Category: Narrative

By Joe Bendel. In 2003, a sixteen year-old kid from Manchester should have been on Friendster. Instead, Mark is getting touchy feely in an anonymous chat-room. That always leads to bad things in the movies and this based-on-a-true-story teen angst-thriller is no exception. Once again, the internet apparently turns a clean-cut popular kid into a killer in Andrew Douglas’s awkwardly titled uwantme2killhim?, produced by Bryan “X-Men” Singer, which opens this Friday in Los Angeles.

Mark, the shaggy-haired jock, pretty much has his pick of the girls at school, while John basically serves as the campus punching bag. However, Mark agrees to take John under his wing when he discovers he is the younger brother of Rachel, his online girlfriend. He has never met her face to face because she and her abusive boyfriend, Kevin McNeil, are in the witness protection program, which makes perfect sense to Mark.

Since webcams were not such a common accessory at the time, Mark falls for her solely on the basis of her photo and her sub-literate chat dialogue. Unfortunately, when the thuggish McNeil kills Rachel out of jealousy, it thoroughly destabilizes Mark, leaving him susceptible to the ominous offers of the MI-5 agent supposedly monitoring McNeil.

Right, you are probably already smelling a rat and you will not be not far wrong if you can think of a tasty fish they like to fry up in Louisiana. The only real questions are who is playing Mark and why? Mike Walden’s dramatic adaptation of Judy Bachrach’s Vanity Fair article does its best to pepper red herrings throughout, but the in medias res structure does not help to build any real suspense.

It is rather compelling to watch Jamie Blackley transform Mark from a big man on campus to an anti-social head case. However, Douglas (best known for helming the Amityville Horror remake) is not able to convincingly convey the sort of slow frogs-boiling-water process necessary to undermine his previously well-adjusted psyche Uwantetc also boasts an intriguing supporting cast, including Downton Abbey’s Joanne Froggart (Lady Mary’s maid, Anna) as DI Sarah Clayton and Jaime Winstone as Rachel, but it never gives them much to do.

When was the last time the internet served as an agent of progress on film? Clearly, the movie business is still holding a grudge for all the business presumably lost to file-sharers. Despite the not so shocking plot twists, the character’s psychological dynamics are still provocative and ultimately rather sad and disturbing. Unfortunately, Douglas and Walden were apparently determined to maximize the film’s timeliness with their compulsive attention to British surveillance practices. Yet the events of the film could ironically support even more extensive and pervasive online monitoring policies. An earnest misfire, uwantme2killhim? opens this Friday (3/14) in Los Angeles at the Laemmle NoHo 7.

LFM GRADE: C

Posted on March 13th, 2014 at 7:53pm.

By Joe Bendel. Above ground, it is like George Orwell’s Oceania. Below ground, it is like Zion in Matrix: Revolutions, except this is a better film. It is easy to tell them apart, because the polarity of gravity is different for each. Yet, two young people will try to bridge the gap in Yasuhiro Yoshiura’s Patema Inverted, which screens during the 2014 New York International Children’s Film Festival.

Those who live above are pulled down, whereas those who live below are pushed up. Obviously, whenever the latter leave their underground warrens, they run the risk of floating out of the atmosphere. Nevertheless, their princess, Patema, has the compulsion to explore, much like her missing and presumed dead father figure, Lagos. Oddly enough, something similar happened to surface-dweller Age’s father. He invented a flying machine that went up, but never came down.

Being his father’s son, Age is out of step with the Aiga police state, so he instinctively protects Patema when she strays too far into his world. However, he is no match for the evil overlord Izamura’s secret police. With Patema captured, Age seeks refuge below ground, learning first-hand what is like to live an upside-down existence.

While Inverted has the trappings of dystopian science fiction, it is really more of fantasy at heart. Much of what transpires would be difficult to explain scientifically, so Yoshiura hardly bothers. Sure, some scientific experiment tampered with gravity way back when, but that is just the opening premise. Inverted opens up into a big, cosmic canvas, where up and down are never constant. Frankly, it might be one of the most dizzying films ever made—and it is in good old fashioned 2D.

