Day: April 17, 2014

LFM Reviews Traitors @ The 2014 Tribeca Film Festival

By Joe Bendel. So far, the Arab Spring has hardly trickled down at all for women. Malika and her bandmates know this only too well. They are punk to the bone and have plenty to say about their country’s corrupt patriarchal society, but they need cash to express it. More specifically, they must cut a professional grade demo to keep a prospective producer interested. There are ways to make quick money in Tangier, but the drawbacks are considerable, as viewers will witness during Sean Gullette’s Traitors, which screens during the 2014 Tribeca Film Festival.

Malika and her band, Traitors (with no “the”) might sound vaguely familiar to hip readers, because it grew out of the similarly titled short film that played at the 2011 New York Film Festival. Gullette reprises many scenes in the feature version, but there is a new focus on Tangier’s increasing importance as an international drug trafficking hub.

As befitting any self-respecting punk rock diva, Malika has a strained relationship with her parents, particularly her good for nothing father. Thanks to his gambling debts, they are facing the very real possibility of eviction. Plus, she must raise funds for her band’s studio time. Of course, she gets fired from her French call center job around this time, as well. However, she has caught the eye of Samir, a drug dealer with a proposition. Although she more or less knows better, she still accepts his offer to act as a drug mule. As she talks to her traveling companion, the very pregnant Amal, Malika comes to understand the magnitude of her mistake.

In a strange way, Traitors the feature suffers a bit in comparison with Traitors the short. While the former segues into an impressively tight and tense crime drama, its predecessor was a powerful indictment of the everyday misogyny (and even violence) faced by Moroccan women, particularly non-conformists like Malika. Frankly, many viewers (especially those in the know) will want to see more of the rest of Traitors and less of Samir’s thuggish associates.

Still, both incarnations of Traitors prove that Chaimae Ben Acha is a future superstar poised to breakout globally. The camera loves her and she can belt them out like Joan Jett in her prime. This is a richly layered performance, bringing to life a deeply complex character. Malika is unusually intelligent and creative, yet also seriously self-destructive. Artists, you know.

Gullette (co-writer and star of Aronofsky’s Pi) maintains a brisk pace and a nervy vibe, but there is no question this is Ben Acha’s show (although Mourade Zeguendi has his moments as Samir, the complicated drug dealer). Traitors the feature is a good film, but it leaves us wanting to see and hear more from Traitors the band. Maybe that is all part of the master plan. Recommended with conviction for viewers with a punk heart or an interest in women’s rights in North Africa and the Middle East, Traitors screens Sunday (4/20), Tuesday (4/22), Thursday (4/24), and Saturday (4/26) during this year’s Tribeca Film Festival.

LFM GRADE: B+

Posted on April 17th, 11:02pm.

LFM Reviews The Kidnapping of Michel Houellebecq @ The 2014 Tribeca Film Festival

By Joe Bendel. He is the French contemporary equivalent of the kid from “The Ransom of Red Chief.” He smokes like a chimney, drinks like a fish, and is a massive hypochondriac. Frankly, even Michel Houellebecq cannot imagine who would pay to get him back, but that seems to be the only detail his abductors have nailed down in Guillaume Nicloux’s The Kidnapping of Michel Houellebecq, which screens during the 2014 Tribeca Film Festival.

Although Houellebecq translations have been published in America, he has never really caught on in New York literary circles. Charges that his novel Plateforme was anti-Islam probably did not help (these were real legal charges, on which Houellebecq was ultimately acquitted). It also spurred wild rumors that Houellebecq had been abducted by Al-Qaeda when he abruptly disappeared during a book tour. That did not happen. Neither did the narrative written by Nicloux.

When we first meet Houellebecq playing himself as he goes about his daily business, he strikes us as a massively self-absorbed bundle of tics. This impression only grows stronger when he is kidnapped by a trio of cut-rate gangsters. At first he resents the intrusion into his life, but he soon seems to appreciate having his captors at his beck and call. Luc is nominally in charge, but he clearly answers to people above him. He has stashed Houellebecq at his parents’ home, where he is watched over by Maxime the bodybuilder (played by French bodybuilder Maxime Lefrançois) and MMA fighter Mathieu (played by Mathieu “the Warrior” Nicourt).

