In many ways, Takeshi Kitano is perhaps as close to a one man machine as you will find in the filmmaking business. As is generally the case with most of his films, Kitano wrote, edited directed and starred in his latest film to hit the United States called OUTRAGE (2010). Once again, Kitano delves into a story centered on the Yakuza life. As is often, but not always the case, OUTRAGE contains more than a fair share of violence bordering on gratuitous, but relevant given Kitano’s ideology of showing the Yakuza in the extreme light and ironic nature that he often does with his storytelling.

Kitano, credited under the fitting pseudonym of “Beat” Takeshi, plays Otomo, an experienced Yakuza enforcer with an implied history as a boxer. The boss of the head family, known as Mr. Chairman, orders his lieutenant to crack down on the drug trafficking being perpetrated by a lesser branch of the Yakuza gone rogue. The complications quickly arise when Mr. Chairman reveals himself as a ruthless, backstabbing boss that has strayed from the old ways and code of the Yakuza. As they say, the “shit flows downhill” and Otomo ends up being at the bottom where he discovers his years of loyalty have meant nothing.

For the first third to half of OUTRAGE, the plot feels somewhat slow and messy, twisted and fragmented, but be patient and follow along as best you can, as it all comes together in the end. In some respects, this is a typical revenge story, but told in a very atypical fashion. Kitano’s chopping editing and fragmenting of the story serves to accentuate the manufactured chaos being designed by Mr. Chairman, paying off with a multi-faceted string of plot twists in the end.

“Beat” Takeshi is always a joy to watch play a badass. His common tendency is to wash emotion and expression fro his character’s face, resulting in an oddly serene but serious persona that could, in an instant, snap and do some serious damage to the person confronting him. As a filmmaker, Kitano is extraordinarily adept at visualizing his stories through the camera. Composition of frame is one of the key elements that continually draw me to Kitano’s films, meticulously constructing frames of beauty out of the simplest setting, like the art of Zen gardening with shrubs and stones.

One of the most fascinating examples of Kitano’s eye for the camera in OUTRAGE is a shot taken from a high angle over a long stretch of two-lane road. This stretch of road follows the coastline and travels into the distance, disappearing into the top edge of the frame, playing on the horizon perspective, while the angle itself offers a tremendous visual dynamic to an otherwise drab setting. This shot follows one of the most brutal, albeit creative, Yakuza kill scenes, and lingers for a moment.

OUTRAGE is not amongst the best of Kitano’s undertakings, but is certainly worth seeing. One may think his continued source of inspiration in the Yakuza would get dry and overused, but surprisingly, it does not. One element that adds to my enjoyment of OUTRAGE is the uncharacteristically electronic score from Keiichi Suzuki, giving the film a fresh edge. In the end, OUTRAGE is a superficially complex tale of criminal bosses in a power struggle with each other, riddled with deception and hair-trigger violence, but levels out to reveal itself as an ironic twist of fate with a melancholy ending.

Overall Rating: 3.5 out of 5 stars

OUTRAGE opens today in St. Louis at Landmark’s Tivoli Theatre.

Pedro Alodovar, Spanish director of such delirious concoctions as TIE ME UP TIE ME DOWN and VOLVER has made his first overt horror film and THE SKIN I LIVE IN is a doozy. It’s an atmospheric, stylized, and deeply disturbing portrait of obsession, death, and the quest for perfection. Antonio Banderas, who began his career with Almodovar and is reunited with the director for the first time in two decades, stars as Dr Robert Lesgard, a reclusive, Frankenstein-like plastic surgeon attempting to achieve a breakthrough in bio-medical sciences by creating a synthetic skin through a process he calls transgenisis. His experiments come at a steep cost. His human test subject is a beautiful woman named Vera (Elena Anaya) who is held prisoner within his home, and cared for by his longtime servant Marilia (Almodovar regular Marisa Paredes). Vera is unlike other women, she wears a skin-colored fabric suit instead of clothes, is constantly observed by Robert and Marilia, and never leaves her room, which only Robert himself holds the key to. That’s the setup of THE SKIN I LIVE IN and I don’t want to go into too many plot details as this is the kind of story best to just let unfold, a story involving murder, rape, suicide, and a gender-bending twist that packs a huge punch whether you see it coming or not.

Pedro Almodovar has brought his distinct visual panache to THE SKIN I LIVE IN and it’s striking how well-suited his style is for horror. The bright colors, immaculate sets, attractive people in bizarre, over-the-top situations, odd relationships, and the violence resemble a campier version of the works of popular Italian horror filmmakers such as Dario Argento. The story is intriguing enough to keep you on the edge of your seat, with some wacky plot turns that only Almodovar can come up with. There’s much to admire here. I enjoyed the way Almodovar filmed a murder scene with the camera looking down from the ceiling, the close-ups of Vera’s feet wriggling in her skin-tight stockings, and a despicable character who appears wearing a tiger costume for no reason. Almodovar brings to this grim story a wry humor at times, helped along by Alberto Iglesias’ wonderfully bouncy and off-kilter score. But the tone here is mostly a quiet creep of alienation, as Vera, possibly driven insane by her trauma, wanders about in her blank body suit and comes to grips with her quite understandable dilemma over the doctor’s methods. THE SKIN I LIVE IN is a sexy and twisted horror film from Spain’s most flamboyant filmmaker, and is highly recommended.

4 1/2 of 5 Stars

THE SKIN I LIVE IN opens today, November 23rd, at Landmark’s Tivoli Theater

What if you met a real life fairy? How would you know? What would you do? American audiences had a similar proposition presented through cinema in 1984’s SPLASH, replacing a fairy with a mermaid, with whom Tom Hanks fell deeply in love with. The 2011 French film LA FEE (The Fairy) is also a romantic fantasy, co-written and co-directed by Dominique Abel, Fiona Gordon and Bruno Romy.

THE FAIRY is about a man named Dom, played by Dominique Abel. He works as the front desk clerk in a small hotel. He’s friendly, quiet, and perhaps more than a little naïve. In the beginning of the film, Dom is hoping to settle down for the evening with some television and a sandwich. Unfortunately, business chooses otherwise.

After first handling an odd customer and his scurrying bag, Dom meets Fiona, played by Fiona Gordon. Fiona is a spritely woman. This is fitting, as the first words from her mouth include “I am a fairy.” What should one say to such a claim? Dom takes this in stride, as he does with everything in life. Fiona rents a room, and thus begins their adventure.

THE FAIRY is a cute — almost excessively so — little number that’s part romantic comedy, part musical, part slapstick and part Charlie Chaplin. Dom and Fiona are very animated characters in a very animated live-action film. After saving Dom’s life from a near-fatal sandwich, Fiona offers Dom three wishes. He first wishes for a scooter, then follows up with a wish for free gas for life. Fiona gladly complies. For the remainder of the film, we await Dom’s third and final wish.

Dom and Fiona connect quickly. Fiona shows Dom a world he never knew existed, right there in his own community. Her free spirit opens his eyes, but the truth about Fiona is a mystery that remains uncertain throughout THE FAIRY. Is Fiona really a fairy, or simply an unstable citizen? I found myself less and less concerned with this question as I was drawn deeper into the quirky world of these two characters.

