Indie Weekend: ‘Beyond the Black Rainbow,’ ‘Hysteria,’ and More
‘Beyond the Black Rainbow’ at the Texas Theatre
Ah, what to see, what to see, the eternal weekend question for moviegoers! Here are my picks, along with my new letter grading for the films I’ve seen:
Newly available in limited release (listed alphabetically):
- Beyond the Black Rainbow. A head trip, and a science-fictional period tale, as a woman in the 1980s is treated at a very special institute. Wonderfully phantasmagorical. My roundup of reviews at Twitch. [B+]
- HIGH School. Stoner comedy, featuring Adrien Brody and Michael Chiklis. Advance reviews have not been kind. Not previewed.
- Hysteria. Maggie Gyllenhaal stars in a romantic comedy about the invention of the electric vibrator in 19th Century England. Reviews have been generally favorable. Not previewed.
- The Intouchables. A cross-generational friendship blossoms between a street-wise caretaker and a wealthy disabled aristrocrat. Buoyantly funny. My review. [B-]
- Moonrise Kingdom. A boy and a girl, aged 12, fall in love and run away together on a small island off the coast of New England in 1965; directed by Wes Anderon. My review. [A]
Continuing in limited engagements:
- Angelika Dallas: Headhunters. My comments. [B]. Salmon Fishing in the Yemen.
- Angelika Dallas: Salmon Fishing in the Yemen.
- Landmark Magnolia: Bernie; The Best Exotic Marigold Hotel; First Position.
- Texas Theatre: God Bless America. My review at Twitch. [A-]
Opening in wide release:
- Snow White and the Huntsman. Kristen Stewart, Chris Hemsworth, and Charlize Theron star in a new, dark version of the venerable fairy tale. Very stylish, very routine. My review at Twitch. [C]
- For Greater Glory. Andy Garcia Eva Longoria, Oscar Isaac, and Peter O’Toole star in a historical drama based on the real-life events of the 1920s Cristero War. Not previewed.
Other recent wide releases:
- The Avengers. My review. [B]
- Battleship. My review at Twitch. [C+]
- Chernobyl Diaries. My review at Twitch. [C]
- Men in Black III. My feature at Twitch. [C+]
Review: ‘Moonrise Kingdom’ Paints a Warm, Funny, Enchanting Picture
Wes Anderson’s ‘Moonrise Kingdom’ (Focus Features)
Absolutely enchanting, Moonrise Kingdom begs the question: “Who doesn’t like Wes Anderson?”
That’s been asked countless times since the film served as the opening night presentation of the Cannes Film Festival earlier this month. Anderson has created a distinctive body of work, starting with Bottle Rocket, which came first as a short film and then a feature. His next two films, like Bottle Rocket, were written in colloboration with Owen Wilson and confirmed the promise that Anderson had shown. Rushmore (1998) and The Royal Tenenbaums (2001) were both mature pieces of work, shifting between comedy and drama as they explored a teen’s fractured view of the world (in the former) and the slow fracture of a family (in the latter).
After that, however, Anderson and Wilson split as writing partners, and the director’s precise visual compositions and arch musical cues began to predominate; the characters receded into less-defined, more amorphous portrayals in front of cool landscapes in The Life Aquatic with Steve Zissou, Hotel Chevalier, and The Darjeeling Limited. The stop-motion animation of Fantastic Mr. Fox, delivered with deadpan comic style to spare, worked beyond expectations as a manifestation of the director’s most endearing characteristics.
Moonrise Kingdom, then, serves perhaps as the start of the next phase of Anderson’s career. The elements that have been displayed in previous films — the most beguiling of romances, a child’s-eye view of the world, the quiet despair of a family slowly torn asunder, the cool appraisal of one’s own limitations — are mixed together in a tasty souffle that is well seasoned with humor and displayed with Anderson’s unusually well-composed sense of balance.