Like Yoshiura’s excellent Time of Eve, Inverted is built around a high concept, but it does not have the same human touch as his prior NYICFF selection (which is an ironic thing to write, considering Eve is all about human-android interaction). Patema and Age are plucky and likable, with psychologically complex backstories, but they still are not as fully realized characters as those in Eve. Of course, Yoshiura set the bar really high in that film.

Still, by big budget animation standards, Inverted is quite thoughtful and engaging. It would make an interesting double feature with Cuarón’s Gravity, while Eve could be nicely paired up with Jonze’s Her. Easily recommended for its rich visuals and idealistic sensibilities, Patema Inverted screens again Saturday March 22nd at the SVA Theater, as the 2014 NYICFF continues over the next three weekends at venues throughout Manhattan. Future screenings will include the absolutely charming AninA and the appealing Annie: It’s a Hard Knock Life.

LFM GRADE: B+

Posted on March 9th, 2014 at 11:52pm.

By Joe Bendel. For some hardcore table soccer players, only absolutely clean goals count. That is more stringent than the rules laid down by the international association, but nearly everyone frowns on three-sixty “spinnies.” However, all rule books get tossed out when an egomaniacal football (soccer) superstar challenges a nebbish table player in Juan José Campanella’s Foosball, which screens (in 2D) during the 2014 New York International Children’s Film Festival.

Amadeo’s son Mati thinks the old man is kind of a loser. Oh, but if he only knew the full story. In his old village home, Amadeo worked in the neighborhood bar and lovingly cared for the foosball table. He soon becomes the local champion, even besting the bullying Grosso. For years, this was his moment of glory and the foundation of his relationship with Laura, his almost girlfriend. Unfortunately, Grosso has returned, having achieved fame and fortune as a footballer. It seems the thuggish Grosso has bought the town in its entirety and intends to bulldoze everything to make way for his grand football complex. Naturally, his first target is Amadeo’s foosball table, the symbol of his only defeat.

Thoroughly demoralized, he only manages to save the captain, whom comes alive like Frosty when christened with one of Amadeo’s tears. Soon Amadeo’s entire Foos team is animated and reunited, along with the Maroons, their Washington General rivals. Of course, the small metallic men will be no match for the brutish Grosso, but they will coach Amadeo when he is forced to challenge his nemesis to a match on the football field.

It is not hard to see why Foosball was a monster hit in Argentina. The animation is at a Pixar level and it features all kinds of football action. It is an unlikely follow-up to Campanella’s Oscar winning melancholy mystery, The Secret in Their Eyes, but Foosball shows a bit of an analog sensibility, preferring the physicality of foosball to insubstantial video games. Viewers are also clearly invited to disdain Grosso’s nouveau riche excesses.

Without question, the little foos men are the film’s not so secret weapons. Lovingly scratched and worn in appropriate detail, they cleverly send-up archetypes that will be familiar to even casual soccer watchers. Yet for adults, Grosso’s unapologetically corpulent and equally acerbic agent often steals the show.

Campanella scores a lot of laughs in Foosball, while saying quite a bit about fair play and self-respect. It is a lot of fun, but it actually is not the best Latin American animated film at this year’s NYICFF. That would be Alfredo Soderguit’s sweet and sensitive AninA, hailing from Uruguay. Still, young boys will probably dig Foosball more. Recommended for sports fans of all ages, Foosball screens again this coming Saturday (3/15) at the SVA Theater and Saturday the 29th at the IFC Center, as this year’s NYICFF continues at venues throughout the City.

LFM GRADE: B

Posted on March 9th, 2014 at 11:41pm.

By Joe Bendel. If Chen Zilong is ever going to return to the regular Hong Kong police force, he will have to fix those gangster tattoos. For the time being, they are part of his undercover guise, as ruthless enforcer Dragon Chen. However, it will become increasingly difficult to maintain his cover amid an ensuing power struggle in Clarence Fok Yiu-leung’s Special ID, which opens this Friday in New York.