THE FAIRY is a lot of fun, but if it doesn’t appeal to you at first, give it time. It took me 15-20 of the film before I finally settled into the experience. I am not typically a fan of musicals, but the charming silliness of THE FAIRY is rather hard to resist. The musical numbers, which are really more dance pieces, as the characters don’t sing, are strange and eccentric, but in their own way alluring.

In keeping with the film’s central characters, THE FAIRY is a richly colorful film that feels like something from another era. I was repeatedly reminded of the 1964 classic THE UMBRELLAS OF CHERBOURG. THE FAIRY is clearly a low-budget film, or at least is meant to look that way, perhaps drawing inspiration for its production design from theatrical stage production. From green screen chases to swimming jellyfish made of plastic grocery bags, the whimsically simple design is a major factor in the film’s charm.

Whether you’re a pushover for French film, an admirer of the silent era of slapstick comedy, or just looking for a unique option for a date night movie, THE FAIRY is a romantic option like no other I’ve seen in quite a long time.

Showtime
Friday, November 18th at 4:30pm – Plaza Frontenac Cinema
Saturday, November 19th at 6:00pm – Plaza Frontenac Cinema

HEADHUNTERS was originally reviewed during Fantastic Fest 2011.

In true Norwegian fashion, HEADHUNTERS is a taught thriller that pleases from the first to the last frame. Director Morten Tyldum (FALLEN ANGELS) weaves an intoxicating mystery that begins as a heist film. Roger Brown (Aksel Hennie) is a man of short stature with a large house and a towering beauty of a Swedish trophy wife named Diana (Synnove Macody Lund), as intelligent as she is stunning. What she doesn’t know is that Roger is not everything he appears to be.

Roger spends his days working as a successful corporate recruiter, a fitting cover for a man whose greatest skill is “knowing” people, but he supplements his lavish lifestyle by moonlighting as a thief, specializing in valuable works of art. Everything Roger does is to please Diana, so when the opportunity of a lifetime reveals itself, he sees the job that will end all jobs, but it begins with getting his mark a job.

Clas Greve (Nikolaj Coster-Waldau) is an ex-military special ops soldier turned CEO of a major GPS nanotechnology developer. Recently having entered early retirement, Roger meets Clas at the opening reception for Diana’s gallery. Upon hearing about a priceless work of art that Clas possesses, Roger immediately begins developing a plan to relieve Clas of the artwork and set himself and Diana up for life, which Roger sees as the only way to truly secure his most prized possession. Unfortunately, despite Roger’s very careful and competent thieving skills and his attention to detail, what lies in store for him is far beyond his expectations and risk assessment.

HEAD HUNTERS is a methodical, calculated thriller that takes great care in setting up the dominoes in just the precise manner, intricately positioned for maximum fallout. Roger leads the audience through his every step, his motives and his methodology, seamlessly allowing the viewer into his life without disturbing the all-important third wall. It’s rare that we get to empathize with a criminal, but Roger’s motives are as honorable as they are selfish.

As is often the case with Norwegian films, especially of this genre, HEADHUNTERS is beautifully shot with a cold, post-modern sensibility. Roger’s house is a rigidly designed array of juxtaposed boxes that compliments the compartmentalized life he leads. Roger is calm, cool and in control while the supporting characters around him appear very much the opposite, from a seemingly desperate Lotte (Julie R. Olgaard) with whom Roger has an affair to the wild and reckless Ove (Eivind Sander), with whom Roger works on his moonlighting venture through a strategic partnership.

What we witness in HEADHUNTERS is the transformation of Roger from a well-disguised man living in fear to a strong and determined man born of the need to fight for survival. We witness Roger transform before our eyes, pushed to the extreme before he realizes what’s truly important and how vain and superficial his life has been prior to meeting Clas Greve.

Clas is a great antagonist, emotionless and precise, like a well-oiled machine with a clear purpose, but able to conceal himself in plain sight. I couldn’t help but notice a resemblance of Nikolaj Coster-Waldau to Josh Holloway from TV’s LOST, which I felt oddly added to the appeal of the character. Clearly this was unintentional, but every little bit helps. When it boils down to the essence of what makes HEADHUNTERS tick, it’s a lack of clearly defined good guys and bad guys. The story is ultimately a tale of misguided intentions and confusion in the face of well-laid plans. The tension between Roger and Clas is built upon a principle of two masters of their craft in a race to finish first, but the confusion arises from Roger reacting to misinformation and assuming a false conclusion.

HEADHUNTERS is a lot of fun, with some dark humor and brutal moments, all wrapped up into a true nail-biter. Aksel Hennie is excellent, showing an impressive range as his character is drug through the ringer on so many levels. I imagine HEADHUNTERS will surely be swallowed up by the Hollywood remake machine, if it hasn’t already, but the original is definitely worthy of your time.

One of the more rare genres of filmmaking is the cinema of absurdity, which can actually be defined in various ways. SUDDENLY, THE MOVIE (De repente, la pelicula) is an absurd comedy, written and directed by veteran Venezuelan filmmaker Luis Armando Roche. New to the genre, this is an experimental film for Roche, derived from a script written 25 years ago. This is a passion project by a filmmaker already well-established in his home country, a filmmaker who has already had films play international festivals such as his 1977 film THE MOVING PICTURE MAN, which played Cannes Film Festival.

SUDDENLY, THE MOVIE is by many definitions not a traditional film. It’s clear that Roche intended to break all the rules, a tactic perfectly acceptable by filmmaker’s with as much experience under their belt. As they say, “you must learn the rules before you can break them.”

I am not going to beat around the bush and get all fluffy by saying the film is perfect. By definition, it cannot be a perfect film because nearly the entire film is improvised. Yes, the entire film, not just the acting. Roche began with a script as his foundation, then took the improvisational concept we’ve seen so many times from Christopher Guest and crew (such as WAITING FOR GUFFMAN, or BEST IN SHOW) and applies it in full effect to a film about the horrors of filmmaking.

SUDDENLY, THE MOVIE follows a young filmmaker named John Loveland, played by Carlos Antonio Leon, who begins production on a film in the Amazon jungle, but when things don’t work out, returns to shoot on location in Caracas, Venezuela. What quickly becomes abundantly clear, is that the film’s shady producer, played by Roche himself, has no interest in spending any more money than is minimally necessary.

Production quickly breaks down into chaos, and crew members begin dropping like flies. As everything begins to fall apart, Loveland chooses to embrace the chaos and frustration of disaster and instead makes what can be an anti-movie, a film where every flaw, every mistake and setback is utilized as a way of making some artistic statement. What ensues is a series of slapstick mishaps and absurdist antics, from piñata props and beer drinking parrots to an unexpected homage to Bollywood. In fact, most of SUDDENLY, THE MOVIE is unexpected.

SUDDENLY, THE MOVIE is definitely a meta-movie, a film within a film, dually conscious of itself. While some of the humor may get lost in the cultural translation, much of it remains in tact for the American audience, producing laughter and even a welcome sense of awe inspired by the amazement of what is seen on screen.

If given the opportunity to experience this film, the best advice I can offer is to remember, everything from the acting to the structure, the story and even the technology behind the production are all improvised. For that reason alone, SUDDENLY, THE MOVIE should attract many a film buff as this off-the-cuff style of filmmaking is a rare cinematic experience.

