Staff Picks: Movies
Staff-recommended viewing from the KPL catalog.
These Birds Walk is an unsanitized, visceral portrait of poverty, despair and the day-to-day struggles of an ambulance driver who ferries both dead bodies to and fro as well as transporting young runaways back to their families. Set in a Karachi (Pakistan) orphanage for unwanted and runaway children, the filmmakers have chosen to chronicle their subjects (Omar being the focus) without contextualizing or providing any sort of exposition. Their approach to their subject forces the viewer to become a voyeuristic fly on the wall of the orphanage, observing the young boys as they play, fight, laugh and confess the hopelessness of their lives. Viewers are also taken on a bumpy, chaotic ride through the busy streets of Karachi with an ambulance driver who works for the orphanage and who compassionately talks with the young boys. He sympathizes with their struggles because he too was once in the same situation. It’s easy to understand from simply reading the depth of despair on the faces of these children, how one living in these kinds of inhumane circumstances could be seduced by criminality or religious extremism. Their options are limited and they are under no illusions about their life’s trajectory. As grim a depiction of contemporary poverty as the film is, there are moments, albeit brief, where we glimpse the kindness of a stranger and the power it can wield.
These Birds Walk
Jim Jarmusch’s films are not for everyone. They are, however, incredibly influential and important in the history of American cinema. Slowly paced with quirky characters, his droll, often minimalist films explore the ironic and humanistic with equal attention. His films feel very American (the America on the margins that is) while at the same time, they are populated with Italian cabdrivers (Night on Earth), teenage Japanese tourists obsessed with early rock and roll (Mystery Train), and Hungarian immigrants (Stranger Than Paradise). His most accessible and mainstream movie to date is Broken Flowers, due in large part because of Bill Murray’s great performance as a romantically failed, wealthy introvert who wears retro sweat suits while sitting in the dark (during the day), watching television. It’s only when he receives a mysterious letter from one of his ex-girlfriends, suggesting that he has a son he never knew about, does he set out on a personal journey toward…well, maybe nothing and maybe everything. The moments within a journey are what fascinate Jarmusch about the human condition rather than a tightly sewn conclusion to a story. His cult classics Down by Law and Stranger Than Paradise cemented his reputation as an indie sweetheart with a wry sensibility and skill for reimagining genre and form by the early 1990’s. The release of his newest film (Only Lovers Left Alive) will once again shine the light on one of America’s most idiosyncratic, independent filmmakers.
Shola Lynch, a documentary filmmaker who has garnered much critical acclaim for her incisive and salient films, is one director whose films are invaluable, particularly for people like me who didn't live through the turbulent times they speak of. Lynch is interested in participatory democracy and how people, especially people who have been historically denied a voice (and a vote), forge new ways and means of being heard. As the director of Chisholm ’72 and Free Angela and All Political Prisoners, Lynch shares with audiences the stories of the titular African American women, both activists and leaders in political and social justice movements in the late 1960s to 70s.
Chisholm ’72: Unbought and Unbossed
Shirley Chisholm was our nation’s first Black congresswoman, and her gutsy run for president several years later was another first in U.S. History; she was working under the belief that people would vote with their conscience, rather than cynically voting for “the man most likely…” Lynch portrays the complicated political forces involved that make for a gripping story.
Free Angela and All Political Prisoners
Dr. Angela Davis sought social justice, not by running for elected office (that would transpire years later) but initially by teaching and working directly with local activists. The events that transpire thereafter are so incredible and outrageous that I cannot retell them with any justice here - Lynch has already done that.
Chisholm ’72: Unbought and Unbossed
DisneyNature has done it again. This time it is a year in the life of a Bear family. We follow Sky, the mother, and her two cubs Scout and Amber through the first year of their life. We start with their birth and we follow them cross the Alaska wilderness from the snowy mountains to the rivers full of salmon. It is spectacular scenery, breath taking views and a prodigious insight into the life of Bears. I saw DisneyNature-Bears in the theatre and paid movie going prices, you can place a hold now and see it for free from your library. We also have many more movies you may be interested in, come on in and take a look or go to our KPL website and browse from home.
DisneyNature – Bears
Writer Patricia Highsmith’s novels have been adapted for the big screen on more than one occasion. Clearly, directors from varied backgrounds have felt something motivating in her twisting tales of deception and murder. Her ominous story (The Talented Mr. Ripley) of a young American sent to Italy to return an expatriate, school chum to his father in San Francisco was the inspiration for French director Rene Clement’s (Forbidden Games) Purple Noon. This stylish, Hitchcockian adaptation was the coming out party for 1960’s French heartthrob Alain Delon as Tom Ripley, the cold and calculating con man who wants more than just a courier fee for the return of the glib, rich boy. German director Wim Wenders (Wings of Desire) took Highsmith’s Ripley’s Game and transformed it into The American Friend (1977), a beautifully shot thriller that burns slowly as a psychological portrait of desperation into one of unleashed madness, if not comically so. The late British director Anthony Minghella (The English Patient) made a patchy version of The Talented Mr. Ripley starring Jude Law, Phillip Seymour Hoffman and Matt Damon in 1999.
