, the figurine is smashed, lights flash and Lydia is sucked through a wall. I thought ok the spirit is here but the movie fades out and we meet Ben, one of the original four apparently a few years/months (not sure which) later with his girlfriend, Kelly. They are house sitting for her parents in a housing development which is mostly vacant, a good setting for a spirit to haunt. Ben checks his email and has numerous messages from Patrick his old buddy from the experiment. Patrick is played by Tom Felton who was Draco in the Harry Potter series. Patrick has sent message after message increasing in urgency saying Ben is in danger. Kelly is taking a shower and we see spirit stuff. The soap goes all fungus looking and the real horror, all of Kelly’s clothes which are hanging in the closet are tied in knots. We are then treated to a lot of convincing spirit in the house sounds, they did a good job with this part. Ben finds out that Patrick has reopened the rift and a spirit wants into our world. They think they can send it back by playing the sounds from the original experiment backwards. This reminded me of my youth when they thought there were satanic messages on a vinyl record if you played it in reverse. I think the movie plot pushed the recreate experiment too far. First they recreate the 1970s, ok that’s a good premise, but then they leave it and allude to recreating the recreation and this time the spirit is unleashed, the rift was widened. It was big enough to suck Lydia through the first time and what happened to Lydia, we hear nothing more of her. Ben and Patrick set up their equipment, we see a diagram of the house and all the devices sync up, Patrick amplifies, we hear the sound track played in reverse, the spirit makes sounds, the house cracks, this is one big spirit and then nothing… I thought it was an anti-climactic ridding of the spirit. But that was because (spoiler alert) the spirit is not really gone. I liked the build-up to the spirit coming and the sound effects but one recreation was enough. Give it a watch sometime, especially at night, preferable when it is stormy and you are alone.