We first meet Simon curled up inside a garbage can… pardon me, a “space ship.” Simon, played by Bill Skarsgard, has Asperger’s. This means he thinks differently from those around him. Simon has an affection for circles, a fascination with space, and a terrible time dealing with change in his life. Simon lives with his brother Sam, played by Martin Wollstrom, the only person who knows how to talk with Simon so he understand. Unfortunately, when Sam’s girlfriend can no longer take the eccentricities of living with Simon, she leaves, causing Sam to slip into a depression. This is when the fun starts.

Written by Jonathan Sjoberg and directed by Andreas Ohman, SIMPLE SIMON is not a traditional romantic comedy. The film has a similar cute absurdity as Jean-Pierre Jeunet’s AMELIE. The story takes us into the mind of Simon as he struggles to find a solution to his brother’s depression, and in turn his own newly acquired and unwelcome chaos in his daily schedule.

There is a charm to the routine of SIMPLE SIMON, each day has its schedule and each schedule has its structure. Simon relies on the predictability of this organization to maintain peace, but when things do go awry, he retreats to his “space ship.” During his daily walk to his job, at precisely the same time, he repeatedly runs into Frida, played by Sofia Hamilton. Literally, having physically collided with Frida, it sparks an unlikely friendship between the two polar opposite personalities, a friendship Simon is not even aware of as he quests to fins Sam a new girlfriend.

Hamilton is an adorable mess, a free spirit who enjoys the uncertainty of life. The odds of her and Simon getting along so well are astronomical, but she has a way about her that allows Simon to understand her like he understands Sam. Equations begin to formulate in Simon’s head as he develops his master plan. SIMPLE SIMON is visually playful and colorful. Ohman composes a sort of energetic geometry, combining order and chaos to illustrate Simon’s world and the real world, integrated into one reality.

SIMPLE SIMON was Sweden’s 2010 Oscar entry for best foreign language film.

Showtimes
Sunday, November 13th at 3:30pm – Plaza Frontenac Cinema
Tuesday, November 15th at 4:15pm – Plaza Frontenac Cinema

Inspirational sports films are a dime a dozen, with a notable few that stand out, such as MYSTERY ALASKA, but rarely does one rise to the surface as an exceptionally memorable experience for viewers. For the most part, there’s a standard formula by which these films follow, neither good nor bad, but it’s a formula that works so it rarely changes. This is an important concept to keep in mind while watching THE HAMMER.

Directed by Oren Kaplan, THE HAMMER (also known as HAMILL) follows this formula closely, handing in an accomplished but familiar inspirational sports story of a young man rising to become the best, in this case as a wrestler. There’s nothing shameful in this, as the goal of such a film is to inspire audiences after all. The difference in this case, is in the subject matter and a particular creative choice which I found subtle but extraordinarily pleasing in the way the story is told.

Russell Harvard (THERE WILL BE BLOOD) plays Matt Hamill, hearing impaired from birth, he struggles to find his place growing up as the only deaf child in a small rural town. Despite his mother’s desire for him to learn sign language and attend a special school, Matt’s grandfather Stanley resists, pushing Matt to rely on himself, be strong and not fall into the trap of feeling bad for himself. From this “tough love” approach, Matt eventually rises to his own potential and becomes one of the best college wrestlers.

As with many films of this nature, the obvious payoff at the end of the film is not the most rewarding. THE HAMMER is all about the journey, the ups and downs of Hamill’s life, which is dominated by downs. Harvard captures the intricacies of a young man struggling to become a success without the traditional tools given to a deaf child, such as sign language. This become one more obstacle that Matt must overcome, at first learning to read lips as not to rely on others, but eventually learns the value of letting others help after meeting a fellow deaf student named Kristi, played by Shoshannah Stern (Television’s JERICHO and WEEDS). Stern herself is deaf, but her performance is greater than just her situational authenticity.

Raymond J. Barry (LITTLE CHILDREN, Television’s JUSTIFIED) delivers a sturdy performance as Matt’s grandfather Stanley. He provides the rough, no frills essentials that I think of when I imagine this “cold and hard exterior, soft and gooey interior” type of character. Michael Anthony Spady plays Matt’s college roommate and best friend Jay, but the film truly revolves around Matt, his grandfather and Kristi, both of whom help Matt grow in their own ways.

Kaplan taps the heart string; he develops the relationships and emphasizes the difficult times, all elements that fit perfectly within the mold of an inspirational film. The one thing that stands out for me above all else, aside from the choice to cast deaf actors including Russell Harvard and Shoshannah Stern, is the way Kaplan handled key moments in Hamill’s personal growth, moments of significance that shape his character. These most crucial experiences are conveyed in silence, not a mechanical silence, but a living, organic silence that illustrates the world in which matt lives. The result is an increased sense of being in the moment and a heightening of the dramatic impact for the viewer.

THE HAMMER also employs subtitles in a creative way, illustrating Matt’s struggle with reading lips. These little touches are what allow THE HAMMER to stand out from the crowd as an above average inspirational film, despite what might often feel a bit like a Hallmark movie, but also happens to be based on a true story. Matt Hamill is a real person, which is ultimately the most inspirational aspect of such films. At the end of THE HAMMER, the audience is treated to the genre standard of meeting the real life character, but the film wouldn’t be complete without this opportunity.

Showtimes
Saturday, November 12th at 4:15pm – Tivoli Theatre

Ten years ago, director Danis Tanovic won nearly every major film award worldwide (including Golden Globe and Academy Awards) for his exceptional anti-war film NO MAN’S LAND. Using the Bosnian/Serbian conflict in Herzegovina as a backdrop, NO MAN’S LAND used tension, humor, satire, and excellent performances to set a new tone for war films. It has influenced nearly every war film since, most notably another Oscar-winner, THE HURT LOCKER

Now, in only his fourth feature film, Tanovic has returned to this incredibly tragic setting to tell another story with an anti-war theme. However, this one’s message is more oblique and unsettling, because it reminds us that war isn’t just about armies and politicians or beliefs and bureaucracies. It is also — maybe most importantly – about families.

Divko is a middle-aged man who has returned to his hometown after 20 years, and he has returned with gusto. He has money, influence, and a younger redheaded — and smoking hot — girlfriend. His first action upon returning is to throw his estranged wife Lucija and son Martin out of his family home. He relishes being back in his family homestead and sort of reliving his younger days, even visiting the nearby carnival (the circus of the title). It soon becomes clear, from his obsession with his pet cat to his cold treatment of his girlfriend, that Divko has more on his mind than simply reclaiming his heritage.

All the performances are uniformly excellent. The only face familiar to US audiences is Mira Furlan, who plays the embittered Lucija. The Yugoslav actress has appeared in many American TV shows, including recurring roles in BABYLON 5 and in LOST, as the unbalanced island inhabitant Danielle Rousseau.

Tanovic mixes this central story well with a coming-of-age theme and the dangers still present in Herzegovina, at times with a somewhat lighter touch. American audiences may have trouble deciphering all the cultural and political differences that drive the various plot lines of CIRKUS COLUMBIA, but it doesn’t really matter. The ongoing struggles in this region of the world are simply something Tanovic is familiar with, and he is adept at using this background to illustrate the destructive effects of the conflict.

