Friday, March 4, 2011

Reverend's Reviews: Heaven & Hell

I don't think I've ever watched two such diametrically opposed films, in terms of both content and craftsmanship, in the same week as I Saw the Devil and Uncle Boonmee Who Can Recall His Past Lives. Apart from being made by equally adept Asian writer-directors and delving into arguably-theological waters, these movies (which open today in Los Angeles and New York) have virtually nothing in common. And, as Martha Stewart might say, that's a good (or at least an interesting) thing.

Uncle Boonmee arrives on US shores bearing the 2010 Palme d'Or medal from Cannes, that festival's highest honor. It is a leisurely, downright meditative tale — which some will no doubt label "slow paced" — about a terminally ill man reflecting on his present and previous lives. Steeped in Buddhist tradition and theories of transmigration (by which humans, animals and even plants may share their essences with one another), Uncle Boonmee is a strange and challenging but not unrewarding experience.


In the process of reviewing his lives, Uncle Boonmee (Thanapat Saisaymar, who is better known as a roof-welder in Thailand than an actor) and his current family are visited by the ghost of his previous wife and by his long-absent son, the latter of whom has undergone a strange transformation. Boonmee's son has become a "monkey ghost," several of which are present throughout the film and are its spookiest element, especially given their glowing, eerie red eyes. Between his acute kidney failure and spiritual visitations, Boonmee declares at one point "This is a result of my karma; I've killed too many communists."

Uncle Boonmee is written and directed by Apichatpong Weerasethakul, who previously made the somewhat gay-themed 2004 movie Tropical Malady. His new film's plot and pacing may confound Western audiences, especially during an extended sequence in which a disfigured princess has sexual relations with an enchanted catfish. The movie culminates in a dramatically effective family trek to Boonmee's ancestral cave, but ultimately ends on an odd note that can be interpreted as critical of what Weerasethakul considers a contemporary disconnect between nature or spirit and technology. While it doesn't translate into the most persuasive filmmaking, he may well have a point. Weerasethakul also writes perceptively in the film's press notes: "The film reinforces a special association between cinema and reincarnation; cinema is a man's way to create an alternate universe, and other lives."


I Saw the Devil, by Korean filmmaker Kim Jee-woon (A Tale of Two Sisters), is the vicious antithesis to sweet Uncle Boonmee. In its first thirty minutes, a young, pregnant woman is abducted, tortured, murdered and dismembered by a remorseless psychopath. I was tempted to give up on it at that point but I hung in for two more hours through the film's wicked, nail-biting conclusion and, in general, I'm glad I did.

The murdered woman's fiancé, an elite special agent, takes it upon himself to hunt down and punish the killer. In so doing, he naturally risks becoming a monster himself. Attractive Korean superstar Lee Byung-hun, who was also featured in the US production G.I. Joe: The Rise of Cobra, is excellent as the grieving husband-to-be out for revenge.
Between his performance and the screenplay, I Saw the Devil illustrates well how easily regret can morph into retribution.


One can argue that the agent tracks the serial killer and confirms him as his fiancée's murderer a bit too easily, but I Saw the Devil is otherwise intelligent and engrossing though definitely not for the faint of heart. Choi Min-sik (a popular figure in this genre thanks to his role in 2003's similarly brutal Oldboy) is chilling as the Hannibal Lecter-esque villain, who relishes the cat-and-mouse game that develops between himself and his victim's fiancé. Kim Jee-woon's taut direction is superior to many of his international contemporaries, but the film's single best attribute may be the fantastic lighting (especially during a greenhouse confrontation between hunter and prey) and camera work devised by cinematographer Lee Mogae.

Still, it's hard to justify the gruesome carnage that flows throughout I Saw the Devil. As Nietzsche wrote, "He who fights with monsters should look to it that he himself does not become a monster." Filmmakers as well as those dedicated to punishing criminals should follow Nietzsche's advice.

Reverend's Ratings:
Uncle Boonmee Who Can Recall His Past Lives: B
I Saw the Devil: B+

UPDATE: Uncle Boonmee Who Can Recall His Past Lives is available on DVD and Blu-ray and I Saw the Devil is available on DVD and Blu-ray now from Amazon.com.

Review by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

Thursday, March 3, 2011

Reverend's Preview: Ease on Down to Fusion 2011

A disco-era movie musical featuring a late pop icon will kick off the 2011 edition of Fusion: The Los Angeles LGBT People of Color Film Festival this Friday. The relatively brief but always significant and enjoyable annual fest will run through Saturday March 5 at various venues in Hollywood.

The Wiz, Sidney Lumet's 1978 adaptation of the Broadway hit, stars Michael Jackson as the Scarecrow and diva/icon Diana Ross as Dorothy in an African-American re-telling of The Wizard of Oz. The expensive movie received a mixed critical reception and was a box office flop at the time of its release, but it received four Oscar nominations and has gained fans over the years through television airings and home video. Jackson's untimely death in 2009 and subsequent revival of interest in all things related to "the King of Pop" have also drawn renewed attention to the film.


