Russian Fantasy

If you want more proof of the dedication and production savvy Russia has been displaying lately, check out this clip from the upcoming, Disney produced fantasy film, Kniga Masterov. Definitely epic in scope with a solid sense of production design and effects visualization.

Edge of Darkness

This one debuted yesterday. It's good seeing Mel Gibson doing the "tough guy" thing again. His performance in Payback--and the film itself for that matter--are highly underrated. Naturally, comparisons are already being made to the surprise hit Taken but they are inaccurate. As stated before, Taken is more of a "search & destroy" film while Edge of Darkness is more the classic revenge film. Remember, one of the daughters in these films is still alive! Some uninformed commenters on various sites have also accused this film of ripping the concept of Taken. Again, this is inaccurate as Edge of Darkness is actually a film adaptation of a BBC television series from 1985.
The director of that series is also at the helm of the film version: Martin Campbell. Given his outstanding work in Casino Royale, the onscreen fireworks tantalized in the trailer below should be quite thrilling. Sizzling with subtly menacing lines, kudos must also be given to the script as well with Ray Winstone looking to have most of the meatier dialogue. Looking forward to this one very much.

Soviet Cinema **UPDATED**

Apologies for the lack of posts this month. As maintaining this blog is done more out of love than necessity, it naturally takes a back seat to the real work that ultimately comes in large, heavy doses. This will probably continue through October and in to November, but to make up for it, I decided to put together all the posts I was going to do on the emerging cinema of Russia.
Like their other forms of art, Russian films come from a completely different standpoint grounded solidly on their rich, textured history and expressed with a scope of vision as large as the country during the height of its imperialism. The new generation of filmmakers are creating exciting epics as well as taught modern dramas and thrillers. Perhaps thanks to the success of Timur-Bekmambetovs' Daywatch and Nightwatch, the world is taking notice and the Russian film industry is gaining confidence.

INHABITED ISLAND 1 & 2
Fyodor Bondarchuk's adaptation of the Strugatsky Brothers' "Inhabited Island" certainly flaunts its big budget. The sci-fi epic revels in glorious production design calling upon dystopian cityscapes, authoritarian aesthetics, ecclesiastical symbolism, and a good dose of spectacular action set pieces. The story centers on astronaut Maxim Kammerer who crashes on the planet Saraksh whose inhabitants are ruled by the Unknown Fathers. Find the trailers for both parts below.





MORFIA or MORPHIA
Haunting period film with touches of the phantasmagoric. Lucid films about those who are addicted and the world in which they live can take many forms. However, the filmmakers of this film have taken those themes and infused it with disturbing sexuality that give this turn-of-the-century narrative a charismatically dark allure.



THE INTERCEPTOR
Special effects team behind the Nightwatch films lend their skills to this film about a "Special Forces agent who is trained by a time shifting angel and guided by forces of the future and is pitted against the ruthless leader of a criminal syndicate." (Screen Daily) There's a good mix of contemporary action melded with, once again, some distinctive sci-fi production design and visualization.



FIGHTER'S NIGHT
America is not alone in its love for video games, especially those in which combat scenarios are involved. The concerns for youth brought up on such "entertainment" are also borderless. This film is just one of a few films to have come out that deals with how contemporary youth may no longer be able to distinguish virtual and real violence. From the trailer, the filmmakers seem to have taken two parts Fight Club, one part Tron, and a dash of Hackers to sell this cautionary thriller.



BLACK LIGHTNING
The Nightwatch trilogy's Timur Bekmambetov has been developing what he calls his response to Transformers and Batman, but judging from the latest teaser, that response is less about those films' spectacle and more about their theme of average people coming into contact with or becoming extraordinary. The focus of the film is a black Volga, a Russian automobile steeped with cultural history, with some unusual capabilities. What will the protagonist do with such an amazing vehicle...



UPDATED!! (new trailer shows the "blockbuster" intentions of this quite impressive looking adventure.)



CLOSE ENEMY
Criminal underworld story in which a young woman's happy life is shattered when her husband is murdered. She decides to avenge her husband by finding all those responsible. Her vendetta hits a snag when she discovers her father ordered her husband's hit...hence the title. Confidently shot and looks to have capable players in all the roles as well as being rather sleek and sexy. Michael Mann would be proud, I think.



NEWSMAKERS
The Russian remake of Johnny To's Breaking News has spared no expense. Top actors and a very capable director (Swedish in fact) confidently relocates the story of an embarrassing defeat of a police battalion by five bank robbers in a ballistic showdown which is broadcast live by a TV news unit destroying the credibility of the police force. In order to beat the media at its own game, a shrewd inspector decides to turn the stakeout of one detective, who discovers the hideout of the robbers, into a breaking news show.