Families torn apart by war is not a new theme, but here the more subtle themes of political coercion and erosion of trust become important elements. War takes its toll, and the actions of the family members seem extreme at times because, as one character puts it, “We’re all a little insane.” Tanovic mixes these characters deftly, slowly revealing how the events of the past have shaped the family relationships that ultimately bring the movie to its satisfying conclusion.

Showtimes

Friday, November 11th at 4:30pm – Plaza Frontenac

Sunday, November 13th at 9:30pm – Plaza Frontenac

I was more than a little surprised by the animated film A CAT IN PARIS. From the stills I expected a sweet little cartoon cat zipping up the Eiffel Tower after dashing through a sidewalk bistro. It turns out that this films owes more to THAT DARN CAT than THE ARISTOCATS. We get a sweet little story about a cute young girl and her kitty with elements of a sleek crime thriller. The film starts with a figure leaping from rooftop to rooftop under moonlit skies. Nico the cat burglar strikes again accompanied by his feline pal, Dino. After they’ve returned to his home with a bagful of stolen jewels, the two part ways. Dino returns to Zoe who lives with her widowed police superintendent Mom and housekeeper. Mother is busy with these night-time robberies and pursuing Victor the crime kingpin who murdered her policeman hubby ( which caused Zoe to stop speaking ). Soon their worlds will collide in a wild chase through the streets of Paris ( including a zoo and cathedral ).

The film resembles a children’s storybook come to life with the rounded characters rendered in the style of pastel and colored pencil drawings. No CGI stuff on display here. Their faces are basic, simple shapes with long, sharp noses and tiny eyes. Backgrounds are blocky box shapes for the cityscapes and loosely detailed shrubbery. Some of the violent gunplay, mild cursing, suspenseful pursuits, and stories of ” dead daddies ” may upset the very youngest film goers. And the English dubbing is a bit clumsy at times. But there’s some great gags and terrific hand drawn animation work on display here, so a trip to the city of lights with Dino the cat is a pleasant, diverting little cartoon getaway

Showtimes

Saturday, November 12th at 1:00pm – Wildey Theatre

Sunday, November 20th at 12:00pm – Washington U. /Brown

CHICO AND RITA is a dazzling, musical feature-length animated film that uses many modern techniques while harkening back to a time, not too long ago, when American studios flirted with the idea of animation geared to more adult stories. Now this is not to say that the great Pixar films don’t have adult themes but their  finished stories are “kid-friendly”. Forty years ago Ralph Bakshi was heading the charge for movie cartoons to compete for mature audiences. As Fritz the Cat said in the ads, ” I’m X-rated and animated! “. Soon Bakshi’s  toned down th more extreme elements in his features ( ending his run with WIZARDS, AMERICAN POP, and his take on Tolkein ) while other studios explored the territory with WATERSHIP DOWN and HEAVY METAL. American audiences never embraced these as they did in Asia and Europe. With C&R the artists are tackling an old fashioned show biz rags to riches love story ( having just seen the new BluRay release I was reminded of NEW YORK,NEW YORK ) and giving it some animated energy to go with that bouncy Latin beat.

The film begins in modern day Havana as Chico, an old shoe shine man, returns to his simple apartment. He tunes in his battered radio to a classic music station and listens to one of his old melodies. His mind flashes back to 1948. Then he was a promising young jazz pianist who, along with his bandmate Ramon, are giving two American “chicas ’ a whirlwind tour of Cuban hot spots. When they enter a small  nightclub, Chico is stunned by the talent and beauty of a young singer named Rita. Over the next few years the two form a professional and personal partnership. They make great music, fight, break-up, reunite, and pursue their dreams. Eventually they separate and Chico travels to New York, Las Vegas, and Hollywood to be with his dream girl as her star quickly rises.

The story is told primarily through the medium of hand-drawn 2-D animation ( as opposed to the CGI molded stars like Shrek ). The human characters are simply designed with a minimum of details and linework. Like a live-action film the camera does zoom in slowly on them for dramatic effect. Now, this is not to say that computers were not used here, The intricate background drawings are separated into levels and given a rounded quality as are the gorgeous vintage autos. This is very effective as the principals race through those sixty year old neon streets. Caricature is also used to establish the settings. We get to hear and see several musical greats from Woody Herman to Charlie Parker to Nat King Cole ( is that Desi Arnaz singing at a funeral? ). During a fantasy dream sequence  Rita’s  dancing with Astaire and romanced by Bogart. As I stated earlier this is really an adult story. There’s some rough language, drug use, smoking, full nudity, and a mob-style shoot out. We even get a bit of history with the Cuban revolution and segregation ( the two leads are dark-skinned Cubans ). This film is a treat for the eyes and ears that doesn’t forget the heart.

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Showtimes

Friday, November 11th at 9:00pm – Wildey Theatre

Friday, November 18th at 9:30pm – Tivoli Theatre

 THE WOMEN ON THE 6TH FLOOR is a new period comedy/ drama from France that surprisingly has much in common with one of 2011′s American blockbusters, THE HELP. Both films are set in the societal upheaval of the early 1960s and both concern the travails of domestic workers and their employers. While the US version was tied to the civil rights movement ( with literally life and death at stake ), the French story is more concerned with social class structure along with a second chance romance. Still both films have a great deal of empathy for the sometimes invisible ” hired help”.

Jean Louis ( Fabrice Luchini) is a successful investment consultant at his old, established family banking firm in 1960′s Paris. He and his status-seeking socialite wife, Suzanne ( Sandrine Kiberlain ) and two spoiled preteen sons ( usually away at an exclusive boarding school ) reside in a large downtown apartment complex. Living above Jean Louis’s opulent apartment that encompasses the entire level are the Spanish born maids who work in the different households. These are the women of the sixth floor who each live almost in squalor, in tiny single rooms and must share one bathroom and a communal sink. One day Jean Louis’s French maid of many years finally quits after another clash with Suzanne. This occurs around the time of the arrival of Maria ( Natalia Verbeke ) a lovely young woman from Toledo who is soon seeking domestic help employment. Jean Louis hires Maria and is charmed by her and her other sixth floor friends ( one is a Daily Worker reading radical, another is deeply religious, one must escape an abusive husband, while another is out to snare a hubby ). His interactions with the ladies rekindle his zest for life after his soul had become deadened by his stale upper class routine. Finally Jean Louis must decide if he will stay on the path that his forefathers have traveled or defy convention and fully join Maria’s world.

The story of cultural and class romance has been explored in many different media ( the BBC-TV series ” Upstairs, Downstairs ” first springs to mind ). Everything here hinges on whether the film makers provide a fresh spin on this subject. I’d have to say that the results here are fairly predictable and a bit condescending. Luchini is the old stick in the mud business guy ( if this were an American film he’d be a WASP ). The breakfast egg fanaticism gives him that anal-retentive extra edge. His wife is a cold shrew only interested in impressing the neighbors, and is never really given the chance to change. Plus the sons are coarse, bullying jerks. Verbeke’s Maria is almost a sensual Mary Poppins who appears to awake the sleeping Jean Louis. She and her “sisters” are the earthy, passionate ethnics that will teach these dullards how to live. They’re each archetypes more than real people. The main problem with the film is the tentative relationship at its center. We can easily understand why Jean Louis falls for the spunky, beautiful, much-younger Maria, but it’s difficult to understand her attraction to him ( yeah, he’s wealthy and becomes more caring, but she deserves more ). The 60′s fashions and settings are well executed, but the final scenes seem hurriedly cobbled together. THE WOMEN ON THE 6TH FLOOR is a sweet-natured film full of good intentions that doesn’t succeed in bringing anything new in the clash between the classes.