Actor/director Ben Stiller makes a decent go at breathing new life into a classic story by James Thurber that was originally adapted in 1947 with Danny Kaye playing the lead. Thurber disliked the MGM film and I suspect that as an artist who cared deeply about his work, he’d find few remains of his classic tale of a socially awkward introvert prone to vivid daydreaming in Stiller’s ambitious yet uneven attempt. It’s a movie with a heart even if it’s one that is cloying and flavored with a simplistic “just do it” spirit. Stiller’s Mitty fantasizes as a means to escape his life of corporate downsizing and failure to find love. As a heroic everyman willing to brave danger to save a damsel in distress, Mitty finds agency, meaning and purpose (the hyper-masculine sort of course) but then again, that’s only a narrative exercise that takes place between his ears. It’s when he’s propelled by urgency, self-interest and romantic inspiration that our ill-at-ease hero pushes aside his fear and anxiety, leading to the a-ha moments one locates in adventure but also the kind found in every self-help book (live life to the fullest dude!). Stiller’s harmless, family-friendly and entertaining take on a classic is worth a viewing for its reimagined Mitty and superb cinematography but you may want to simply head to the library and pick up Thurber’s story for the substance.
The Secret Life of Walter Mitty
Paolo Sorrentino’s mesmerizing film The Great Beauty (La Grande Bellezza) is a triumphant depiction of a conflicted man standing at an emotional crossroads. Both wry in its biting humor and satire, it is a powerfully visual film (crane shots, close-ups, slow motion, zooms—the entire repertoire is employed) with boundless charity toward plumbing the emotional depths of universal themes (death, lost love, artistry, loneliness, spiritual desire) from within a carefully sketched milieu (Rome’s glamorously debauched and powerful).
Confronted with both the ubiquity of beautiful things found in everyday moments (the radiant smile of a young child, ancient sculpture, an early morning sunrise) and the grotesque and decadent trappings of Rome’s high society, well-tailored flaneur Jep Gambardella, hops from party to party, engaging in vacuous conversation that leaves him bored and wearily wondering whether being the “king” of the vapid souls of conga lines and performance artist flunkies is worth his growing ennui. When he learns of the death of a woman he had a youthful affair with many summers ago, Jep begins to soul search in between attending parties for 104 year old Saints (a dead ringer for Mother Teresa), a trip to the botox shaman and a visit to a magician who makes giraffes disappear. Much of that contemplation on the frivolousness of his life takes place during quiet strolls back to his lonely bachelor pad and this is where some of the most touching scenes of the movie take place. Sumptuous in its portrait of Rome’s scenic beauty and borderline whimsical in a way that echoes the fantastical leanings of Fellini, The Great Beauty is just that, a magnificent spectacle of visual eye candy that poetically affirms our human yearning for something other than self-absorption. Lastly, this film has a wonderful soundtrack that includes Arvo Part, The Kronos Quartet, and Damien Jurado. Far and away my favorite film from last year, The Great Beauty is also available to stream from Hoopla.
The Great Beauty
If you’re not yet a fan of the TV-MA hijinks of FX’s animated spy comedy Archer, then now is the time to get recruited: KPL has just acquired all four seasons of the series that are currently available on DVD. The show follows the misadventures of the titular character, Sterling Archer, who works as a spy for an agency called ISIS. He’s handsome, charismatic, dangerous, and skilled at his job—but he’s also egotistical, crude, laden with vices, and prone to causing as much trouble as he prevents. He’s like a more cartoonish version of James Bond—literally. His cohorts in espionage are quite the characters themselves: his boozy mother is also his overbearing boss; the number two field agent is also his femme fatale ex-girlfriend; the research scientist may be a clone straight out of criminal Nazi war experiments; and the eccentric human resource director has a penchant for dolphin puppets, drift car racing, and bare-knuckle brawling.
Born from the brain of Adam Reed (who also helmed a short-lived and little-seen gem for Adult Swim called Frisky Dingo—seek it out!), Archer has one of the most talented voice casts ever assembled, including the ubiquitous H. Jon Benjamin, the hilarious Aisha Tyler, Arrested Development’s priceless Jessica Walter & Judy Greer, SNL’s Chris Parnell, and the unparalleled Amber Nash. The show is packed with running gags and catchphrases galore, so slip on a Tactleneck, wash up those man-hands, and enter the Danger Zone: If quoting Archer doesn’t make you a hit at your next eeeeeeeelegant dinnah paaaahty, then at the very least you’ll understand all of the references that just confounded you.
Archer, seasons 1-4
This is the true story of one woman’s pursuit for answers to questions long dismissed by an institution of power and secrecy. For Philomena, her story begins as a young, unmarried teen saddled with the birth of a son in a socially conservative Ireland during the 1950’s. Teen pregnancy was considered a moral sin that required a person’s atonement according to church practices. Taken in by a local abbey, she was coerced to sign away her parental rights, forced into performing labor and tragically witnessed the selling of her child to an American couple. Decades later, having stumbled across a former journalist and political spin doctor who was looking to revive his career by penning a “human interest” story for a magazine, Philomena sets out on a journey toward emotional closure and to learning about her son’s life in the United States. As I watched the film, I couldn't help but wonder if reading the memoir wouldn't have been a much better way to learn about Philomena's story. The actors are top notch but they can't save a film where so much depends upon the final 15 minutes, leaving much of the film about the odd couple relationship between Philomena and the journalist, which sadly, was far from interesting even with their tit for tat discourse regarding the power of faith in the face of injustice.
I Geek Action Movies and as you can guess love Jason Statham movies. I watched HomeFront this weekend and it delivered. It had fights, brawls, knives, pistols, mini guns, shot guns, explosions, and a cute little kitty cat. All the stuff I like to see in a movie. In HomeFront Jason Statham is a form DEA agent who after his wife dies moves to a small town to raise his daughter. Unfortunately Gator Bodine (James Franco) is running a major meth lab and he and Jason “have words”. Get this and many other movies at KPL.