ROUTE M8
Odd characters and stranger situations clash in this stylish gangster film with a slightly playful edge, ala Guy Ritchie. The story? A couple are beset by all manner of nare-do-wells while on a road trip. Regardless of the basic set up, the trailer certainly displays high production value and a solid sense of entertainment.



ANTIKILLER 3
Third installment of the ANTIKILLER series of thrillers based on Danil Koretskii's novel, which has sold five million copies in the countries of the former Soviet Union and has acquired cult status among readers of Russian pulp fiction. The stories follow the adventures of the protagonist Agent Fox (Gosha Kutsenko), a former police officer who takes on fighting crime on his own. Director Egor Mikhalkov-Konchalovskii shows his propensity for Hollywood-styled genre cinema; the body counts are high, the explosions big, the stunts jaw dropping...all expertly photographed and coordinated.



R
The transliteration of the title means "Ya" or "Me" in Russian. Directed by Igor Voloshin, this visually lush film about a man who meets his apparent death and recalls his life as he journeys between life and death, realizing the scope of the generations in which he has lived. The story is intentionally broad, allowing for the character to "travel" through his life while giving the director the latitude to play with a storytelling style reminiscent of other reality bending films such as Across the Universe or The Science of Sleep.



ULENKA: Deadly Lessons
Russia's has their creepy little girls as well. The story follows a university lecturer who moves to a small, provincial town for the sake of his wife's health, and begins teaching at a school for girls. That's when his nightmare begins as the girls in his class harbor a dark secret, and play an even darker game...with human lives. There is plenty of tension in the trailer and the lead actress for the the title character Ulenka, seems just right. Looks to be more than capable of putting the audience at the edge of their seats.



These are but a sampling of the growing list of attractive Russian films. What should be noted is the variety of films, particular in the multiple genres, and the production value the industry is putting in to each. It's no wonder that Hollywood is beginning to court many of these filmmakers for their projects; though I do hope those directors who do delve into major Hollywood fair will continue to create films in their own home.

Amelia

As stated in the previous post, a problem or hurdle for biographical films is the possibility that the story might dilute the mystique of the individual in question. Another hurdle, however, is crafting a story that is compelling enough for people to watch; the assumption in the case of Amelia Earhart is that people already know "the end."
This is the challenge for the filmmakers of Amelia, a film that hopes to reveal the life of the legendary aviatrix prior to her even more legendary disappearance. Hillary Swank strikes a remarkable likeness to Earhart's natural, non-fashion plate looks as well as what must have been her unfettered passion for aviation. From the trailer, it seems director Mira Nair will be approaching the narrative from the standpoint of how Earhart's pioneering spirit & ambition affects the men in her life, played by Richard Gere and Ewan McGregor, and captivates the entire nation. This could possibly be the proper way to tackle the subject matter as it creates a thematic opportunity to explore how certain individuals and the populace itself are impacted by her ultimate disappearance. It would be even better if the story were told from the perspective of those around her, perhaps Gere's character, but it is already obvious that Swank as Earhart will be the center of the film.
Kudos must be given to Mira Nair's storytelling. There are some gorgeously shot scenes in this film with Nair utilizing color only the way someone with an aesthetic background from Indian cinema could. She imparts very dreamy, almost free flight elegance to the flight scenes which is important when trying to visually relate to the audience how Amelia Earhart felt about flying.

James Cameron proved that knowing how a true life story ends, doesn't necessarily mean a film about (or even set around) real events should or will follow audience presumptions. Amelia Earhart's achievements (they were many and remarkable) and mysterious disappearance is set in history; what remains to be told is what the life she lived and void she left meant for those who knew her. Let us hope that Nair, Swank, Gere, and company will circumvent presumptions and exceed expectations. The film is set for release on October 23rd.

Double Chanel

Coco avant Chanel

The danger of autobiographical films is the chance that they may actually take away from the mystique or rub the gleam off of the legend. However, in the case of Coco Chanel, the "Chanel" brand is so powerful and influential in modern fashion history that it might be easy to forget that Chanel is the name of a remarkable woman. Coco avant Chanel attempts to trace the life of Gabrielle Chanel from her childhood when she learned sewing in a convent school, to a youth singing at cafes where she received the nickname of "Coco", and through her meteoric rise as fashion innovator. Audrey Tautou takes on the role of Gabrielle from young adulthood and it easy to appreciate the reasons for her casting. Tautou bears a similar sleek physique to the actual Gabrielle Chanel that makes her look just as graceful and smart in Coco Chanel designs and an intensity behind her eyes that sells the uncompromising passion of the genuine individual. Behind the camera is Anne Fontaine, no stranger to female-centric narratives and before this turns you away with the assumption of "chick-flick," one should bear in mind that Fontaine has chosen to follow Gabrielle Chanel's life as it influenced her creative process. In particular, how the clothing of the various men with whom she had relations throughout her life inspired her trademark, modernist women's fashions. This should in theory keep the film devolving into overt romanticism, though admittedly, it is a very fine line for Fontaine to walk. It will be interesting to see if she successfully manages to steer the film solidly on the course of Coco the artist rather than Coco the courtier.