Overall Rating: Two Out of Five Stars

Film fans have been enchanted by cinema small towns like Bedford Falls in IT’S A WONDERFUL LIFE ( and of course TV fans will always adore the charms of THE ANDY GRIFFITH SHOW’s Mayberry ) for many years. Well, let’s hop across the pond and spend some time in a mellow little village over in France. This is the setting of a sweet little love story called MY AFTERNOONS WITH MARGUERITTE that begins with a chance encounter between two villagers with very little in common, but who soon are able to fill a void in each other’s lives.

We first meet the younger, male half of the duo during the film’s opening titles. Chazes Germain ( Gerard Depaedieu ) is a middle aged, lumbering, good natured jack-of-all-trades known to most everyone in the little town. He frequently hangs out at a local tavern ( you almost expect them to yell Chazes upon his entrance ala’ Norm in TV’s ” Cheers” ), shares his bed with his lover, the much younger bus driver Annette ( Sophie Guillemin ), and tends to his vegetable garden ( he sells his crops at a local farmers’ market ) in the back yard of the home of his now senile ( but still abrasive ) mother ( Chazes lives in a trailer outside the house ). His life changes radically when he meets a sprightly septuagenarian named Margueritte ( Gisele Casadesus ) at a bench in the town park. She lives at a nearby retirement center and enjoys reading in the fresh air. Her reading aloud sparks a passion for literature in Chazes. In flashbacks we see young Chazes belittled by a bullying teacher as he struggles to read to the class. She even gives him her dictionary as a present. Unfortunately Marguritte’s family cannot afford her apartment at the center and may have to move in with them in Brussels. This, along with news from Annette, prompts Chazes to make some decisions that will change his life.

Spending some time in that park with these two is a nice change of pace from some of the loud, bombastic recent cinematic offerings. Much of the charm that has made Depardieu a French movie icon is well displayed here. Chazes may be thick ( in body and intellect ), but he is a kind, gentle soul. Unfortunately he has a talent for saying the wrong things ( especially when he tries to console the tavern owner who has lost her much younger lover ). This makes the flashback scenes so heartbreaking . Not only do we have the dour school scenes I’ve mentioned, but we see the horrific physical and verbal abuse he endured from his frustrated single mother ( father was out of the picture after conception). Although well into adulthood Chazes still yearns for a nurturing parental figure. The kind, caring, patience Margueritte fulfills his needs. She also becomes an encouraging teacher that opens up the door to knowledge that was slammed shut by the local school. There’s lots of small laughs along with the pathos. Chazes’s conversation with a cat is particularly lovely. MY AFTERNOONS WITH MARGUERITTE is an endearing modern fable that shows how an act of kindness can cause a ripple effect and bless everyone it touches.

Overall Rating: Four  Out of Five Stars

Press Release:

Beverly Hills, CA - Sixty-three countries, including first-time entrant New Zealand, have submitted films for consideration in the Foreign Language Film category for the 84th Academy Awards®.

The 2011 submissions are:

Albania, “Amnesty,” Bujar Alimani, director;
Argentina, “Aballay,” Fernando Spiner, director;
Austria, “Breathing,” Karl Markovics, director;
Belgium, “Bullhead,” Michael R. Roskam, director;
Bosnia and Herzegovina,”Belvedere,” Ahmed Imamovic, director;
Brazil, “Elite Squad: The Enemy Within,” José Padilha, director;
Bulgaria, “Tilt,” Viktor Chouchkov, Jr., director;
Canada, “Monsieur Lazhar,” Philippe Falardeau, director;
Chile, “Violeta Went to Heaven,” Andrés Wood, director;
China, “The Flowers of War,” Zhang Yimou, director;
Colombia, “The Colors of the Mountain,” Carlos César Arbeláez, director;
Croatia, “72 Days,” Danilo Serbedzija, director;
Cuba, “Havanastation,” Ian Padrón, director;
Czech Republic,”Alois Nebel,” Tomás Lunák, director;
Denmark, “Superclásico,” Ole Christian Madsen, director;
Dominican Republic,”Love Child,” Leticia Tonos, director;
Egypt, “Lust,” Khaled el Hagar, director;
Estonia, “Letters to Angel,” Sulev Keedus, director;
Finland, “Le Havre,” Aki Kaurismäki, director;
France, “Declaration of War,” Valérie Donzelli, director;
Georgia, “Chantrapas,” Otar Iosseliani, director;
Germany, “Pina,” Wim Wenders, director;
Greece, “Attenberg,” Athina Rachel Tsangari, director;
Hong Kong,”A Simple Life,” Ann Hui, director;
Hungary, “The Turin Horse,” Béela Tarr, director;
Iceland, “Volcano,” Rúnar Rúnarsson, director;
India, “Abu, Son of Adam,” Salim Ahamed, director;
Indonesia, “Under the Protection of Ka’Bah,” Hanny R. Saputra, director;
Iran, “A Separation,” Asghar Farhadi, director;
Ireland, “As If I Am Not There,” Juanita Wilson, director;
Israel, “Footnote,” Joseph Cedar, director;
Italy, “Terraferma,” Emanuele Crialese, director;
Japan, “Postcard,” Kaneto Shindo, director;
Kazakhstan, “Returning to the ‘A,’” Egor Mikhalkov-Konchalovsky, director;
Lebanon, “Where Do We Go Now?” Nadine Labaki, director;
Lithuania, “Back to Your Arms,” Kristijonas Vildziunas, director;
Macedonia, “Punk Is Not Dead,” Vladimir Blazevski, director;
Mexico, “Miss Bala,” Gerardo Naranjo, director;
Morocco, “Omar Killed Me,” Roschdy Zem, director;
Netherlands, “Sonny Boy,” Maria Peters, director;
New Zealand,”The Orator,” Tusi Tamasese, director;
Norway, “Happy, Happy,” Anne Sewitsky, director;
Peru, “October,” Diego Vega and Daniel Vega, directors;
Philippines, “The Woman in the Septic Tank,” Marlon N. Rivera, director;
Poland, “In Darkness,” Agnieszka Holland, director;
Portugal, “José and Pilar,” Miguel Gonçalves Mendes, director;
Romania, “Morgen,” Marian Crisan, director;
Russia, “Burnt by the Sun 2: The Citadel,” Nikita Mikhalkov, director;
Serbia, “Montevideo: Taste of a Dream,” Dragan Bjelogrlić, director;
Singapore, “Tatsumi,” Eric Khoo, director;
Slovak Republic,”Gypsy,” Martin Sulík, director;
South Africa,”Beauty,” Oliver Hermanus, director;
South Korea,”The Front Line,” Jang Hun, director;
Spain, “Black Bread,” Agusti Villaronga, director;
Sweden, “Beyond,” Pernilla August, director;
Switzerland, “Summer Games,” Rolando Colla, director;
Taiwan, “Warriors of the Rainbow: Seediq Bale,” Wei Te-sheng, director;
Thailand, “Kon Khon,” Sarunyu Wongkrachang, director;
Turkey, “Once upon a Time in Anatolia,” Nuri Bilge Ceylan, director;
United Kingdom,”Patagonia,” Marc Evans, director;
Uruguay, “The Silent House,” Gustavo Hernández, director;
Venezuela, “Rumble of the Stones,” Alejandro Bellame Palacios, director;
Vietnam, “The Prince and the Pagoda Boy,” Luu Trong Ninh, director.