Chen’s English is iffy, but his martial arts skills are top-notch. Despite his clandestine mission, Chen loyally defends his juniors-in-crime during the film’s getting-to-know-you dust-up. After the restaurant melee, Chen starts to seriously doubt his position with the big boss. He also hears reports his former protégé Lo Chi-wai is up to no good on the Mainland.  Following his trail to Nanhai, Chen teams up with local detective Fang Jing, who takes issue with his cowboy style. She might be a stickler for regs, but the former Olympic marksman can shoot and fight.

Right, so Donnie Yen stars as Chen and serves as the primary action director. Any questions?Granted, the interpersonal drama is kind of awkward to watch, but the fight choreography is dazzlingly cinematic, yet gritty and in-your-face personal. The film’s real bonus is Jing Tian, who shows spectacular action chops as Fang Jing. In fact, she takes the honors in the film’s best fight sequence, set entirely inside a speeding car—one of the best close quarters throw-downs perhaps ever. She also has considerable charisma, rolling with Yen’s goofball charm as well as can be expected.

The significance of the unruly HK cop and the by-the-book Mainlander sounds pretty blatant, but Fok never overplays the ideological implications of their Odd Couple partnership. Frankly, the narrative-by-committee is about as stripped down and functional as it can get, despite contributions from recently deceased screenwriter Szeto Kam-yuen (who penned Yen’s SPL and the moody Louis Ko noir, Accident).

Still, if you believe fight choreography is an art form, Special ID will only strengthen your conviction. Fifty year-old Yen proves he still has his mojo and Jing should become everyone’s new movie crush. Just like Shu Qi in Journey to the West, she proves Chinese language actresses often get to do cooler stuff than their American counterparts. Recommended for fans of martial arts and gangster movies, Special ID opens this Friday (3/7) in New York at the Village East.

LFM GRADE: B+

March 7th, 2014 at 12:00am.

By Joe Bendel. It is downright ugly when the press and the government start colluding. When a well-connected corporation gets in on the game, it becomes a perfect storm of corruption. However, the world’s’ only honest talent manager will stand up to them in Kim Kwang-sik’s Tabloid Truth, which opens tomorrow in Los Angeles and next Friday in New York.

While paying dues at a large agency, Lee Woo-gon instantly recognizes the raw talent of Choi Mi-jin, but his bosses prefer to push the questionable talent they already have under contract. Striking out on his own, Lee builds Choi’s career to the brink of superstardom. In a cruel twist of fate, a malicious rumor published in an e-newsletter for elites romantically links Choi to a much older congressman just as they start to enjoy real success. Lee struggles to control the damage, but the media has already cast its verdict. When Choi subsequently commits suicide, Lee vows to avenge her.

He starts with the e-scandal sheet, but the small staff led by Mr.Park are just lowly, resentful pawns in a much bigger game. After a rough introduction, Park and his lieutenant Miss Kim help trace to the source of rumor, eventually leading Lee to the national government’s Office of Planning and the O&C Corporation. Unfortunately, Cha Sung-joo and his private security firm seem to have the drop on the crusading manager, in a decidedly painful way.

There is definitely something Zeigeisty about the film’s portrayal of digital tabloid journalism and its obsequious relationship with government officials. The anti-corporate pivot is rather predictable and overplayed, but the film sort of lives in a paranoid place where Tea Party alarmism and Occupy thuggery intersect.

Tabloid is only Kim’s second feature as a director and his first crack at the thriller genre, but he shows a real command of pacing. Shrewdly, Lee is portrayed as a tough customer, but not a superman by any stretch of the imagination. In fact, the film gets a lot of mileage out of the savage beatdowns he endures, out of sheer hard-headedness. Still, the chemistry shown in early scenes and flashbacks between Kim Kang-woo’s Lee and Ko Won-hee’s Choi is surprisingly touching.