Coco avant Chanel will be released by Sony Pictures Classics September 29th in New York and Los Angeles as Coco Before Chanel. Official website is here.


Coco & Igor

Based on the novel by Chris Greenhalgh who also adapted his book for the screen. The film obviously departs from Coco avant Chanel as it has less to do with Coco Chanel herself, but her relationship with composer Igor Stravinsky, though their attraction toward one another remains an analogy for the theme of "passion" in a staid era.

Source: Cinemovie.fr

Directed by Jan Kounan and starring Mads Mikelsen (Casino Royale) as Igor Stravinksy while Anna Mouglalis portrays Coco. As mentioned previously, Fontaine has the difficult challenge of delicately balancing Coco's romances and professional career. Kounan, on the other hand, is bringing to life a book which specifically focuses on a relationship between a man and a woman who happen to also be two significant figures in their respective fields. I am being intentionally non-descriptive as this setup could truly be about anyone, and has been seen before. What remains to be seen is if the story can distinguish itself by revealing how the love affair affected the artists. Did his time with Coco further Stravinsky's music? Did her time with Stravinsky contribute to Coco's designs? Though both were trailblazers of the early 20th century, did their romance typify the decadence of the era, or herald the end of it? Are there more conflicts for Coco beyond the period's feminine propriety and the obligatory showdown with Stravinksky's wife? Kounan certainly has just as difficult a challenge as Fontaine, perhaps moreso. Fontaine has only to keep the film on a singular course, but Kounan has many thematic paths in front him and navigating those paths toward a relevant film without losing one's way is far more difficult. The players all seem capable of the task, but many elements must fit together perfectly in order for this film to differentiate itself from any other film about a transient love affair.

The film closed the Cannes Film Festival this past May, but has yet to be scheduled for general release, though Kounan shot both a French-language and English-language version of the film.

The Wolfman

The trailer for Universal's modern remake of one of their classic movie monsters premiered yesterday. Overall, the production design and tone of the film are accurate for the material. It is the stellar cast, however, that really sells me on this film—quality players all around. And I think that is really important for material such as this. You need performers who will deliver the gravitas of the situation convincingly. Since these stories served as allegory for the age in which they were first written, it will key to not let key themes get lost in the "monster" spectacle these types of films tend to do. So far, it seems the filmmakers of this current iteration are not shying away from the dramatic elements of the story's original incarnation.
The film is due to be release February 10, 2010.

Anime Feature Round-up

SUMMER WARS

When timid eleventh-grader and math genius Kenji Koiso is asked by older student and secret crush Natsuki to come with her to her family’s Nagano home for a summer job, he agrees without hesitation. Natsuki’s family, the Jinnouchi clan, dates back to the Muromachi era, and they’ve all come together to celebrate the 90th birthday of the spunky matriarch of the family, Sakae. That’s when Kenji discovers his “summer job” is to pretend to be Natsuki’s fiancé and dance with her at the birthday celebration. As Kenji attempts to keep up with Natsuki’s act around her family, he receives a strange math problem on his cell phone which, being a math genius, he can’t resist solving. As it turns out, the solution to the mysterious equation causes a bizarre parallel world to collide with Earth, and it’s up to Kenji and his new fake family to put reality back in order.

Despite what one might believe, director HOSODA Mamoru's follow-up to the critically acclaimed The Girl Who Leapt Through Time (highly recommeded) is a bit of a rarity these days. Most anime is produced specifically for younger audiences though the image of anime abroad is "mature entertainment" rather than "kiddy fair." However, that really is a problem of perspective—a comparison of "cartoons" versus "anime." In reality, while there are anime that are certainly not meant for children, broadcast at late night time slots, the anime industry's bread & butter still come from the lighter fair broadcast during weekday and weekend primetime as well as summer film releases. Auteurs like HOSODA, MIYAZAKI or KON Satoshi, who make anime for "film lovers" are few. Though this summer like every other has seen a good number of animated films, most are feature-length episodes of popular animated TV series, even the surprisingly successful Evangelion 2.0. The budget and production schedule required for a true feature-length effort is viewed as risky. That is why it is very special indeed when a film like Summer Wars gets released. Many of the staff from The Girl Who Leapt Through Time return including scriptwriter OKUDERA Satoko and character designer SADAMOTO Yoshiyuki (Evangelion, FLCL).
The film retains the stylized realism in character design that is a trademark to SADAMOTO, which incorporates well with the lush, painted backgrounds. The use of CG to represent the "parallel world" seems appropriate and remarkably does not clash with the artistic style of the film. In a time when many western production companies have turned their back on cel animation, it is probably no surprise that it is Japan that is still keeping 2D animated features alive. 3D certainly has it's place (see following), but one can only truly appreciate "animation" as the art form that it is when one can see hand illustrated characters brought to life against hand painted backgrounds.