The 84th Academy Awards nominations will be announced live on Tuesday, January 24, 2012, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

Academy Awards for outstanding film achievements of 2011 will be presented on Sunday, February 26, 2012, at the Kodak Theatre at Hollywood & Highland Center®, and televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 200 countries worldwide.

ABOUT THE ACADEMY

The Academy of Motion Picture Arts and Sciences is the world’s preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards – in which the members vote to select the nominees and winners – the Academy presents a diverse year-round slate of public programs, exhibitions and events; provides financial support to a wide range of other movie-related organizations and endeavors; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history. Through these and other activities the Academy serves students, historians, the entertainment industry and people everywhere who love movies.

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Successful film biographies often inspire ‘back-story’ sequels. Since many of these movies end at the conclusion of the subject’s life, producers will go back back and explore an earlier chapter of this remarkable individuals history. Hence, we’ve seen films like YOUNG MR. LINCOLN and YOUNG TOM EDISON. Now many years after AMADEUS, cinema explores the life of ten year old Mozart, but from a different viewpoint. As the title suggests MOZART’S SISTER is indeed this story told through the eyes of Wolfgang’s older sister (by five years). The movie is a fresh look at the formative years of this musical genius, but it also tells the story of an older sibling possessed of incredible talent who had no chance to shine in her brother’s long shadow.

Like many musician stories we first encounter the artists between ‘gigs’ and on the road. The Mozart family (father, mother, sister, and the star son) huddle for warmth in a coach bumping along down a desolate forest trail. Life is hard as they trek from one royal court to the next. Some of them keep the family waiting for days and weeks before the royal performance. Often, the family is not paid for their concerts. Pappa Mozart is a strict taskmaster who insists on many hours of practice everyday. He also makes sure that each child knows their place-sister must not play the violin as it is unladylike. The coach breaks down and the family seeks shelter in a nearby abbey. There they meet the four young daughters of French royal family (the king prefers them to stay hidden there and not reside at the palace). Maria befriends them and grows close to the youngest princess, Louise. She asks Maria to deliver a love letter to the son of a music master when the Mozart family reaches Paris. When they arrive at the palace, they learn that the kingdom is in mourning. The wife of the Dauphin (the Prince) has died in childbirth. In order to deliver the note, Maria must dress as a boy. The young music master is tutoring the Dauphin, who does not wish to associate with any females. Maria, in male drag, begins a friendship with the Dauphin. Will she reveal her true identity to him? How will this effect the family and impact the career of young Mozart?

MOZART’S SISTER is quite a treat for the ears and eyes. The music produced by the two young artists is very impressive. Kudos to the actors for handling the instruments convincingly. The costuming of that period is beautifully reproduced. All the settings from the palace interiors to the quiet abbey, classrooms, and apartments help send us to that 1700′s time period. Marc Barbe as the elder Mozart, Leopold, conveys the ambition and drive that compelled them to travel Europe. Delphine Chuillot gives Mama Mozart, Anna-Maria, a quiet dignity as she tries to accommodate her husband’s dreams while trying to provide a stable family atmosphere. Clovis Fouin as the Dauphin alternates between sadness and romantic interest while also being very mysterious. The young actors really shine in this film. David Moreau as little Wolfgang has the playful spirit of a young boy who doesn’t realize how the family’s future rests on his small shoulders. Lisa Feret is quite remarkable as a young princess who seems so wise for her age. Of course the movie sinks or swims on the performance of Marie Feret as (Nannerl) Maria Mozart. You can see her frustration in her eyes as she must take a back seat to the boy genius. Her father dismisses her work and ignores her creations. Her trepidation at dressing as a boy as in YENTYL is soon replaced by her attraction to the troubled prince.She makes us hope that she will triumph over a world that wants to put her in her place and toss her aside. MOZART”S SISTER has all the trappings of a big movie costume epic, but it succeeds in telling a quiet personal story of a young woman who just wanted a chance to share her musical gifts.

Overall Rating: 3 Out of 5 Stars

Warning! Seeing SLEEP TIGHT could keep you from sleeping for nights. If not, you may still find yourself checking under your bed. No, this isn’t a tale about the boogieman, but it is the story of an entirely different kind of monster, one that may be hiding in plain sight in anyone’s life.

SLEEP TIGHT is written by Alberto Marini and directed by Jaume Balaguero, one half of the creative team that brought you REC and REC2. This is the story of an average looking door man named Cesar (Luis Tosar), a deeply depressed and apathetic human being who masterfully hides his disdain for the world and the inhabitants of the apartment building he serves beneath the disguise of a well mannered and hard working gentleman. What becomes increasingly apparent, is that Cesar ranks somewhere between a stalker and a serial killer on the sociopath scale. Above all else, Cesar is a creepy dude.

What keeps Cesar going each day is his desire to make those around him unhappy. Frequently confiding his disturbing secret only to his hospitalized mother, speechless and bed ridden, Cesar’s focus is finely tuned on an attractive and endlessly cheery resident named Clara (Marta Etura). Using his friendly and charming alter ego to win her trust, Cesar embarks on a long standing series of personal and physical violations against Clara without her having the slightest knowledge of what’s happening. Cesar is determined to ruin Clara’s life.

SLEEP TIGHT may sound like a brutally vicious and potentially violent horror film, but the truth is that comedy is the bedfellow of the film’s more obvious roots in horror. Steeped in subtle, yet strongly scripted dark humor, the audience will likely feel as bad for their laughter as they feel entertained by this surprisingly fresh twist on the psycho thriller genre. Immensely creepy and every bit as iconic as Norman from PSYCHO, Cesar does what few characters on screen can celebrate… simultaneously developing both a hatred and a love for the antagonist.

Cesar is a very smart, cunning and clever man, but is not without his vices or his share of complications. Throughout the film, Cesar must also deal with the least likely of blackmailers, a witness in part to his dubious acts of trespassing, adding an additional layer to the humor, while also serving as a building block to quite an intense climactic moment near the end of the film. SLEEP TIGHT is methodical in its approach, carefully laid out like the best of Alfred Hitchcock’s films.

SLEEP TIGHT is not only a showcase for some inventive plot twists, but the film looks amazing. The cinematography from Pablo Rosso is richly aged, but vivid. Warm tones prevail with an old country feel, not unlike the work of Gordon Willis for THE GODFATHER: PART II. This not only adds to the flavor of the apartment building serving as a character, but also encourages a false sense of safety in the viewer’s mind, an element of storytelling that contributes to out mixed emotions toward Cesar. Should we be rooting for him, or be entirely appalled by his actions?

There is certainly a fine line delineating the black comedy from the dark nature of the story, but its a line we willingly cross in favor of an enjoyably bizarre tale of human interaction. SLEEP TIGHT peels back the superficiality of society, depicting one extreme scenario where Cesar is a man who makes it his life’s purpose to expose the rampant insincerity that surrounds him.