Those familiar with Korean cinema will also recognize a host of familiar faces amongst the supporting cast, especially Ko Chang-seok (from Quick, Hello Ghost, etc), who supplies comic relief as Baek Moon, Mr. Park’s surveillance specialist, but keeps the shtick relatively restrained. Park Sung-woong is also effectively cold-blooded and serpentine as the ruthless Mr. Cha, whereas Jeong Jin-yeong convincingly plays Mr. Park as a man of somewhat more years and considerably more mileage.

Without question, Tabloid successfully taps into people’s frustration with all things big and overly collegial. Nevertheless, its thriller mechanics work to the extent they do because of the very human foundation laid down by the cast, particularly Kim Kang-woo and Ko Won-hee. Recommended on the basis of their work rather than any potential socio-economic implications, Tabloid Truth opens tomorrow (3/7) in Los Angeles at the CGV Cinemas and next Friday (3/14) in New York (Flushing) at the AMC Bay Terrace.

LFM GRADE: B-

Posted on March 6th, 2014 at 11:55pm.

By Joe Bendel. Pianist Thomas Selznick has done the nearly impossible, creating buzz for contemporary classical music. Much to his embarrassment, he did so by crashing and burning during an attempt to perform his late mentor’s “impossible to play” composition. After years of nursing his wounds, his celebrity wife has coaxed him into making his concert hall return, playing the very piano once owned by his famous teacher. However, a criminal mastermind will hijack the program in Eugenio Mira’s Grand Piano, which opens this Friday in New York.

Before the show begins, Selznick’s friend and conductor William Reisinger counsels him not to sweat a flubbed note. Considering the density of the music they are about to perform, nobody in the audience will possibly notice. It is good advice musicians of all styles should take to heart. Unfortunately, Selznick will not have that option. Instead, the shadowy “Clem” demands, through an earpiece secretly slipped to Selznick, that he must play each selection perfectly. One missed note and it is curtains for him and his wife, Emma.

Of course, it gets even more complicated. Clem also has a last minute set change. For his solo closer, Selznick is to substitute “La Cinquette,” the very piece that gave him so much trouble before. Naturally, his mentor owned a Bösendorfer, because his unplayable piece requires those extra keys. As the concert progresses towards it climax, Selznick engages in a cat-and-mouse game with the gunman, while remaining rooted at the keyboard, in plain view to all.

Written by Damien Chazelle, this year’s Sundance sensation for Whiplash, Grand Piano has a nice ear for how musician’s talk and think. Shrewdly, his script takes its time establishing the Selznicks and Reisinger, as well as the elite classical world they inhabit. Mira also sets the scene quite effectively, making the mostly digital concert hall feel like a very real and ominous place.

Evidently, Elijah Wood’s youthful piano lessons paid off, because he looks credible enough at the keys. More importantly, he conveys the perfect level of nervous, ticky stress for a socially awkward artist like Selznick. Don McManus also adds a nice touch of flamboyance as Reisinger. Frankly, the revelation of the actor playing Clem feels like it is intended to be a surprise, even though his name is above the title on the one-sheet. In any event, he is more or less adequate as the mystery villain, even though Grand Piano is by far his best film since at least 2003. In contrast, it is safe to say Bill & Ted’s Alex Winter largely upstages the mostly unseen Clem as his henchman with an attitude.

Grand Piano is a nifty thriller that archly capitalizes on the claustrophobic setting and the neurotic nature expected from musicians of Selznick’s rarified caliber. Cinematographer Unax Mendia gives it a wonderfully dark, stylish look, suggesting a cross between giallos and Hitchcock (whose Royal Albert Hall sequence in The Man Who Knew Too Much stands as an obvious inspiration for the film). Well played and tightly constructed, Grand Piano is enthusiastically recommended when it opens this Friday (3/7) in New York at the Cinema Village.

LFM GRADE: A-

Posted on March 4th, 2014 at 9:26pm.