OBLIVION ISLAND—Haruka and the Magica Mirror—

Your favourite teddy bear. That model kit that took so long to complete. The picture book you used to read over and over again. The shining stone you found that day in the park. Where do all your childhood's treasures go when you grow up? In this story, we meet fantastic creatures that gather all these little objects that fall into oblivion as they are forgotten by their owners when they step into adulthood. These creatures sneak into our world from a different dimension, and unseen by humans, they take all the ditched and forgotten "treasures" into their world. Here, they use their booty to build their own city, a fairy tale-like place called... Oblivion Island!

The story follows Haruka, as she stumbles upon this world in search of a mirror very dear to her. There, she befriends and is aided by a fox named Teo and the two embark on an incredible adventure as she also discovers the things we lose as we mature.

source: Nippon Cinema

I believe there are two very important things one should take away from the above trailer. First, the incredible well-realized fantasy world in which Haruka falls into is something that's been missing from animated features, both from Japan and abroad, cel animated or 3DCG. Even Pixar still tends to ground their films in a solid reality, though the perspective from which they are told may be whimsical (a toy, insects, cars, a robot, etc). A setting like Oblivion Island, I believe, has yet to be seen and one has to wonder why that is. At any rate, it is wonderful to finally see what amounts to be a fairy tale realized in film narrative once more. The second point is the technical prowess on display. In my humble opinion, Production I.G. is one of the finest animation houses working today and they have turned their incredible artistry and experience in 2D animation and translated it quite brilliantly into 3D. You have to admit, despite what we've seen from the likes of Dreamworks, Pixar, Sony, etc., this film has a distinct look and feel that only an animation company like Production I.G. could deliver. I would even say that this is the natural evolution of Japanese animation's approach of cel animation to the digital medium. It is not just a re-interpretation of 2D methodology into digital, but a rethinking of how digital technology can bring to life their 2D ideas. In other words, it's still about the art and artistry. According to the company's sale sheet:

Oblivion Island: Haruka and the Magic Mirror will inherit the unique expressive style that has made Japanese animation hugely popular around the globe, and at the same time it will pursue a completely different texture from Western style 3DCG animation.

The film took 4 years with a staff of 200 to complete, and I think the efforts in "dedicating time and resources to the establishment of a fully equipped [3DCG] production environment" certainly shows.

Surveillance

Surveillance is an appropriate title for a film that is essentially about "point-of-view." As the word "surveillance" suggests, there is a scene to be observed, from which details and information can be extracted. Two Federal agents, played by Bill Pullman and Julia Ormand (pictured above) are charged with reconstructing the events surrounding a grisly crime. The narrative borrows from the storytelling device employed by Kurosawa Akira in Rashomon whereby the perspectives of characters regarding a single event begin to reveal subtle truths about the situation.

Naturally, the reaction might be to think you've seen this before, but one has to bear in mind that the director of Surveillance is Jennifer Lynch. As such, one has to expect something different and in fact, viewing the trailer reveals an ability to steer interesting and compelling characters on a collision course that superficially seems almost genetic. One other point to bear in mind is where Rashomon was primarily concerned about revealing truth from the perspectives of its protagonists, Surveillance seems to be about the lies itself, particularly what purpose obfuscating the truth serves and the impact this ultimately has for those who perpetuate them.

Stack some gruesome imagery as only a Lynch can depict on to this thematic foundation, and the final product looks to be a competent and taught thriller. View the Standard Def and High Def trailers here at Apple.

Le Premiere Cercle

Actor Jean Reno has a special place in a lot of cineastes' hearts. He has managed to make a career playing characters with a hard edge, but who ultimately proves to be "good" at heart. He has a screen presence that is hard to ignore with a gruff voice that sells the dark cloud with the silver lining aura. It is therefore surprising that he has yet to tackle a purely villainous role. Perhaps it's a personal choice, but with is abilities and that piercing countenance, he has surely been offered such characters. It is therefore quite fortuitous to have learned of this film in which he plays the godfather of a ruthless crime syndicate in control of the underworld in Southern France.

The Malakian clan, a family of Armenian gangsters, is lead by the brilliant and violent godfather Milo Malakian who rules his world with an iron fist. His son and heir, Anton, dreams of breaking free in order to live out his love for Elodie, a clan outsider, and make his own choices.
But the gang's inner circle is engraved in blood. To escape, not only does Anton have to counter his own destiny, but also the man who has sworn to bring his father down: Inspector Saunier. A struggle to the death ensues around the audacious and spectacular heist that the Malakian clan is preparing as its final job.