The Fusion screening will provide a rare opportunity to experience The Wiz on the big screen. It will also be a "Sing-Along" event, with audience members encouraged to join the cast in performing hit songs from the movie including "Ease on Down the Road," "Home" (sung by the legendary Lena Horne), "You Can't Win," the Wicked Witch's anthem "Don't Nobody Bring Me No Bad News" and the climactic, celebratory "A Brand New Day." Song lyrics will be projected as subtitles during the film's musical numbers.

Saturday's Fusion events will include a screening of Hooters: The Making of Older, Wiser, Lesbian Cinema. A documentary shot behind the scenes of last year's festival hit, The Owls, director Anna Albelo captures the creativity, difficulty and comedy of filmmaking. It will be followed by a sneak peek at Pariah, which was one of the hits at this January's Sundance Film Festival. Long Beach-based filmmakers Dee Rees and Nekisa Cooper expanded their 2007 short film of the same name about a teenaged African-American girl's difficult coming out process into a feature. Executive Produced by Spike Lee, Pariah was picked up at Sundance by Focus Features and will be released theatrically later this year. Rees and Cooper will be present at the Fusion fest to discuss the challenging process of expanding, filming and selling their labor of love.


Men will be interested in Fusion's special Legacy Project Screening of the 2004 gay-themed film, A Thousand Clouds of Peace. It will be shown on Saturday. Shot in dramatic black and white, it follows a gay teenager who roams the streets of Mexico City searching for the secret behind his ex-lover's decision to break up with him. The movie was an official selection at the 2004 Sundance Film Festival and won the Teddy Award for best gay-themed film at the Berlin International Film Festival. A Thousand Clouds of Peace will be followed by the GLBT-inclusive Fusion Shorts Program.

Each year, a deserving person of color in the GLBT film industry is presented with the Fusion Achievement Award. The 2011 recipient will be British writer-actor-director Rikki Beadle-Blair. Best known in the US as screenwriter of the 1996 movie Stonewall and for his wonderful 2002 BBC series Metrosexuality, Beadle-Blair will be presented the award on Saturday, just prior to a gala screening of his latest film, Fit. Fit is described as "an exuberant and funny look at gay and straight love among the new millennials." Fusion 2011 will close that night with an after party in the courtyard of the Egyptian Theatre.

For full Fusion details and to purchase tickets, please visit their official website.

Preview by Rev. Chris Carpenter, resident film critic of Movie Dearest and the Blade California.

Wednesday, March 2, 2011

Toon Talk: The Forest for the Trees

This week’s “Diamond Edition” Blu-ray of Bambi marks the high definition debut of the beloved Disney classic. A true masterpiece in the art of animation, the film ranks high on many a cinephile’s list of the best of the medium, and has often been cited as an influence on other filmmakers to this day. Its simple story of a boy growing up in the harsh realities of the world is as timeless now as it ever has been, and it remains a “must see” for every generation.

So it is a bit disturbing that everything new about this release is designed to distract you from actually watching the movie...

Click here to continue reading my Toon Talk review of the Bambi Blu-ray at LaughingPlace.com.

Tuesday, March 1, 2011

Awards Watch: Yearly Round Up 2010

With the award season all said and done for the year 2010, Movie Dearest has tallied up the total trophies handed out by the top 27 organizations, critics groups and industry guilds to get a clearer picture of what is indeed the Best Picture (et al) of the year; only categories with at least two wins are included.

Picture of the Year: The Social Network, 9 wins.
Actor of the Year: Colin Firth in The King's Speech, 9 wins.
Actress of the Year: Natalie Portman in Black Swan, 7 wins.
Supporting Actor of the Year: Christian Bale in The Fighter, 7 wins.
Supporting Actress of the Year: Melissa Leo in The Fighter, 7 wins.
Director of the Year: David Fincher for The Social Network, 9 wins.
Adapted Screenplay of the Year: The Social Network, 11 wins.
Original Screenplay of the Year: The King's Speech, 4 wins.
Cinematography of the Year: Inception, 4 wins.
Art Direction of the Year: Inception, 5 wins.
Costume Design of the Year: Alice in Wonderland, 5 wins.
Original Score of the Year: The Social Network, 4 wins.
Original Song of the Year: "You Haven't Seen the Last of Me" from Burlesque, 2 wins.
Film Editing of the Year: The Social Network, 3 wins.
Sound Mixing & Editing of the Year: Inception, 6 wins.
Visual Effects of the Year: Inception, 7 wins.
Make-Up Design of the Year: Alice in Wonderland, 2 wins.
Animated Feature of the Year: Toy Story 3, 9 wins.
Foreign Film of the Year: Carlos and The Girl with the Dragon Tattoo, 3 wins each.
Documentary Feature of the Year: Inside Job and Waiting for 'Superman', 3 wins each.

The top winner was The Social Network, with wins in 5 categories, while that film's scribe Aaron Sorkin won the most awards in any category, with 11 total.

See the comments section below for the list of the 27 groups tracked.