The whole dystopian thing may have reached the point of oversaturation in our popular culture: zombies, givers, hunger gamers, diverging, purging, maze running—we’ve had so much of it, the genre’s bound to regress into some sort of metaphorical mass-market post-apocalyptic wasteland of itself. And yet this summer’s underappreciated gem The Rover is so delicate in its vision, so realistic in its squalor, you may forget you’re watching something taking place ten years after a catastrophic global economic collapse. Set in the Australian outback, the film depicts a world of desolation and lawlessness, of dog-eat-dog survivalism; there’s no fantasy or sci-fi to this wasteland—this is what real dystopia is going to look like.
Amidst this societal decay is Eric (Guy Pearce), a drifter whose life is as hollow and ruinous as the world around him. While passing through the middle of nowhere, Eric encounters thieves who are fleeing from a botched robbery, and they steal his car. Taking the last possession of a man with nothing left to lose proves to be a bad move on their part, as Eric begins a dogged pursuit to retrieve his vehicle with the steely vigilance of a Terminator. Just when he thinks he’s lost the trail, Eric comes upon a wounded man named Rey (Robert Pattinson) who turns out to be the brother of one of the thieves—badly injured in the robbery, they left him for dead. Eric takes Rey hostage and demands he be led to where his brother’s gang will be hiding out. Rey is the one man who can help Eric get back the last thing in his life that he cared about, but will he be more trouble than he’s worth?
Written and directed by David Michôd, who also made the excellent, Academy Award-nominated crime drama Animal Kingdom, The Rover is suspenseful and well-acted (Pearce is always reliable and Pattinson goes a long way to make you forget all the sparkly vampire paint he used to wear). The gritty world is richly detailed in its bleakness, and the final shot, though some may find it divisive, is a pitch perfect elegy to companionship and a dirge to life before the world collapsed under the weight of selfishness and greed.
There’s just not enough time to compose a lengthy review of some of the great and not-so great feature films, television series and documentaries that I’ve caught over the past month, so instead, I’m handing out a grade and an abridged appraisal.
Bastards—A grim, pointless waste of time from French Director Claire Denis (C-)
Hateship Loveship—Continued proof that former SNL star comedian Kristin Wiig should keep looking for dramatic roles (B)
Orphan Black—Yes, lead actress Tatiana Maslany was robbed of an Emmy nomination for her multiple roles in this great BBC-produced show about clones (A)
Requiem for the Big East—For college basketball fans who grew up in the 1980’s and recall watching these legendary teams, this ESPN documentary will rouse a healthy dose of nostalgia (B+)
The Bridge—in keeping with the very trendy, neo-noir subject of serial killing and the relationship between detectives charged with solving the mysteries (see: True Detective), this cross-border drama explores the messy dialectics of national politics, the consequences of drug/human trafficking and the tension between rich and poor (B+)
Captain Phillips—nothing here was particularly new, assuming you followed the story when it originally unfolded, but it still remains a dramatically compelling, well-paced action film that will jump-start your adrenalin (A-)
Top Hat & Tales: Harold Ross and the Making of the New Yorker—a satisfactory if not condensed portrait of an eccentric visionary and his creative collaborators who developed a unique and lasting publication (B)
Palo Alto—a drained, vacuous sketch of the psychic ennui of rich, white teens whose lives gravitate around sex, drugs, video games and pathetic, exploitative adults (D)
An unreliable narrator is a narrator, whether in literature, film, or theater, whose trustworthiness has been seriously questioned. Film audiences should be wary of gleaning truths from the narrator’s account of the movie's unfolding and plot details. Here are some films that have employed the unreliable narrator approach to storytelling to great effect.
Last Year at Marienbad
The Usual Suspects
The Great Gatsby
Locke is about a man (Ivan Locke) who gets into a BMW and then proceeds to have one conversation after another on his car phone while driving toward London. The end. That’s pretty much it and that’s just enough for this engaging but austere film about one man’s attempt to control his life from a car phone as it spins out of control.
I knew very little about Blue Ruin when I went to see it at Kalamazoo’s Alamo Drafthouse theater—just that it was a revenge thriller that had been widely beloved by critics. It was one of the “Drafthouse Recommends” featured titles, which—for movie buffs like me—is a stamp of approval worth heeding. And wouldn’t you know it: this edge-of-your-seat thriller has turned out to be the best thing I’ve seen so far this year. I appreciated not knowing even the basic premise of the film going into it—a rarity in this age of oversharing, spoiler-y trailers—so I will tell you very little about it in hopes that you will be pleasantly surprised as well.