From this synopsis, the film seems to tread over well known themes in gangster films, especially those from Hong Kong. Regardless, the film may finally give Reno the opportunity to express some true, wicked menace, though the fatherly angle might rub away some of the charcoal of his heart to reveal that familiar "silver lining." Even in such a case, let's hope the silver is a little more tarnished this time.

Source: Allocine France

Peter Jackson talks about the state of the film industry!

A few words of wisdom and insight from a man who can make big budget fantasy epics and small sci-fi films because he loves the process...from writing, filming, editing...all from the safe confines of New Zealand, thousands of miles away from Hollywood.

It's interesting because the film industry is in a really weird position at the moment. If I think about it too much, I get depressed because I don't think it's in a very good state, and we're all responsible for that; I'm not pointing fingers because it's easy to say "Oh, look at what the studios are doing." But it's the filmmakers as much as anybody; it's the authors of the of the movies, the writers and the directors. We're all got to be doing our part. And I think there's so much nervousness about dropping attendance, or so people say, and plummeting DVD sales that suddenly everyone is working from a defensive position. The creativity that's going into films is almost like playing a defensive game, instead of playing an attacking game.

And I think if anything, DISTRICT 9 has an attack element to it. We're basically saying, "We don't give a stuff about the risk; we don't care about how many people buy the DVDs." We just want to make a cool movie, which is great, and we were able to have that spirit. But I think that's in danger of getting lost, certainly in the larger-budget films. Everyone wants to create these little safe harbors, which are franchises. And you create your franchise, which is going to lead to three or four movies, and it'll all go to the bottom line and that goes to Wall Street. It's all this corporate stuff, and the film industry and the world of finance and Wall Street have all kind of blended in a way that's not good for creativity at the moment. Now, let's hope it's a cycle, because everything in the film industry seems to be a cyclic thing and hopefully we're just going through a bad patch. I think it's up to everybody, the filmmakers and the studios, to get a little bit more courage and fight against it, because I think we've all given into it a bit.

Source: Ain't It Cool News

OSS 117 - Rio De Repond Plus...

Secret agent Hubert Bonisseur de La Bath returns in OSS 117 - Lost in Rio, the follow-up to 2006's OSS 117: Cairo, Nest of Spies. One might think you have seen this kind of spy spoof before, notably in the Austin Powers series, but this is where OSS 117 distinguishes itself. It is not a spoof or parody of the genre, but an irreverent homage to the era itself. The production design and execution is intentionally aiming for a look that make these films appear as long lost classics rather than new films, while French comedian Jean Dujardin portrays a "man" of the era with a self-confident manner that sheds a glaring light on every negative stereotype of machismo common in the 1960s. Dujardin's La Bath is actually quite a capable spy, but his oblivious demeanor to changing social attitudes with respect to race, gender, etc. is the source of the humor; the film may be exaggerating (but not by much), but is never tongue-in-cheek. Overall, it is a clever, breezy look back on a bygone era in a manner similar to how one may look at your high school yearbook—there are fond memories, but mixed with the mocking laughter at how ridiculous your former self appears to you now.

Also, make sure to check out the swinging official homepage for some groovy tunes and goodies.

Be Kind Rewind

Michel Gondry's film opens with a documentary about jazz musician Fats Waller relating his roots in the small town of Passaic, New Jersey and specifically a particular brownstone on one corner of the neighborhood. As you watch this documentary complete with file footage, it becomes more apparent that members of the film's cast seem to appear in the documentary, including the proprietor of Be Kind Rewind, an elderly gentleman who bares a remarkable resemblance to Danny Glover. Without making much ado over this "poorly concealed" fact, the documentary footage ends as the film proper begins.