Similar to his most successful previous films, Moonrise Kingdom is grounded in reality but takes flight in fantasy. Sam (Jared Gilman) and Suzy (Kara Hayward) have fallen in love. It does not matter that they are 12 years of age; they know what true, everlasting love mean — it means you do anything to spend time with your lover, even if it requires that you run away from home (in the case of Suzy) or your scout troupe (for Sam).
Much of this idyllic movie, set on a fictional island off the coast of New England in 1965, is spent with Sam and Suzy as they get to know one another better. While it’s possible to quibble about the details of their relationship, there’s no doubt that it feels authentic to the experience, at least as most of us who are adults struggle to call to mind our first love.
The lightness of spirit that carried Fantastic Mr. Fox to great heights is present in Moonrise Kingdom, as are the uncomfortable strains that are placed upon adults in The Royal Tanenbaums. Here the adult world is represented especially by Suzy’s anxious parents, played by Bill Murray and Frances McDormand. They have grown apart, to the point that Suzy’s mother is carrying on a secret love affair with the island’s police chief (Bruce Willis).
Another dimension to the adult world is introduced by scout troupe leader Edward Norton, who is diligent, yet does not seem especially competent. All the adults, including Harvey Keitel and Jason Schartzmann as scout leaders and Tilda Swinton as the anonymously named “Social Services,” are motivated by a bland desire to do the right thing, without really knowing what that is. They live in a world separate from the swirling protests that would soon engulf all major American cities; they are away from the mainstream of society, in a coccoon that they are afraid to leave.
It should be stressed, however, that all the adults play supporting roles in the light drama that is centered on Sam and Suzy. Ultimately, it is their concerns and their perspective that comes to have the upper hand in the narrative, but it feels like a gentle and warm embrace of values long forgotten.
Moonrise Kingdom is a beautiful, enveloping picture. It’s the rare case of a film that ends before we’ve grown weary of visiting its world, which only exists in the mind of Wes Anderson.
Moonrise Kingdom opens today at the Angelika Dallas.
Review: ‘The Intouchables’
‘The Intouchables’ (The Weinstein Co.)
Omar Sy walks with a swagger, even when he’s sitting down. He has a broad, infectious smile reflects not only the character he plays in The Intouchables, but also the film itself.
Recently returned home to a small apartment in Paris packed with children after six months “away,” Driss (Omay Sy) is a disappointment to his family. He applies for a job as a caretaker for Philippe (Francois Cluzet), a wealthy disabled man, solely so that he can be turned down and then qualify for government benefits. His attitude strikes Philippe as a refreshing change, and so Driss is given a one-month trial.
Driss sizes up Philippe’s magnificent residence — peopled by chief assistants Magalie (Audrey Fleurot), Yvonne (Anne Le Ny), and Marcelle (Clothilde Mollet), as well as a cook, gardener, and so forth — and decides he’d be a fool to pass up the opportunity to live in luxury, at least temporarily.
Written and directed by Olivier Nakache and Eric Toledano, The Intouchables is the story of the friendship that develops between Driss and Philippe, related in traditional, “opposites attract,” romantic-comedy style: They meet cute, then fight without rancor, come to an understanding, mock each other playfully, and so forth. There’s a whiff of Boudu Saved From Drowning, as Driss threatens to upset (and then tame and conquer) the entire household.
It also resembles a buddy-buddy U.S. cop movie from the 80s, a la Lethal Weapon: One is black, the other is white; one is from Africa, one is from Europe; one is rich, one is poor; they team up against the forces of evil and/or misunderstanding. There are many easy laughs, as Driss learns to care for Philippe. Driss, however, is not a stupid man; rather, he’s grown to adulthood and beyond without developing any pity for others, which makes it hard for him to empathize with how others may suffer from his actions. For his part, Philippe has grown complacent and melancholy due to circumstances beyond his control, and finds himself amused rather than offended by Driss.
Whatever baggage may be attached to the picture because of current racial conditions in Europe and elsewhere, The Intouchables plays as an intimate, inordinately warm, and quite believable drama with an abundance of comedy, buoyed considerable by the performances of Clouzot and, especially, Sy, whose laughter is as infectious as Julia Roberts’ in Pretty Woman. (The Intouchables is based on a true story, which doesn’t always guarantee a screen version that feels honest and real.)