I normally do not subscribe to the hipness of using “OMG” but found the obnoxious acronym making numerous appearances in my mind while watching KLOVN, or CLOWN: THE MOVIE in English. Based on a popular Danish television series by the same creative force, the film fine tunes its awkwardly direct and unbelievable content to fit perfectly within a feature film.

CLOWN follows the antics of Frank (Frank Hvam) and Casper (Casper Christensen) as they embark on the “Tour de Pussy,” an annual pilgrimage to the estate of a wealthy man who hosts the best prostitutes from around the world for just on day of unforgettable debauchery. But, this is the story of their journey, not of the event itself. After Frank makes an utter mess of his relationship with Mia (Mia Lyhne) following some major, unexpected news. He joins Casper for a canoe trip down the river to the big event, but not without making a complete disaster of that as well.

Co-written by real-life comics Casper Christensen and Frank Hvam, and directed by Mikkel Norgaard, CLOWN pulls few punches and shies from even fewer taboos, but approaches the material with a distinctly European style. The film is a hilarious riot, but garners its laughs with subtle, brilliant tastelessness. Structurally, the film resembles THE HANGOVER, but with an ironically higher level of maturity. In many ways, CLOWN combines the vulgarity of this style of comedy with the awkwardness of THE OFFICE and the intelligence of Louis CK’s TV series LOUIE.

The key ingredient to the underlying story of CLOWN, is the young boy named Bo (Marcuz Jess Petersen) whom Frank uses catastrophically as a tool to prove to Mia he is a responsible man. Despite the crude nature of the comedy, CLOWN is actually a movie with a message, nearly invisible but present, as Frank gradually learns how to be a better man. Frank and Casper are polar opposite personalities, but work well together, like Abbott and Costello or Lucy and Desi. Both characters are accidents waiting to happen, walking magnets for things to go horribly wrong.

CLOWN real appeal comes from Frank’s misguided actions aren’t without good intentions, albeit microscopic, but are masked by his selfish nature, a trait he is entirely oblivious too. Casper’s relentless pathology for sex only exasperates the many gut-wrenching scenes, dragging Frank and Bo along with him through the muck and filth. There is a very clear and well choreographed chain reaction at play here, allowing the absurdity to play out naturally on screen.

It’s difficult to say whether CLOWN will get a theatrical release in the US, but my gut reaction is that you’re best chance of seeing this comedic gem will be on DVD and/or blu-ray. This actually makes me sad, as the film rivals, even exceeds, THE HANGOVER and other American films of this type. Fair warning goes out to those easily offended, as CLOWN raises the shock bar higher than we’ve seen in American cinema, yet does so with a much more candid, more easily digestible formula to swallow.

When it comes the romantic comedies, the standard plan of action seems to be a formulaic approach, but it doesn’t need to be that way. BODY TEMPERATURE is really more of a dramedy, but the connection is close enough to be filed under the same category. I mention this because the better romantic comedies are usually the ones not trying so hard to make us laugh, but are more interested in telling a story with some underlying message or greater purpose.

Takaomi Ogata presents BODY TEMPERATURE as a character study, focused almost entirely on Rintaro (Chavetaro Ishizaki), a loner who works from home and lives with Ibuki, his girlfriend of six years… who just happens to be a very life-like sex doll. Rintaro has conversations with her, dresses her, buys her things, even goes on walks with her, but it’s only when he meets Rinko (Rin Sakuragi) that his fantasy begins to fall apart.

In a twist of fate, Rintaro notices an attractive woman entering the subway who eerily resembles Ibuki. Instantly, Rintaro’s focus on Ibuki succumbs to a minor, yet undeniably present fracture. This is the moment that his world begin to dissolve back into the real world. Rintaro, despite his social awkwardness, makes contact with Rinko and slowly builds a strong friendship. One thing leads to another, as they often do, and the truth of the situation begins to reveal itself regarding Rinko’s intentions as well as Rintaro’s little secret.

At only 72-minutes in length, BODY TEMPERATURE is a short, but slowly developing story. Ogata takes his time revealing Rintaro to the audience, detailing his eccentricities. Ogata chooses to dwell on moments, often with long steady shots. This strengthens our understanding of Rintaro’s world. There are no moments of outside criticism, no moments of being bullied or being ostracized as a social outcast. Rintaro exists fully in his world, oblivious to whatever may be occurring in the real world.

Ishizaki reminds me of a Michael Cera character, but far less obnoxious, but looks vaguely like a Japanese Justin Long. In a film that features a cast of only two actors, performance is key. Surprisingly, the strongest performance comes from Sakuragi, who happens to be a Japanese porn star in real life. Who says porn stars can’t act? For the majority of BODY TEMPERATURE, Sakuragi portrays the sex doll herself, seriously… and does so marvelously. This sounds on as it rolls off my own tongue, but the truth is, she was convincing as a lifeless facsimile of a real human being. Yes, that is a compliment!

There are several moments of touching, slightly awkward humor as we watch Rintaro with his Ibuki, like voyeurs in a PG-13 level peep show. The story, however, as well as the “intimacy” of Rintaro with Ibuki get a bit more intense near the end of the film. Without revealing an key plot points, there really is only one genuinely uncomfortable moment in BODY TEMPERATURE. Rintaro does hook up once with Rinko, and it goes surprisingly well, but a visually jarring close-up that occurs at the “climax” of this scene will likely cause audiences to double-take, wince or even vocalize their disbelief.

While the film lingers slowly, at times even too slowly, it’s the lingering that makes it unique. Already compared heavily to LARS AND THE REAL GIRL — I too am guilty of this — BODY TEMPERATURE still strays from the general concept and tells its own story. Ogata focuses on the intimacy angle as its key driving factor, whereas LARS AND THE REAL GIRL focused far more on the social angle. In either case, both films are worth seeing.

The visually impaired protagonist in BLIND is a common thread in the suspense/thriller genres, so it only makes sense that South Korea jump on board. From SEE NO EVIL, HEAR NO EVIL to JENNIFER 8, blindness has made for an interesting character trait over the years, and director Sang-hoon Ahn (ARANG) starts out with an intriguing concept that suggests more promise than is actually produced, developing lead character Min Soo-ah (Ha-Neul Kim) through a tragic accident that kills her brother, for which she blames herself. Her blindness is an unfortunate additional result of the automobile accident.

We jump three years into the future and while Min Soo-ah is struggling to deal with both her handicap and her guilt, we’re introduced to the antagonism, a serial killer is going through female victims like there’s a two-for-one sale on helpless young women. The serial killer, whom is extremely calm and arrogantly confident, really never truly captured my full attention, convincing me of his full evil nature. The killer only slightly dips his blade, the preferred instrument of his diabolical craft, into the pool of possibilities. I had hoped for a much more dynamic villain.

By chance, Min Soo-ah becomes entangled with the killer when she’s involved indirectly in a hit-and-run accident. As a witness, the authorities first write off her testimony, but later come to realize her visual impairment allows for an altogether unique perspective on the details of the case. All the while, the killer is keeping tabs on Min Soo-ah as he continues his killing spree. Ha-Neul Kim can be equated to a younger Clarice, not yet graduated to being a detective, her career halted by the accident. She is clever and intuitive, but without the same level of inner fire that drove Clarice in SILENCE OF THE LAMBS.