This documentary we are introduced to actually serves as the backbone both for the characters' story and the overall narrative. It returns every once in a while acting as "Greek Chorus" offering parallels that serve as commentary on the situation of the characters. As we learn of Mr. Fletcher's (Danny Glover) dilemma of trying to keep his small, VHS rental video store afloat, one of the film's important metaphors comes to light. Be Kind Rewind is a small business run by one man that offers personal service and a distinctive film selection in an ever increasing landscape of chain DVD rental stores that cater to the lowest common denominator. Craft and some may say "taste" are slowly succumbing to the strengthening chokehold of marketing and convention. One of the issues of contemporary film, at least in the sense of the general landscape, challenging the industry today is the increasing loss of originality and individuality of films released, particularly by the major studios. Tent pole projects practically steamroll over smaller films who can not compete with the marketing war chest it takes these days to attract a substantial market share. At the same time, so-called "producers" rely more and more on gimmicks, gags, and effects as a means to dazzle audiences rather than actually tell them a story; in turn, the viewing public's expectations decrease as the ease with which they are entertained increases. This is plainly stated when Mr. Fletcher is told by a fellow Fats Waller devotee to adapt to the times, to cater to the masses as a means to save his shop.
It is therefore good fortune that the film smoothly and quickly moves to the central dilemma on which the film is marketed. Left in charge by Mr. Fletcher who goes away on a trip to both celebrate the anniversary of Fats Waller's death and go on a fact finding mission to assess the competition, Mike (Mos Def) is faced the daunting task of recreating the store's catalog of VHS films which have been erased by Jerry (Jack Black) in a fantastical conceit that is easy to swallow thanks to the human underpinnings of why Mike must keep up all appearances while Mr. Fletcher is away. Mos Def proves capable in delivering a subdued and simple performance in his portrayal of Mike, particularly when it comes to his respect for Mr. Fletcher as both a manager and a surrogate father figure. Special mention must also go to Jack Black for turning in a much more ensemble performance one might not expect when considering his other works as lead. Here, he allows other actors to have the scene, generously allowing the entire cast an opportunity to "be" while he accents their performances. Jack Black fans may be disappointed that the comedy of Be Kind Rewind is much more understated than say, School of Rock.
This is particularly important when the pair begin the task of recreating Ghost Busters to fulfill a customer's request. The humor should be grounded in their attempts to remake the film's famous scenes with the limited resources and time they possess. Audiences laugh with their inventiveness rather than at individual antics. There is something quite satisfying in Mike and Jerry's solutions based on their memory of the film. With all manner of jury rigged contraptions, a shoulder-mounted VHS camera, and one take, they utilize perhaps a not-so-exaggerated guerilla filmmaking style to accomplish their goal.

In essence, Be Kind Rewind is writer/director Gondry's love letter to independent filmmaking as well as the filmmaking spirit. The plot device of trying to cover up the loss of the catalog is only a vehicle for the next metaphor of the film, that of creativity. Gondry sets up situations for the main characters to problem solve. As they take on their next recreation, there is great delight in witnessing what they do to cheaply and quickly film a hit buddy film set in Hong Kong. His subtle message is that passion is the first, most important ingredient in the filmmaking process drives even his own directorial style for the film. There is a naturalness to the style of the film that belies it's budget. There are not a lot of overly composed shots. In fact, some of the setups are somewhat "dirty" while framing is not heavily enforced on the actors. It seems Gondry was more interested in capturing the passion of Mike, Jerry, and the others they begin to inspire as their remakes become more popular than the originals, prompting neighborhood residents to join in the magic and joy of making films. This is best exemplified in a terrific one take shot of the community helping Mike and Jerry recreate several well-known films. Moving from one famous scene to the next, some of the simplest, practical, yet creative in-camera techniques used in films past are on parade; Gondry allows all the backstage trickery to be seen, for the cast and "crew" to frame-in, and the imperfections to show as this segment is not about the final product, but about how the final product came to be. It is perhaps his personal standing ovation to old-fashioned, homespun ingenuity that is slowly dying in a world where films are being written around effects shots.



Naturally, just as Mike and Jerry and their capable crew are reaching the pinnacles of success, with customers lining up outside the store, the party comes to an abrupt end in perhaps the weakest segment of the film. Now that the store is filled with "sweded" films (the term used to describe remaking films), this ultimately attracts the attention of the Hollywood studios and their lawyers, personified by Sigourney Weaver, who bring all manner of legalese, forms, and threats of grossly overestimated penalties to Mr. Fletcher just as he was seeing hope for his little shop. Ultimately, the issue of copyright and intellectual property would have had to be addressed in a film of this nature, however, Sigourney and company breeze in and out of the film so fast that it seems almost fruitless to have brought it up in the first place. Granted it was probably not Gondry's intention to debate this issue via allegory, but one can't help but wish for something a bit meatier than what was presented. Regardless, the air seems to have been let out of the bid to save Be Kind Rewind. However, the community rallies, intent on filming something original...for the shop, and for themselves. At this point the film nicely bookends with the beginning as the Fats Waller documentary returns. This time, however, the making of the documentary is revealed. The contributions by everyone in the neighborhood to the scenes previously interjected into the film show people of all walks of life providing their little touches of creativity, including how they achieved the hand-cranked camera effect for the file footage. There is energy in the air, and the neighborhood is alive. Bringing the community together is perhaps the film's most salient point. Though the impetus for making the film was for a charity screening to benefit Be Kind Rewind, Gondry clearly shows that the process of filmmaking has affected everyone in Passaic, or at least those within the area around the shop. When the "curtain" rises on the screening of the finished product and everyone's hard work, the satisfaction on people's faces represents that it is not about what can be gained from films, but from what stories or storytelling does for people. The format choice of VHS seems to be quite intentional and effective if parallels are to be drawn with the home movie. Home movies are personal storytelling and the passing on of history at its most basic and accessible to the general public. The documentary the community creates may not be factual with regards to history, but it is the history they believe in. It is the story they wish to tell.