Like all good friends, Driss and Philippe overcome their differences and focus on the things they have in common. For all its broad indulgences in stereotypes and sentimentality, The Intouchables proves to be much more winning than wince-inducing.
(The Intouchables debuted locally at the 2012 Dallas International Film Festival. It opens today at the Angelika Dallas.)
Alamo Drafthouse Coming to Richardson
This time, the rumors are true. The Alamo Drafthouse will be expanding into Dallas / Fort Worth, with the first location set for Richardson.
The renowned movie chain, based in Austin, has entered into a franchise partnership with Iced Tea With Lemon LLC, which plans to pursue other locations in the Metroplex. The one in Richardson will be located at the southwest corner of Central Expressway (I-75) and Beltline Road, which is a great location. Not only will those in Richardson benefit — no other state-of-the-art multiplex exists in Richardson — but it’s ideally positioned about midway between Plano and Dallas, so it should draw more discerning moviegoers in search of excellent sound, projection, and the possibilities of a more respectful experience.
Here’s the press release:
Austin, TX— Thursday, May 3, 2012— Alamo Drafthouse Cinemas is pleased to announce plans to open their first Dallas/Forth Worth area location with new franchise partner Iced Tea With Lemon LLC. The first location being opened by Iced Tea With Lemon LLC is Alamo Richardson in the Richardson Heights Shopping Center on the Southwest corner of Central Expressway and Beltline Rd. in Richardson, TX. The Alamo Richardson location will be a state of the art location with seven screens. Each of the auditoriums will be equipped with high-tech 100 percent digital projection as well as excellent screen size to room ratio and amazing sound. In addition to the superior AV equipment, the layout of each screening room will eliminate the traditional front row, ensuring every seat in the house allows for a great viewing experience. Alamo Richardson will also feature a lounge offering an extensive menu of draft and bottled beers, wine, cocktails and food. The lounge will offer patrons an inviting place to socialize whether they are waiting for a movie or not.
Alamo Drafthouse signed a development agreement with Iced Tea With Lemon LLC that includes all of the Dallas/Fort Worth metroplex. Iced Tea With Lemon LLC has plans to pursue additional locations to expand the presence of Alamo Drafthouse Cinema within Dallas/Fort Worth metroplex.
“We are very excited to be bringing Alamo Drafthouse to the metroplex and to the City of Richardson,” said Bill C. DiGaetano, COO of Iced Tea with Lemon LLC. “The City and the Richardson Heights neighborhood have been great supporters of this project and we can’t think of a better location for the first Alamo in DFW. With the great sense of community within Richardson’s neighborhoods we plan to tweak our initial renderings to reflect the mid-century modern architecture so prevalent in the surrounding areas. Being an Austinite for 14 years and a huge Alamo fan it was important that we find an area where the theater could flourish. With the amount of ex University of Texas students, fans already familiar with the theater and the proximity to University of Texas Dallas this area is a natural place for Alamo to land. The ease of access from Central Expressway will allow fans from all over the metroplex to experience Alamo Drafthouse Richardson.”
Source: Alamo Drafthouse
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Indie Weekend: ‘Headhunters,’ ‘Bernie,’ ‘Sound of My Voice,’ and More
‘Headhunters’
A handful of indies are opening locally today; truly, something for everyone:
- ‘Headhunters.‘ Slick, clever, thoroughly engaging thriller from Norway follows a corporate recruiter who moonlights as an art thief. Things get complicated fast when he attempts to recruit / steal from a target (above) who has an eye on his beautiful wife (also above). This is my pick of the weekend. (Angelika Dallas.) My thoughts at Twitch. Highly recommended.
- ‘Bernie.’ Jack Black stars as an assistant funeral director in a small town in Texas who comes under suspicion when a wealthy widow goes missing. Richard Linklater’s comedy also stars Shirley MacLaine and Matthew McConaughey. (Landmark Inwood, Angelika Plano.) Not previewed.