Much to Luc’s frustration, Houellebecq largely wins over his parents and associates, despite his frequent demands for cigarettes and his favorite Spanish wine. Perhaps their greatest bone of contention is Luc’s refusal to let the writer keep his cigarette lighter. It seems like a small point in the larger scheme of things and an understandable position for a kidnapper to take, but it becomes symbolic of Houellebecq’s efforts to reassert his control.

Although more scripted than mumblecore, there is enough improv room for Houellebecq to put his stamp on the film. Nobody can accuse him of being overly concerned with his public image. It might be a great comedic performance, but it certainly feels like it has the ring of truth. He also develops some truly bizarre but effective screen chemistry with Nicourt, Lefrançois, and Luc Schwarz.

Kidnapping deftly skewers notions of the public intellectual and sends-up Houellebecq’s iconoclastic image, but the humor is of a decidedly dry variety. Houellebecq’s future biographers will surely have a field day with it, but it requires a post-modern sensibility to appreciate its docu-fictional games. Recommended for highly literate Francophiles, The Kidnapping of Michel Houellebecq screens this Friday (4/18), Saturday (4/19), Wednesday (4/21), and next Friday (4/25) during this year’s Tribeca Film Festival.

LFM GRADE: B

Posted on April 17th, 2014 at 10:51pm.

LFM Reviews The Bachelor Weekend @ The 2014 Tribeca Film Festival

From "The Bachelor Weekend."

By Joe Bendel. Ever noticed how those crunchy granola camper types are lousy in a crisis, especially in the great outdoors? If you ever have an emergency in the forest look for the city guy. Oh, but “The Machine” is something else entirely. Outdoorsmen and urban sophisticates alike will shrink before his chaotic power in John Butler’s The Bachelor Weekend (a.k.a. The Stag), which screens during the 2014 Tribeca Film Festival.

Fionnan is sort of a Groomzilla. Finding him bizarrely interested in their wedding details, Ruth the bride-to-be presumes on best man Davin to take him on a stag camping getaway. Although Davin knows his chum is hardly the outdoorsy sort, he complies anyway. After all, as everyone but Fionnan knows, he also once went out with Ruth and never really recovered when she dumped him.

However, both men utterly dread her borderline psychotic brother, known simply as “The Machine.” They try to make it look like they have invited the hard-charging U2 fanatic, while holding back key info, like where and when. Nonetheless, The Machine still manages to find his way to the party, arriving in a wickedly foul mood. Let the celebration begin.

Weekend is not exactly a staggeringly original concept, but it is considerably gentler and less raunchy than The Hang-Over franchise and its copycats. Even The Machine turns out to be a reasonably grounded character. In fact, Butler and co-writer Peter McDonald (who also co-stars as the prospective brother-in-law from Hell) pull a bit of jujitsu, shifting viewer sympathies from the uptight Fionnan to the madly roguish The Machine.

From "The Bachelor Weekend."

Frankly, the biggest question Weekend answers pertains to Andrew Scott’s viability as a comedic leading man. Best known as Jim Moriarty in PBS’s Sherlock (and one of the memorable voices calling in during Locke), Scott fares rather well as Davin. He brings a sad dignity to the film that holds up quite nicely over time. McDonald brings the heat as The Machine, but also throws an effective curve ball or two in the late innings. In contrast, Hugh O’Conor is annoyingly nondescript as Fionnan.

From time to time, Weekend offers some humorous commentary on Irish cultural identity amid the bromance. It is good-hearted and reasonably amusing, but not earthshakingly memorable. A pleasant diversion, The Bachelor Weekend screens this coming Tuesday (4/22), Wednesday (4/23), Thursday (4/24), and Sunday (4/27) during this year’s Tribeca Film Festival.

LFM GRADE: B-

Posted on April 17th, 2014 at 10:46pm.

An Anime Anthology from the Creator of Akira: LFM Reviews Short Peace

By Joe Bendel. They are four very personal potential apocalypses. Three occur during Japan’s past and one is set during its future. The ultimate results will vary drastically according to the characters and circumstances involved. Produced under the auspices of Katsuhiro Otomo, the creator of Akira, the anime anthology Short Peace screens in many markets this Friday (but look for it in New York on the 21st).