The ending may be a bit of a conundrum after initial viewing. However, upon consideration, there is something appropriate about it and credit must be given to Gondry for avoiding a manufactured emotional moment no matter how "right" it might have been. As is, the film closes leaving the viewer with sensations of nostalgia, of wanting to visit old haunts, and wondering if things you remember are still there. Is Be Kind Rewind Video Store still there? Bittersweet perhaps, but a fitting cap to a film about the increasing loss of simplicity, with the hope that it is and can be kept alive...somewhere.

Micmacs à tire-larigot

Say the words Jean-Pierre Jeunet and one word should come to mind: "fantasist." To say Jeunet builds worlds is an understatement, but what's more amazing about this director is his where he builds his worlds...right here on Earth. Yet, all of his films have a production design and atmosphere to them that can not be easily categorized by a particular time period or place unless he is specific about it, Amelie comes to mind. Even then, the next component that makes Jeunet's films so interesting and unique are the cast of characters that populate his stories. They are what breath life into his worlds. I think it is safe to say that he is one of a handful of filmmakers who can boldly and skillfully skirt the line of Surrealism and maintain a clear, cohesive narrative no matter how "odd" the situation or characters.

In his follow up to A Very Long Engagement, Jeunet returns to France, but a certainly a France different from the one one might visit. This time, the reported satire revolves around Bazil, a man with a bullet lodged in his head which causes some "unusual" effects. With his father, a bomb disposal expert, having been killed on the job in Morroco, Bazil now feels that he must topple two of the world's largest arms manufacturers to repay the lifetime of misery weapons have caused him and gathers a motley team of eccentrics to help accomplish his mission.

Source: Allocine France

There are actually eight teasers, each focusing on each character of this ensemble cast. You can watch them all at CineMovies.fr. The film definitely displays Jeunet's signature wry, observant humor found in Delicatessen and Amelie as well as the lush cinematography of Tetsuo Nagata. Though already in post-production, the film is unfortunately not set for release until 2010 which makes for a very long wait indeed for a chance to view the latest from this contemporary master.

Moon

Is Moon an example of art house science fiction, or a throwback to sci-fi of years past? There are several points to both sides, but there is no arguing the quality of this haunting, understated film.

Moon is primarily a character study, that of astronaut and caretaker Sam Bell. Sam is the sole occupant of a mining station on Earth's moon, at which is produced a valuable energy source that has all but eliminated Earth's dependancy of fossil fuels. Sam is the one human required to maintain order and step up to fix any glitches or bugs in the mostly automated mining process. Sam's sole companion is GERTY, a computer artificial intelligence that runs the station as well as providing for Sam's basic needs. Due to continuing complications with the com system, Sam's communication with Earth has been primarily through recorded messages, and Gerty has been Sam's only "live" contact for some time.

As one might expect, there is a heightened sense of isolationism and early hints at Sam succumbing to some form of "space madness," his interactions with Gerty only fueling the mystery. But the mystery itself is exposed in short order, being merely the opening to a much deeper, unexpected conflict who's resolution develops into something staggeringly complex. This is where heart of the film takes hold as Sam struggles with his situation, as does Gerty. There are many elements evocative to sci-fi contemporaries 2001 and Solaris (the former being a rightfully lauded classic, the later (Soderbergh remake) highly under-appreciated).

It is hard to imagine the pressure placed on an actor to carry an entire film, yet the portrayal of Sam Bell by Sam Rockwell appears effortless. This could be due in part to sheer talent or an uncanny level of comfort with being in front of a camera, and is probably a bit of both. There are several Rockwell-isms that fans of his work will enjoy, altho the traversal of character that is employed over the duration of the film is pretty damn impressive. Kevin Spacey provides the cool, calm voice of Gerty with an unashamed channeling of Douglas Rain's HAL 9000. This in and of itself in execution is more like the comfort of a favored t-shirt rather than the clichéd gimmick it could have been, so Spacey does get some points for that.



Sam's moon base isolation is set in a non-defined future that helps the film gloss over some of the finer details, but sharp-eyed and attentive viewers are given enough snippets to do the math for an accurate date. The nebulous timeline was likely by design as to not lock in any specific technology that would distract us from the core story or inherently date the film. In fact true sci-fi aficionados would do best to leave their tech checks at the door, as Moon betrays most of what we know about existing communication, robotics, and artificial intelligence early on. Yet what is relayed in terms of futurism is done so as clean and minimalist. While this may seem like a potential bone of contention by the hardcore, how it is presented in the film succeeds in conveying Moon's surprisingly timeless charm. It's what gives Moon a fascinating feeling of a film out of time, by as much as twenty or thirty years. A long lost or forgotten sci-fi classic, if you will. Should this (hopefully) have been director Duncan Jones' intention, congratulations are in order.