- ‘Sound of My Voice.’ Brit Marling (‘Another Earth’), who co-wrote, plays a cult leader in what’s been described as a quiet science-fictional drama. (Angelika Dallas, Angelika Plano.) Not previewed.
- ‘The Ballad of Genesis and Lady Jaye.’ Documentary about the strange ways of love pursued by two musical pioneers and performance artists. (Angelika Dallas.) Not previewed.
- ‘The Best Exotic Marigold Hotel.’ A group of British retirees decide to spend their golden years at a resort in India. With Judi Dench, Bill Nighy, Maggie Smith; directed by John Madden. (Angelika Dallas.) Not previewed.
Opening wide:
- ‘The Avengers.’ Joss Whedon puts his own jocular spin on ‘Earth’s Mightiest Heroes in a movie that will likely please all fanboys and most audiences. My review. Recommended.
Review: ‘The Avengers’
‘Marvel’s The Avengers’ (Disney)
‘Marvel’s The Avengers’ is a very good superhero picture without being a particularly good movie. It could just as easily have been titled “Triumph of the Byte, and Humanity Be Damned.” And for that, full credit goes to writer/director Joss Whedon and Marvel Studios head Kevin Feige.
Whedon gives his own jocular spin to “Earth’s Mightiest Superheroes,” carving out space so that each member of the team — Robert Downey Jr. as Iron Man, Chris Evans as Captain America, Mark Ruffalo as The Hulk, Chris Hemsworth as Thor, Scarlett Johansson as Black Widow, Jeremy Renner as Hawkeye — may display the depths of their soul, as well as their ability to crack wise with excellent comic timing. If you’re on the same wavelength, it’s very amusing to watch Whedon blow hot air through the mouths of his characters and then suddenly deflate them, seemingly at whim.
It’s all part of a detailed plan, of course, and quite necessary when balancing the egos of an ensemble cast, several of whom have already starred in their own individual superhero movie. It’s no great surprise that Mark Ruffalo steals the show as Bruce Banner / The Incredible Hulk; not only is Ruffalo an excellent actor, but Whedon approaches the character from a different angle than what was presented in Ang Lee’s ‘Hulk’ and Louis Leterrier’s ‘The Incredible Hulk.’ That soupcon of freshness adds a healthy variety to what is otherwise a familiar stew.
While Whedon carries out an admirable balancing act, and draws from a large store of witty quips, what’s left out of the picture is any semblance of humanity, which in the previous Marvel-controlled movies allowed for a give and take between audience and the heroes we’re meant to worship. And though real-world issues of importance to anyone but the hardcore geek community have never been on abundant display in the Marvel films, such thoughtfulness has been rooted out almost entirely in Whedon’s Avengers universe.
Oh, a supposed real-world issue is utilized as a plot device, but it’s given short shrift and not discussed or resolved in a convincing manner; most audience members will be hard-pressed to remember the problem, since it’s quickly whisked off-screen in favor of extended action sequences that are nearly as incomprehensible as those that concluded Michael Bay’s ‘Transformers: Dark of the Moon.’ Slicing and dicing action into tiny bite-sized portions enables CGI and body doubles to be utilized to the fullest extent possible, which is why the whirlwind editing scheme has been become a de facto standard. Yet it also creates a yawning gap between the action and the viewer, especially one who has seen the same game played over and over again with little variation.
Naturally, there’s no requirement that ‘The Avengers’ do anything more than provide disposable, diverting popcorn entertainment that has a limited shelf life. After watching ‘The Avengers,’ it’s impossible to imagine that Whedon, or anyone else involved with the project, sat down and said: “I have a burning desire to say something about life and the way the we live it, and I want to use this opportunity to express myself creatively.” Instead, the overwhelming credo seems to have been: “Let’s give the people what they want.” Alternatively, it might have been simply “Don’t screw it up.”