After a brief but strange opening prelude, Peace commences with Shuhei Morita’s Oscar nominated Possessions, which truly deserved to carry home the little statuette. Its loss can only be ascribed to a lack of taste on the Academy’s part, because it is a visually striking work with unexpected depth. A lush supernatural fable in the tradition of Kwaidan, Possessions takes place during a dark and stormy night in Eighteenth Century Japan. A weary traveler seeks shelter in a shrine, only to find himself in a supernatural repository for broken objects that hold a “grudge.” Fortunately, the man is both handy and spiritually sensitive. Morita’s richly detailed animation is strikingly elegant, yet it has an appropriate macabre undertone. Possessions evokes scores of classic Japanese movies, yet there is something strangely moving about it.

Otomo’s own Combustible packs quite an emotional punch, as well. Set during the Edo era (or thereabouts), it follows the ill-fated son and daughter of upper class neighbors, who are obviously meant for each other, but are irreparably separated when he rejects his birthright to join the fire brigade. Unfortunately, his services will soon be required. Inspired by the look and composition of Japanese watercolors and screen art, Combustible is stylistically stunning. Nothing like conventional anime, it borders on the outright experimental, yet it is driven by a narrative worthy of classical tragedy.

Arguably, Hiroaki Ando’s Gambo could be considered a kaiju film, yet it is perfectly in keeping with the tone of Otomo’s contribution. A demon has terrorized a forest village, carrying off their young girls until only one remains. Venturing into the woods to meet her fate, she encounters Gambo, a gigantic white bear, who is the earthly servant of the Gods. When the two supernatural creatures clash, things get intense and unusually bloody.

The action continues with Hajime Katoki’s A Farewell to Arms, a post-apocalyptic techno-thriller following an armored military unit’s campaign to take out an automated battle tank. A veteran designer on Mobile Suit Gundam, Katoki puts the pedal to metal, delivering a barrage of explosions amid a deadly cat-and-mouse game.

Arguably, Peace’s constituent films proceed from best to worst, but the decline is remarkably gradual. Frankly, there is no clunker in the lot. While the overall running time is only sixty-eight minutes, we can hardly accuse it of false advertising, since it announces its shortness in its title. Regardless, the four chapters will convince any viewer anime can be a form of high art. Absolutely necessary viewing for any and every animation fan, Short Peace screens in Colorado at the Littleton Drafthouse this Friday (4/18), in New York at the Village East on the following Monday (4/21). Check Eleven Arts’ website for further cities and dates near you.

LFM GRADE: A

Posted on April 17th, 2014 at 10:41pm.

Spooky Action from Dante Lam: LFM Reviews That Demon Within

By Joe Bendel. This is a haunted film on many levels. It is loosely inspired by the case of Tsui Po-ko, the notorious cop-killing HK cop, who launched a one man crime-spree. His unquiet ghost hangs over the film, alongside the Demon King and other traditional malevolent spirits, whom the film’s villains periodically invoke. Yet, within the film itself, a highly strung police constable may or may not be tormented by ghosts from his past. Yet, he might somehow still bring a desperate criminal gang to justice in Dante Lam’s That Demon Within, which opens this Friday in New York.

The thoroughly by-the-book Dave Wong is so unpopular with his colleagues he has been banished to the night watchman’s booth in a major hospital. Raised by his pathologically strict father to do the righteous thing in any circumstance, he automatically agrees to give blood when a critically injured O-negative patient arrives. It turns out his transfusion saved Hon Kong, a.k.a. the Demon King, the leader of demon-mask wearing “Gang from Hell.” Inspector “Pops” Mok is not exactly thrilled by Wong’s act of compassion, because Hon had just killed two of his men in a raid gone bad.

When the eerily resourceful Hon escapes, Wong concludes it is his destiny to capture the ringleader and the rest of his gang. However, when Hon’s accomplices turn against him, there might be an opportunity for the Demon King and his nemesis to forge a narrow alliance. At least Hon seems to think so.

From "That Demon Within."