Entertaining and thought-provoking, Moon is a rare offering amidst this summer's mindless blockbusters. Among those that are masquerading as science fiction, Moon shows how it's done.

Near Dark

On the left is the new DVD and Blu-ray cover for the cult classic vampire film, Near Dark, directed by Katheryn Bigelow. On the right is the original theatrical release poster. If you're thinking to yourself that these look like two completely different films, you wouldn't be erroneous in that train of thought.

However, when you see that the new key art for the home release looks suspiciously like this poster for the unexpectedly successful teen vampire film Twilight, then the reason for this disparity becomes more clear. Hoping to ride the wave of Twilight's popularity, Lion's Gate is releasing Near Dark with a marketing image that aims to attract Twilight's audience. Fans of the film, myself included, know that Near Dark is one of the great vampire films of all time. A wholly unique take on the often used (abused) film monster, introducing a family of hillbilly, RV dwelling vampires who ruthlessly hunt the open plains of the American Midwest. And though there is a love story, it's the central theme of embracing one's feral nature or succumbing to one's darkness that juxtaposes against the choice of "love" and "light." There is no romanticism, no couple fawning over each other; in fact these vampires don't even have pale skin nor do they ever bear fangs and yellow eyes! It is a gritty, dark and violent romp through vampirism starring James Cameron regulars such as Lance Henriksen, Bill Paxton, and Janet Goldstein. The film was made at a low budget, but it has stood the test of time only to be prostituted by Lion's Gate in order to attract a demographic who will be in for quite a shock once they see that Twilight is no Near Dark.

G.I. Joe

This will be one of the rare occasions when a post will be focused not on the film and its story, but on the the production of a film; in this case production design specifically. It is quite obvious what the intention of the filmmakers (i.e. producers/studio) when one views the trailer for this latest live-action adaptation of a popular property from the 80s. Any attempt at arguing for a much more substantial narrative is essentially a waste of time and energy. The film is designed to maximize opening day ticket sales by exploiting nostalgic memories of a much loved cartoon in people (men particularly) who are now in their 30s and 40s. The lure of blockbuster box-office returns based off a borrowed property is too tempting and as commented on earlier the viewing audience is far too easily "entertained" to demand originality and/or depth in a film of this nature.

What proves to be truly disappointing is the absolute lackluster production design that was approved by the director and all involved. Hollywood is prone to trends and ever since Tim Burton's Batman, black, leather-clad superheroes seem to be the only way Hollywood is able to visualize comic book characters. This was only reinforced more with the success of the Bryan Singer's X-men films in which a much more colorful palette in the comics was muted down to color accented black suits in the film versions. Despite early fan protests, the film adaptations of the costumes were so successful onscreen that they actually influenced the comic book versions post release of the films.
So, it stands to logic that the live-action version of the 80s "G.I. Joe" cartoon would also follow the same route. Take a look at the international poster for the film above. There is a substantial difference here that needs to be pointed out. Superheroes wear costumes as a method of disguise, an alter-ego with which they carry out their activities while living out another life as normal citizens. The members of G.I. Joe are military personnel. They do not wear costumes. Their outfits are a function of their occupation and the specializations within that occupation; they are also a reflection of the branch of the military to which they belong be it Army, Navy, Air Force or Marines. The concept of the original cartoon was an elite unit made of up soldiers from these branches, contributing to a much more effective fighting force that pooled their collective skills.

Compared to this package design for the DVD of the cartoon series, the failings of the film production design are quite obvious. Though G.I. Joe is a unified team, each member retains their individual identities and trademarks based on the military branch to which they belong as well as the specific skill set they bring to the team. One can not get any sense of this when looking at the film poster; in fact, it's even hard to tell who are the villains and who are the heroes. Obviously, the outfits of the cartoon characters would have to be adapted to film, but it seems so elementary that drawing on real military garment and uniforms from around the world and through various eras would produce much better results than completely black outfits that have no variation whatsoever among the individual characters.
I am sure the production team will have all manner of explanations as to why they took the design route seen in the film. Whatever those justifications may be, this short video produced by a figure manufacturer proves that A) It is possible to reproduce the look of the cartoon in live action; B) even without revealing any faces, anyone familiar with the cartoon can identify the characters just by their trademark costumes and C) the production design of the film was not even close in capturing the spirit of the original source. It's a telling sign when the deep pockets of Hollywood can be outdone by figure manufacturer with its heart in the right place. But I guess that's the point, isn't it?