Within those parameters, and despite the clunkiness of all the action scenes, ‘The Avengers’ works quite well, and may provoke wild cheering, even if it leaves certain audience members wondering afterwards, “Now, what was all that about? And why should I care?”
Indie Weekend: ‘Sound of Noise,’ ‘Goon,’ ‘The Lady,’ ‘Monsieur Lazhar’
'Sound of Noise' at the Texas Theatre (Magnolia Pictures)
In my return to active duty, I’ve updated the calendar listings (in the boxes on the right), reflecting a very busy month. A quartet of indies are opening locally today:
- ‘Sound of Noise.‘ A superb, boisterous, joyous picture about musicians who make music from found objects. (Texas Theatre.) My review at Twitch. Highly recommended.
- ‘Goon.’ A hockey comedy starring Sean William Scott and Jay Baruchel, the latter of whom co-wrote the screenplay. I’ve read very positive reviews from reviewers I trust. (Texas Theatre.) Not previewed.
- ‘The Lady.’ Michelle Yeoh stars as a real-life Burmese political hero; directed by Luc Besson. Reviews have been generally favorable, though not wildly enthusiastic. (Landmark Magnolia.) Not previewed.
- ‘Monsier Lazhar.’ Nominated for an Academy Award for Best Foreign Language Film. A substitute teacher helps his students deal with the suicide of their previous instructor, as well as racial prejudice. Reviews have been generally favorable. (Angelika Dallas.) Not previewed.
Opening wide:
- ‘The Pirates! Band of Misfits.’ The newest stop-motion animation from Aardman will delight children, though adults may only be amused. My review at Twitch. Recommended.
- ‘The Raven.’ A serial killer stalks Baltimore in 1849, taking inspiration from the works of Edgar Allan Poe. John Cusack’s best effort cannot save the warmed-over plot. My review at Twitch. Not recommended.
- ‘The Five-Year Engagement.’ Jason Segel and Emily Blunt star in a romantic comedy. Reviews have been mixed to negative. Not previewed.
- ‘Safe.’ Jason Statham stars in an action picture. Reviews have been mixed. Not previewed.
Retro Scene: ‘Pink Panther,’ ‘Oyster Princess,’ ‘Tootsie,’ ‘Battle Royale’
Peter Sellers in Blake Edwards' 'The Pink Panther'
Here’s a spotlight on four retrospective screenings, starting tonight:
- ‘The Pink Panther’ (1964; d. Blake Edwards). Nearing the age of 40, with ‘Lolita’ behind him and ‘Dr. Strangelove’ just around the corner, Peter Sellers teamed with Blake Edwards to create his most beloved character, the bumbling Inspector Clouseau. See it to marvel how Sellers absolutely stole a routine heist picture from matinee idol David Niven (a very game straight man). [Tonight and tomorrow, Texas Theatre]
- Amusing Aside: In his book ‘The Moon is a Balloon,’ Niven notes that he suffered frostbite in his nether regions whilst taking advantage of the producer’s offer to provide ski instruction on an afternoon off from filming ‘The Pink Panther’ in the Italian Alps. (The producer did not know that Niven was an experienced skier.) Quickly surmising the danger, Niven sought help from several Italian ski guides, who helped him to a hotel bar bathroom, where the actor thawed out his member in a glass of brandy.