Here’s what I’ll share: As I’ve said, it’s a revenge thriller, so you know somebody wants to get back at somebody else, but it will take that premise in surprising directions; it’s bloody, so you’ll need to be able to stomach some gore; and perhaps most importantly, you’ll get to see Eve Plumb, best known for playing Jan on The Brady Bunch in her youth, wielding a machine gun (who doesn’t want to see that?). So check it out: Blue Ruin, available soon on DVD here at KPL, and keep an eye out for more “Drafthouse Recommends” titles. The Alamo brings a lot of great films to Kalamazoo that no other theater does. As a die-hard movie fan, I rarely go anywhere else.
Under the Skin is a new film that will figuratively get under your skin with its nightmarishly surreal images and discomfiting plot. Simply put, it’s a slow-burning, almost dialogue free collection of bizarre images that possess a creepiness that leaves its evocative residue all over your mind well after the credits have rolled by. The film is careful to make sure that the weirdness is couched in ideas, specifically notions about perception and how we look at one another often from unfamiliar perspectives. Ultimately, the film feels as though it should have been fleshed out into something on an expanded scale with a more substantive engagement with its ideas. A perfect film, no. A must-see film, absolutely.
Under the Skin
Last year, the psychological thriller Prisoners was a break out hit for Canadian director Denis Villeneuve. With his follow-up film Enemy, once again starring Jake Gyllenhaal, the director embraces Hitchcockian style and atmosphere over formal plotting. Enemy is a kind of tone poem of dread and anxiety that I suspect will leave many a viewer grumpy and unsatisfied (more description would only spoil it). I for one enjoyed Villeneuve’s playful antics and commitment to the project over any kind responsibility to provide viewers with a conventional follow up. Fans will either love the Kafkaesque horror of the film or despise it for its provocative resistance to philistinism. You decide.
The Good Wife is one of the best network television shows and after five seasons, still going strong with its mixture of secrecy, passion, scheming and legal maneuvering.
It possesses all of the elements for a successful serial: power politics, courtroom confrontations drawn from the headlines, mysterious characters, well-paced intrigue, and nuanced storytelling. Throw in a fantastic cast (that’s refreshingly racially diverse) that brings to life the smart writing and you have a hit show worth binging on.
The Good Wife
This year’s Cannes Film Festival winners included Winter Sleep (Best Film), Bennett Miller (Best Director), Julianne Moore (Best Actress) and Timothy Spall (Best Actor). Here’s a look back at some of the films that have previously been awarded the prestigious Palme d’or.
Taste of Cherry—1997
The White Ribbon—2009
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.
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.
In case you needed one last, post-Oscars list to use for upcoming checkout's. According to a survey of the editors and contributors of Film Comment magazine, these are the Top 20 films of 2013. Some have been released on DVD and others have yet to hit the shelves.
- Inside Llewyn Davis
- 12 Years a Slave
- Before Midnight
- The Act of Killing
- A Touch of Sin
- Computer Chess
- Frances Ha
- Upstream Color
- Museum Hours
- Blue Is the Warmest Color
- Spring Breakers
- Like Someone in Love
- Stories We Tell
- American Hustle
- The Grandmaster
Sandra Bullock may have taken on deadly space debris in Best Picture contender Gravity, but it’ll likely be Cate Blanchett that destroys her chances at winning a second Oscar come Sunday, March 2nd. That’s right, the 86th Academy Awards ceremony is less than two weeks away, which mean now’s the time to catch up on all those critically-acclaimed movies you’ve been meaning to watch. Thankfully, the Kalamazoo Public Library is here to help with this list of all the Oscar-nominated films that you can check out from us right now:
- Best Picture nominee Captain Phillips received 6 nods overall, including Supporting Actor (Barkhad Abdi), Adapted Screenplay, Film Editing, Sound Editing and Sound Mixing (Tom Hanks just missed the cut for Best Actor, but his performance is riveting, especially in the film’s final 10 minutes).
- Cate Blanchett is the front runner for Best Actress in Woody Allen’s Blue Jasmine. The film also received nominations for Supporting Actress (Sally Hawkins) and Original Screenplay.
