LFM Reviews Just a Sigh @ The 2013 Tribeca Film Festival

By Joe Bendel. Given the rainy climate and the subject matter, performing a regional production of Ibsen in Calais must be depressing. It is a gig, but Alix has yet to be paid for it. Her career is not going so well and her personal life is rather rocky too, so when she meets a handsome stranger she cannot help wondering “what if” in Jérôme Bonnel’s Just a Sigh (trailer here), which screens during this year’s Tribeca Film Festival.

Alix and a quiet, sensitive looking man are both taking the train from Calais to Paris. She hopes to re-establish some order in her finances and have a long talk with her partner. Maddeningly, he just does not seem to be around. Yet, as fate would have it, she again crosses paths with the man with the sad eyes. Douglas has come from Britain for the funeral of a Parisian college friend. Despite his very real grief, he is undeniably attracted to Alix. Things do indeed run their course, but both are reluctant to let go of the moment.

Granted, Sigh revisits the familiar terrain of Brief Encounter and other short but sweet cinematic trysts. However, Bonnel’s mostly French language film is unusually mature, sophisticated, and frankly kind of hot, in a middle aged way. The on-screen chemistry between co-leads Emmanuelle Devos and Gabriel Byrne is quite powerful. Devos shows considerable flexibility, segueing from Alix’s scatter-brained rushing about to her massively smoldering scenes with Byrne. For his part, the Irish actor radiates tragic dignity as her temporary lover.

Sigh is a deceptively simple story, implying years of frustration and regret with a glance. Gorgeously lensed by Pascal Lagriffoul, it is a seamlessly elegant package. Paris never looked better on film and every love scene should be so tastefully staged as those found here. Bonnel only errs in giving too much screen time to Alix’s condescending family, because they break his intoxicating spell.

Deeply romantic but never sentimental, Just a Sigh is exactly the sort of French film French cinema connoisseurs love to love, harkening back to the cross-over appeal of A Man and a Woman. Featuring Byrne, arguably a bigger star today as result of his TV work on In Treatment and Vikings, it should be a no-brainer acquisition candidate. Enthusiastically recommended, Just a Sigh screens again this Sunday (4/21), Thursday (4/25), and next Sunday (4/28) during the 2013 Tribeca Film Festival.

LFM GRADE: A

Posted on April 20th, 2013 at 2:45pm.

LFM Reviews Frankenstein’s Army @ The 2013 Tribeca Film Festival

By Joe Bendel. Okay, it’s a little creepy, but animating dead bodies has obvious military advantages. The National Socialists would be just the sort to develop such technology. In fact, the grandson of a certain controversial scientist has apparently cobbled together quite a monstrous division of soldiers in Richard Raaphorst’s Frankenstein’s Army, a midnight selection of this year’s Tribeca Film Festival.

Dimitri is a graduate of Soviet film school filming a small recon squad in the field. Less than thrilled to be shepherding the would-be documentarian and his nebbish assistant, the commanding officer busts their chops every chance he gets. Everyone is on edge since radio contact with headquarters was cut-off. Suddenly, a mysterious distress call lures them to a remote monastery, whose occupants were gruesomely murdered by a mysterious force. You can probably guess where things are headed from here, even if the Commies can’t.

The potential midnight movie appeal of Nazis vs. re-animated freaks needs no explanation, but Frankenstein’s Army is poorly served by its found footage structure. That it is in color frankly makes no sense. Hardcore cineastes will also be disappointed that Dimitri, the Soviet Tarantino, never nods towards the work of Eisenstein or Vertov that should supposedly have inspired him, not that this will be foremost in the minds of late night patrons. However, they will notice when he “cheats” with the conceit.

On the other hand, Raaphorst is on pretty solid ground in the manner he depicts the Red Army. Hardly liberators, they are more like marauders, committing war crimes against the local peasantry that the commander not so discretely censors. Likewise, it becomes clear that their Soviet masters do not care about the soldiers’ safety. In fact, they have a secret agenda in the whole horrific affair.

The Frankenstein monsters are also quite inventive in a ghoulish way, looking like a rogue’s gallery of Silent Hill creatures decked out in Nazi regalia. While Karel Roden has plenty of genre cred, his mad doctor’s character is sadly underdeveloped. There is an intriguing hint of a backstory involving the Frankenstein family’s complicated relationship with the German state, but Raaphorst never fully capitalizes on the Frankenstein legacy (after all, if he is the grandson, then Basil Rathbone’s Baron Wolf von Frankenstein must be his father, right?).

Army’s gory effects and make-up are definitely first-rate.  Cult movies fans looking for a few grisly thrills should find it adequate, but those hoping for more given its historical context will probably be disappointed. Earning points for its realistic portrayal of the Soviet war machine, Frankenstein’s Army is recommended for Silent Hill franchise fans (which it so resembles) when it screens again tonight (4/20) during the 2013 Tribeca Film Festival.

LFM GRADE: C+

Posted on April 20th, 2013 at 2:44pm.

LFM Reviews Deep Powder @ The 2013 Tribeca Film Festival

By Joe Bendel. Prepare to go back to the 1980’s to get your Bret Easton Ellis on again. The privileged kids of a New England prep school consume conspicuously and do mountains of blow. They even do a spot of smuggling, which predictably leads to trouble in Mo Ogrodnik’s Deep Powder, a Viewpoints selection of the 2013 Tribeca Film Festival.

Eight years ago the Deep Powder secret society was formed on campus by the elite of the elite. Ostensibly a ski club, every Christmas vacation a member is chosen to score a load of cocaine in Paraguay for the group to distribute over the coming year. Reckless senior Natasha Tabor conspires to take the place of her risk-averse middle class roommate because she just doesn’t care. Or at least she didn’t until she met the dirt-poor brooding ski-lift operator Danny.

A promising high school hockey player, his college career was derailed by an accident. However, a Division I coach has promised him a three year scholarship if he can cover the first year. Has anyone ever heard of a college making this kind of an offer, because it smells like a clumsy plot contrivance from here, but maybe that’s how NCAA Hockey rolls. Regardless, he needs money and his girlfriend just so happens to be making a drug run.

The good news is that Deep Powder is possibly the funniest movie screening at Tribeca this year. The bad news is that it probably isn’t supposed to be. The word “comedy” never appears in the film’s description, but if it was intended as a parody of overwrought indies, Ogrodnik nails it.

Unfortunately, the design team is rather wide of the mark in recreating the 1980’s. Aside from a nostalgic appearance of a handheld video game, everything feels wrong here, including the wardrobe and figures of speech. In one scene, Danny Ski Lift woos Tabor with a vintage soul 45 that sounds very cool, but is totally era inappropriate. Still, Deep Powder captures the vibe of cheesy 1980’s melodramas. Throughout the film, audiences will constantly expect a John Parr video to erupt. Perhaps “hope” is a more accurate term than “expect.”

In truth, St. Elmo’s Fire seems to be the standard on which the cast based their performances, getting about the same tepid results. Still, Haley Bennett brings an interesting presence to the film. It might not be a great star turn, but we certainly believe she is a messed up kid.

One can imagine the pitch for this film as Donna Tartt with a pinch of Miami Vice. If only that were on the screen. Instead, Deep Powder offers a surfeit of unintentional comedy. It is hard to recommend a film on that basis, but sometimes we have to take our entertainment where we find it. For those who are strangely intrigued, it screens again tomorrow (4/21), Monday (4/22), and Friday (4/26) as part of this year’s Tribeca Film Festival.

LFM GRADE: C-

Posted on April 20th, 2013 at 2:43pm.