- ‘The Oyster Princess’ (1919; d. Ernest Lubitsch). If you can only see one retrospective screening this week, make it this one, which I was happy to catch at SXSW last month. Austin group Bee Vs. Moth debuted their awesome original score there, and will play it again; it’s a terrific accompaniment to Lubitsch’s film, a very funny, visually inventive story about a very picky heiress, her potential suitor(s), and her very bored father, a wealthy business tycoon. [Saturday night only, Texas Theatre]
- ‘Tootsie’ (1982; d. Sydney Pollack). Reportedly a troubled production in which the script went through a myriad amount of changes, the finished product emerges as some kind of jewel. The script is still problematic — for one thing, the treatment of Terri Garr’s character is abysmal — but it feels like Dustin Hoffman’s ultimate performance as a thinly-disguised version of his own flinty, vain persona. With Jessica Lange, Dabney Coleman, Geena Davis, Charles Durning, and abundantly funny, cameo-sized roles for Bill Murray and director Sydney Pollack. [Friday night only, Palace Arts Center, Grapevine]
- ‘Battle Royale’ (2000; d. Kinji Fukasaku). Beyond the superficial plot similarities, what ‘The Hunger Games’ and ‘Battle Royale’ most hold in common is a desire to comment on society. Fukasaku’s message was to young people in Japan, and he marshaled all of his considerable talents and experience to deliver a very potent, chilling time-bomb. But will the half-drunken midnight crowd see past the blood, cheese, and melodrama? If not, it’s their loss. [Midnight, Friday and Saturday only, Landmark Inwood]
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Review: ‘The Raid: Redemption’
Iko Uwais in Gareth Evans' 'The Raid: Redemption' (Sony Pictures Classics)
What’s most pleasantly surprising about Gareth Evans’ second film is that it’s a major step forward from his first effort.
‘Merantau’ was certainly a strong debut, taking time to establish and define its lead character, played by Iko Uwais, before moving ahead into muscular, pulvering, extended action sequences that distinguished themselves, in part, because of the underexposed Silat style of martial arts fighting, and to an even greater degree by Evans’ seemingly innate understanding of how to frame an action scene.
Uwais returns in ‘The Raid: Redemption,’ but this time we get only the barest glimpse of his character before he is plunged into chaos — we know he is Muslim, that his wife is pregnant with their first child, and that he has promised to bring someone back. And then he and his SWAT team comrades swarm into a high-rise apartment building, an upside-down Indonesian version of Dante’s Inferno, one where they must rise to the top to capture the drug lord who watches their every move through a plethora of security cameras and commands his own army of armed soldiers.
Building upon their experience in making ‘Merantau,’ Evans and Uwais (and their filmmaking comrades) expand the range of action. Even though it’s confined to a single building, the possibilities appear endless. Death may come swooping down from above, from a distance, through doors and walls and floors and ceilings, by knife or gun or bombs or fists of fury. It’s a nightmare, kill or be killed, with no margin for error.
Once again, Evans frames the action superbly, turning Uwais into Gene Kelly with a machete and a machine gun. Too often, modern action movies must rely on extreme close-ups and quick editing, not only as a stylistic crutch, but also because their lead performers are not trained martial artists and/or fighters. That’s not the case here, and Evans takes full advantage, showcasing the actors and fighters from head to toe, resulting in electrifying sequences that are fully involving before there’s a minimum of cutting; the eye follows the fists and hands and arms and legs and feet as they collide with faces and bodies, crunching and slicing and breaking as they go.
With all of the intense, extremely violent action, it would have been easy to lose sight of the characters, which is a common failing among martial arts films — great fights, weak characters. And though the characterization in ‘Merantau’ was arguably stronger, Uwais has improved as an actor and is better able to communicate emotions through his facial expressions and body movements. His character doesn’t need to say as much to let us know his desperation and determination to save his men, complete his mission, and return home safely to his family.
As it happens, that’s the only fault that I can lay against the film; as good and as intense as the fight scenes are, near the end I was more anxious to see how things might be resolved between the characters than I was to watch another battle sequence.
A second viewing solved that problem, and allowed me to better appreciate the marvelously fluid choreography and the driving momentum of the pace that pushes it past any rough spots.
If you only see one action movie this year, this is the one. It’s authentic, it’s wild, it’s different, it’s original, and it will make you want to stand up and cheer a brutal, engrossing picture.
‘The Raid: Redemption’ opens today at Angelika Dallas, AMC NorthPark, and Cinemark West Plano.
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Programming Note: SXSW Interruptus
My ability to update the site this week has been hampered by my inability to tear myself away from all the films playing at SXSW, where I have been ensconced all week. Updates coming as soon as I return home (I’m on the road home today) and/or stop watching movies. Thanks for visiting!