- Best Animated Feature nominees The Croods and Despicable Me 2 are available now (Front-runner Frozen will be here in March). Despicable also received a nomination for Best Song with Pharrell Williams’ “Happy.”
- Four of the five Best Documentary Feature nominations are here: The Act of Killing, Cutie and the Boxer, Dirty Wars, and 20 Feet from Stardom.
- Big-budget summer films Iron Man 3, Star Trek Into Darkness, and The Lone Ranger received nominations for Best Visual Effects. Ranger also received a nod for Hairstyling & Makeup alongside fellow unlikely-contender Jackass Presents: Bad Grandpa.
- Baz Luhrmann’s opulent take on The Great Gatsby was recognized for Costume Design and Production Design.
- Best Foreign Language Film nominee The Hunt is currently available, while fellow contenders The Broken Circle Breakdown and The Great Beauty will arrive in March.
- The third part of Richard Linklater’s beloved romance trilogy, Before Midnight, received an Adapted Screenplay nod.
- All is Lost features a great performance from Robert Redford and was recognized for Best Sound Editing.
- Abduction thriller Prisoners is competing for Best Cinematography.
Several more Oscar contenders will be available on DVD or Blu-ray very soon:
- With 10 nominations (including Bullock’s), Gravity (available February 25th) will be a force to be reckoned with on Oscar night. It has a great shot at winning Best Picture and Director (Alfonso Cuarón) and is also the front-runner for technical categories like Visual Effects, Sound Editing, and Sound Mixing. The film was also recognized for Cinematography, Film Editing, Original Score, and Production Design.
- Also out on February 25th is Nebraska, which welcomed nominations for Best Picture, Director (Alexander Payne), Actor (Bruce Dern), Supporting Actress (June Squibb), Cinematography, and Original Screenplay.
These Oscar contenders will be available in March, and you can place a hold on them right now:
- 12 Years a Slave received 9 nominations, including Best Picture, Director (Steve McQueen), Actor (Chiwetel Ejiofor), and Supporting Actress (Lupita Nyong'o).
- American Hustle was nominated for 10 Oscars, including Best Picture, Director (David O. Russell), Actor (Christian Bale), Actress (Amy Adams), Supporting Actor (Bradley Cooper), and Supporting Actress (Jennifer Lawrence).
- Dallas Buyers Club has 6 nominations, including Best Picture, Actor (Matthew McConaughey) and Supporting Actor (Jared Leto), and both actors are favored to win in their respective categories.
- The Wolf of Wall Street was nominated for Best Picture, Director (Martin Scorsese), Actor (Leonardo DiCaprio), Supporting Actor (Jonah Hill), and Adapted Screenplay.
- Philomena is competing for Best Picture, Actress (Judi Dench), Original Score, and Adapted Screenplay.
- Also arriving in March are nominees The Grandmaster (Cinematography, Costume Design), Inside Llewyn Davis (Cinematography, Sound Mixing), The Book Thief (Original Score), Saving Mr. Banks (Original Score), and Mandela: Long Walk to Freedom (Original Song).
Keep an eye out for the rest of the nominees, which are sure to follow. In the meantime, come on down to KPL and start prepping for Oscar night!
Tom Hanks is not talking to a basketball named Wilson this time and I haven’t seen any cute UPS type commercials like there were after the Cast Away. Captain Phillips was a more serious movie and it was made after real events. A real Captain Phillips was really steering an ocean going container ship carrying much needed food and water to Africa. It was attacked by Somali pirates and boarded. The movie starts out introducing you to lives on both sides. We see Captain Phillips saying goodbye to his wife as he boards a plane to go to Oman to captain the boat. We see the Somali people and how they are forced to be pirates. The movie does not waste a lot of time showing you background, it jumps right to the actual attack. The Container ship repels the first attempt but when the one boat comes back they successfully board the container ship, largely due to a malfunctioning fire hose that was supposed to keep the little boat away. What I found interesting is that there were only 4 Somali pirates and they were not that bright. But they had automatic weapons. If the container ship had even a couple of guns they might have staved off the attack. When the little boat gets close and hooks it’s ladder to the ship I kept thinking why don’t they go and repel boarders. The people who lived in castles did it all the time. Somebody puts up a ladder, you push them and the ladder off. Once boarded Captain Phillips misleads the pirates, tricks them, tells them the ship is broken etc. The Pirates were not the brightest. I think the Somali Pirates should use this movie as a training film for what not to do when hijacking a ship. When the Somali pirates took Captain Phillips in the lifeboat it got very real for me. I remembered watching this lifeboat and hearing about the Navy Seals and their 3 shots fired simultaneously and how much praise they got for their accuracy. In the movie when they rescue Captain Phillips it wasn’t like in a Sylvester Stallone movie where they pounce around all macho. Tom Hanks did an excellent job of being in shock. He couldn’t speak, he was on the verge of crying. He made you feel his distress. I give him high praise for conveying that emotion effectively. Come on down and check this DVD out from KPL.