Lam is one of the top action directors in the world, so it is no shock that he stages some impressive shootouts. However, his flair for creepy ambiance and ambiguous psychological suspense is a happy surprise (if by happy you mean dark and ominous). Eventually, he mostly resolves the open question of how much skullduggery may be ascribed to supernatural agencies versus everyday criminal evil, but one thing is certain: karma is absolutely merciless.

If you need a wiry hardnose, it is tough to beat Nick Cheung, who is especially steely as Hon. Better known as a romantic lead, Daniel Wu has played the odd psycho before, rather overdoing the twitch in Shinjuku Incident, for instance. However, even when he completely loses it, he keeps Wong clearly tethered to his tragic past, thereby maintaining viewers’ investment quite compellingly throughout the ensuing chaos. This is largely a two-man show, but Astrid Chan adds a note of authority as the psycho-therapist enlisted to treat Wong by his sympathetic superior officer.

In Demon, Lam stages plenty of well lit, intricately choreographed action sequences, but also takes us on an atmospheric tour of the graveyards and condemned tenements of Kowloon. Tense and moody, it is recommended for multiple genre enthusiasts and fans of the superstar co-leads when it opens this Friday (4/18) in New York at the AMC Empire, from China Lion Entertainment.

LFM GRADE: B+

Posted on April 17th, 2014 at 10:38pm.

There’s No 12-Step Program for This Kind of Nuts: LFM Reviews Proxy

By Joe Bendel. A grieving parents’ support group is about to get sinister. Fortunately, a formerly pregnant woman and her new fast friend have their own strange ways of processing loss. The hyper-sensitive are sure to be offended and nobody is likely to win mother-of-the-year awards, but some truly game-changing twists will come viewers’ way during Zack Parker’s Proxy, which opens this Friday in New York at the IFC Center.

Walking home from her ultrasound, the very pregnant Esther Woodhouse is brutally attacked by a hooded figure deliberately targeting her baby. She survives the attack, but her unborn child does not. During her recuperation, the hospital staff is so alarmed by her emotional detachment, they require her to attend a grief counseling group session. It is there that she meets fellow member Melanie Michaels. Clearly Woodhouse feels some degree of sexual attraction, but Michaels seems to take exploitative emotional satisfaction from their encounters—none of which pleases Anika Barön, Woodhouse’s violently jealous ex-con lesbian lover.

Fate will ensnare all three women in a web of obsession and revenge, but a series of massive revelations will profoundly alter our perceptions of Woodhouse and Michaels. In contrast, Barön wears her insanity on her sleeve and never wavers from it. To give away any further details would be spoilery. It would also look ridiculously lurid spelled out in black and white.

Yet, that bite-me fearlessness is part of Proxy’s charm, so to speak. Parker synthesizes Cape Fear, Don’t Look Now, and half a dozen De Palma films, while the Newton Brothers’ score transparently evokes the Bernard Hermann music heard in the Hitchcock films the latter was riffing on, but he gives his themes and motifs a distinctive spin all his own. Parker does not merely dab a toe on the third rail of sexual orientation—he jumps on it with both feet. Frankly, this is the sort of gleefully bold erotically charged thriller we probably thought we would never see again—and it works for precisely that reason (even though Parker’s extreme budget constraints nearly undermine key third act sequences).

From "Proxy."

Alexia Rasmussen, Alexa Havins, and Kristina Klebe admirably go all in as the bat-scat crazy trio, each in their own way. As the formerly pregnant Woodhouse, Rasmussen might just take the honors as the most unsettling, but the competition is fierce. Yet, somehow horror film and mumblecore actor-director Joe Swanberg adds a messy but unexpectedly moving human dimension to the proceedings as Michaels’ in-for-it husband Patrick.

It is no hyperbole to say Proxy will surprise even old jaded genre hands. Perhaps the most shocking aspect of Parker’s film is its distribution deal with IFC Midnight. Regardless, here it is. Recommended for those who appreciate dark psychological thrillers with a healthy disregard for polite conventions, Proxy opens this Friday (late night 4/18) at the IFC Center and also launches on VOD.

LFM GRADE: B

Posted on April 17th, 2014 at 10:32pm.