The killer (Yang Yeong-jo) plays with Min Soo-ah like a cat plays with a mouse it does not yet desire to consume, cold and curious. To him, his victims are mere entertainment for a twisted but intelligent mind. BLIND plays like a weak, watered down Hitchcock tale. The mystery is so shallow that little is left to surprise the viewer, other than what ultimate fate shall be in the cards for Min Soo-ah. The dialogue, as with the acting, is often so overly melodramatic that it diminishes the darker tones of the story, and most regretfully, reduces the killer to a disappointing stereotype.

BLIND is a visually attractive film, but once again suffers setback from an often overly melodramatic score. As is frequently the case with lesser Asian films, the lackluster scores are a downfall in the final product. This type of musical accompaniment draws too heavily on the sappy, Hallmark-esque ringing of the proverbial tear-soaked handkerchief, a effort typically lost on my nearly moisture-proof force field. One of the more enjoyable performances came from Detective Cho (Hie-bong jo), reluctantly assigned to Min Soo-ah’s case. She eventually breaks Cho down, proving her blindness is actually a channel for an entirely new insight that the majority of seeing people overlook. The chemistry and relationship built between these two characters is strong, producing a number of charmingly chuckle-worthy moments.

Ultimately, BLIND is a film some will inevitably enjoy, but the more discerning genre fans will find mediocre at best. My experience with BLIND was primarily defined as a drab, boring stroll through what could have been a brisk, intriguing scurry through the darker edges of David versus Goliath, pitting a weaker, handicapped female heroine against a stronger villain. In the end, the backstory of Min Soo-ah’s guilt and comes full circle, satisfyingly tying up the emotional loose ends into a rather predictable bow. Min Soo-ah does also have her moment in the sun as an empowered women vanquishing her male aggressor, but unfortunately comes a bit too late to have its full and desired impact.

It’s always surprising to learn that people in faraway foreign lands really have the same dreams and desires as folks next door to us here. The main conflict is how their families and communities react and respond to them. For the past several decades Iran has been a big part of the Middle East news. Our last president even included it in his “Axis of Evil”. It turns out that a lot of the population, particularly the young people, really embrace Western culture and attitudes. The new film from writer/director Maryam Keshavarz, CIRCUMSTANCE, shines a light on a part of that country that its government wishes to keep hidden.

CIRCUMSTANCE tells the story of two women in their late teens. Atafeh ( Nikohl Boosheri ) is the outgoing, musically gifted daughter of an upper class family who were at the forefront of the revolution that ousted the Shah several decades ago. Shy, reserved Shireen ( Sarah Kazemy ) lives in her Uncle and Aunt’s lower middle class home. Her mother and father were ‘radical” professors who’ve been “out of the picture” for several years. During the day Atafeh and Shireen are studious schoolgirls, but after their classes are done they doff their head scarfs and enter the world of secret parties were they drink and dance to forbidden Western music. Soon we learn that they share more than friendship and must hide their love from society. One day, Atafeh is surprised at the return of her older brother Mehran ( Reza Sixo Safai ). Mehran had given up a promising music career years ago because of his drug addiction. His father gives welcomes him back while monitoring his behavior. One night after hitting an underground dance club, Atafeh and Shireen accompany two young men to a secret storeroom of CDs and DVDs from the West. They decide to dub the film MILK into Iranian and distribute it. Unfortunately they are arrested by the “Morality Police” on the way back home. What is Mehran’s involvement with this? And will the women realize their dream of life together in far off Dubai?

Keshavarz directs her original script with a confident hand making great use of the city locations and countryside while guiding the cast in giving naturalistic performances. The two young lead actresses succeed in creating two characters who will hopefully be an inspiration to women all around the world. Boosheri practically bursts off the screen as the joyous Atafeh while Kazemy is caught between her desires and the repressive society. Safai’s Mehran may have the most complex character arc as he switches his addiction from crack cocaine to radical fundamentalism. His actions in support of his new ‘ brethren’ are quite disturbing. I’d like to have seen a bit more of the reasons why one of the girls makes an abrupt life choice and I wished that the film could’ve followed the fate of another character. Seems odd to say, but I think the film could’ve used another quarter hour in length. This is a powerful film that really turns a spotlight on the oppression of women ( they’re forbidden to swim at the beach, while the men enjoy the cooling waters). It’s a film that will make you applaud the courage of these young people and appreciate the freedoms that many of us take for granted.

Overall Rating: Three and a Half Out of Five Stars

Ah, the call of the open road! The old wanderlust has grabbed many movie characters from Harry and Tonto to the Grisswalds. Some of them hit the road to also fulfill a mission like Jake and Ellwood Blues. And a few are trying to get away from an institution or facility like McMurphy and his guys or Michael Keaton’s DREAM TEAM. The trio in Ralf Huettner’s new film VINCENT WANTS TO SEA encompasses all those groups. This quirky road picture  is German-made and is about a European excursion. And like many of these other films, it’s not about the destination-it’s about the journey.

We first meet Vincent ( Florian David Fitz ) attending the funeral of his much beloved Mother. After several unfortunate verbal outbursts, he races out of the memorial service-he has Tourette’s syndrome. Later Vincent’s estranged father, an ambitious politico ( Heino Ferch ), checks him into a mental health facility run by Dr. Rose (Kathartina Muller-Elmau ). There Vincent is assigned to share a room with Alex ( Johannes  Allmayer ), who has Obsessive Compulsive Disorder. The next day Vincent is given a tour of the grounds by Marie ( Karoline Herfurth ), an anorexic. Later she visits Vincent and shows him that she has grabbed the keys to Dr. Rose’s car. They should take a trip! But where? Vincent has a plan.  His mother’s ashes in a candy tin which he smuggled into the facility. He wants to release her ashes off the coast of Italy which Mom loved dearly. As they are about to depart, Alex shows up and threatens to report them. They grab him and speed away. Soon Dr. Rose calls Vincent’s Dad and informs him of the incident. Fearing a scandal, the man drives down , picks up Rose, and heads off in pursuit. Can they catch up to the trio before they get into any more trouble and before Marie’s damaged heart gives out?

VINCENT GOES TO SEA like other road movies sprinkles a few laughs along the road as Vincent bids a final goodbye to his mother. Huettner’s crisp direction serves the story well. He showcases the beauty of the German and Italian locations while still focusing on the characters and the intimate moments between them. Fitz’s Vincent is a sensitive, gentile soul frustrated in try to control his verbal outbursts, who sometimes, unfortunately, vents his anger physically. Allmayer’s germ-phobic, Bach loving Alex gets many of the film’s laughs, but still shows his character’s sad, lonely side. Herfurth’s Marie may be the most complex and damaged of the group. At first she seems to be a free-spirited nymphet eager to share herself with Vincent. Later we witness the depths of her illness as she marches toward self -destruction. I had thought that anorexia was an American affliciction before seein this. Seems this affliction has spread around the world. Their pursuers have a great rapport as Rose is concerned over the fragile Marie while Vincent’s father lightens up and begins to try and understand his son.  VINCENT GOES TO SEA offers an interesting look at these young people that society often labels misfits. It’s certainly a trip well worth taking.

Overall Rating: Four Out of Five Stars