The movie and the man “Riddick” is one of the deadlist frogs you would ever meet. Riddick played by Vin Diesel is a man not a frog, just to be clear. I just like that it sounds like Ribbit Ribbit like a frog. Riddick being the past Lord of the Necromongers would probably not like having his name made fun of. In the movie Riddick has made a deal with Commander Vaako; the location of Furya and a ship to take him there, in exchange for Vaako becoming the next Lord Marshall. Well, they take him to a desolate planet instead and try to kill him. Riddick kills most of his assassinators. But Krone manages to shoot up a rock ledge causing a landslide to burry Riddick. This was all a lead up to keep the story in line and get to what most of this movie is about. Riddick needs to get off the planet. The Planet is full of deadly creatures, one looks like a scorpion but is much larger, more like 50 pounds. The other is a creature that looks a cross between a dog and a leopard. Mostly Riddick is a harden heart kind of guy who can easily kill but he also lives by a code. In this movie they humanize him and make you like him a little more than the bad guys he fights by having him get one of these leopard dog puppies. The dog when grown fights by Riddick’s side and alerts Riddick to danger. Riddick finds an abandon outpost (how convenient, without this there would be no movie, he would just die) He sets a bunch of traps and then hits the emergency beacon which scans him and sends out an alert that Riddick a wanted man with a large bounty is here on this planet. Two different teams come and try to claim the bounty. Riddick leaves a note in the blood of one of them to leave him one ship. The rest of the movie is various attempts to catch or kill Riddick and Riddick killing them. I found the one shot of them looking for Riddick and he is sitting on top of their space ship listening to them scurry about in terror of him, while he is peeking through their sun roof and cutting off pieces of a carrot and eating them to be comical. I think it was supposed to show how superior he is but it gave me a chuckle instead of awe. This is the third movie in a series of Riddick movies. From the sounds of the extras on the DVD there will be more Riddick movies. Give it a try or see them in order, Pitch Black 2000, The Chronicles of Riddick 2004 and Riddick 2014.
I was afraid that the movie You’re Next was 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 Next available with many other titles at KPL.
Reader’s Advisory is a term that librarians use to describe the act of linking similar titles together so that readers are exposed to authors and titles that possess comparable thematic or stylistic qualities. This is the first installment of a film version of that kind of process of suggestion. It’s not scientifically based and so absorb these lists with a grain of salt.
• Liked Goodfellas, try Miller’s Crossing
• Liked Charulata, try Everlasting Moments
• Liked The Truman Show, try Real Life
• Liked Drive, try Taxi Driver
• Liked Eternal Sunshine of the Spotless Mind, try Petulia
• Liked Last Year at Marienbad, try Memento
• Liked The Ice Storm, try Ordinary People
• Liked Groundhog Day, try Being There
• Liked Take Shelter, try Repulsion
• Liked Il Postino, try Amelie
• Liked E.T, try Super 8
• Liked Doubt, try The Silence
• Liked Mad Men (series), try The Hour (series)
• Liked Paper Moon, try The Last Picture Show
• Liked Harold and Maude, try Delicacy
• Liked Tinker Tailor, Soldier Spy, try The Spy Who Came in from the Cold
• Liked Goon, try Slapshot
• Liked Harry and Tonto, try Alice Doesn’t Live Here Anymore
• Liked The Newsroom (series), try Sports Night (series)
• Liked Platoon, try The Thin Red Line
• Liked Leaving Las Vegas, try Taste of Cherry
• Liked Dead Man Walking, try Into the Abyss: a tale of death, a tale of life
• Liked There Will Be Blood, try Citizen Kane
• The Bridge Over River Kwai, try Force 10 from Navarone
• Liked Blue Valentine, try A Woman Under the Influence
Force 10 from Navarone
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.