Day: June 19, 2013

The War in Syria: LFM Reviews Not Anymore: A Story of Revolution @ 2013 AFI Docs, Presented by Audi

By Joe Bendel. Filmmaker Matthew VanDyke has unusual but highly pertinent qualifications to document the Syrian revolution. The self-described freedom fighter escaped from Gaddafi’s Abu Salim prison, where he was held in solitary during the Libyan civil war. Like a Twenty-First Century throwback to the partisan press corps that covered the Spanish Civil War, VanDyke both documents and advocates on behalf of the everyday Syrians rebelling against Assad’s dictatorship in his short documentary, Not Anymore: a Story of Revolution, which screens during the 2013 AFI Docs presented by Audi (as it is now officially, if awkwardly known).

VanDyke’s fixer is also his producer and subject. Nour Kelze sounds like she was once the sort of modern, educated woman so desperately needed in the Middle East. A former school teacher, she explains that she once wore fashionable clothes and high heels, but “not anymore.” With the onset of the Ba’ath regime’s crackdown, she became a war photographer, adopting the profession’s Kevlar helmet and vest.

Kelze guides viewers through the chaos that once was the thriving city of Aleppo. Although still populated, the neighborhoods strafed by Assad’s forces now look like a ghost town. Free Syrian Army commander “Mowya” wryly observes that Assad certainly made good on his promise to clear out the panhandlers from the desolate, bombed out streets.

From "Not Anymore: A Story of Revolution."

While Not Anymore clocks-in just under fifteen minutes, VanDyke captured more action in that time-frame than he probably would have liked. Unlike some documentary filmmakers, he is clearly willing to put himself on the front line, just like his producer. That gives the doc real immediacy and authenticity.

Throughout the film, VanDyke’s interview subjects pointedly ask why America has not forcefully interceded on their behalf. He is understandably diplomatic in his responses, but the hard truth is for the last four years or so, American foreign policy has been more interested in cultivating relations with regimes like Assad’s than changing them. Perhaps his film will open some eyes. Granted, it has a decided point of view, but it still is a powerful example of cinematic journalism. Recommended for all viewers concerned about conditions in Syria, Not Anymore screens tomorrow afternoon (6/20) and Sunday morning (6/23) as part of the Truth Be Told programming block at this year’s AFI Docs presented by Audi.

LFM GRADE: A-

Posted on June 19th, 2013 at 1:24pm.

A Hand-Crafted Indie: LFM Reviews Touch; Available Now on DVD

By Joe Bendel. If a craftsman works with their hands and an artist works with their hands and heart, than Tam is a manicure artist. Brendan is a mechanic and a regular customer. Their business relationship will evolve into the realm of the ambiguously personal in Minh Duc Nguyen’s Touch, which releases today on DVD from Cinema Libre.

Tam is quiet but she has considerable talent for her work. Despite her reserve, she is reasonably popular with her co-workers and clients at V.I.P. Nails. Brendan is a special case. One day the sheepish chap walks into the salon for a deep cleaning of his grease-stained hands. Evidently his increasingly distant white collar wife has used his grubby paws as an excuse to keep him at arm’s length. Tam gets the grime out, but that is just the start of it. Each time Brendan returns for his regular cleansing, she coaches him on ways to win back his wife’s affections.

Of course, the close contact between Tam and Brendan leads to more intense yearnings, confusing them both. On paper, they would seem a much better match. Both work with their hands and are relatively shy, but quietly harbor deep feelings. Unfortunately, Tam’s efforts to care for her difficult father monopolizes much of her personal time.

From "Touch."

Touch is too realistically messy to be called a romance, but it taps into some pretty intimate territory. Yet it should resonate with particular force for first and second generation Vietnamese immigrants, who understand the hardships endured by the older characters during their flight from the Communist oppression.

John Ruby’s work as Brendan is refreshingly mature and down-to-earth, but the film is truly defined by Porter Lynn’s star-making turn as Tam. She powerfully but sensitively portrays the young woman’s vulnerability and hidden pain, as well as her sensual side. There is no question this is her film, but Journey from the Fall star Long Nguyen’s brave performance as her father also has real impact.

Small in scope, it would not take much cutting to adapt Touch for the legit stage. Nonetheless, it expresses some very real emotions, with honesty rather than false sentiment. If only more slice-of-life indies were like this. An impressive, unassumingly humanistic film, Touch is recommended for those who appreciate adult drama. It is now available on DVD and digital/VOD platforms from Cinema Libre.

LFM GRADE: B

Posted on June 19th, 2013 at 1:22pm.

Bad Hair Day: LFM Reviews Maniac

By Joe Bendel. In its 1980’s heyday, Times Square was the place to find hipsters and lowlifes in close proximity. Today, if you need a similar ambiance for a remake of William Lustig’s grindhouse fan favorite Maniac, there is only one place to go: Los Angeles. You might well ask why someone would want to remake Lustig’s schlocker, but Franck Khalfoun has, so here it is, opening this Friday in New York at the IFC Center.

In Khalfoun’s reboot, Frank Zitto still has a thing for mannequins and mother issues that would give Norman Bates pause. No longer a schlubby apartment super, he is now the nebbish proprietor of his family’s mannequin supply company. Business is about as brisk as it is at the Bates Motel, allowing Zitto plenty of time to prey on women. For Zitto, it is all about the hair. When a coif strikes his fancy, he stalks the owner, killing and scalping her.  He brings his trophies home to adorn his personal stash of mannequins.

Despite all logic, Zitto develops an ambiguous friendship with a woman. Anna, a French expat and experimental photographer, shares his fascination with mannequins. Instead of killing her, he starts to have relationship notions. However, his homicidal urges continue unabated.

While Elijah Wood receives top billing, he is mostly heard rather than seen throughout Khalfoun’s Maniac. In a dubious attempt to be provocative, Khalfoun shows the grisly events unfold through Zitto’s eyes. Initially, this gimmick is only moderately annoying, but it becomes progressively more so as the film slogs along.

From "Maniac."

Casting Wood as the psycho killer is a bit problematic, because most of his victims could keep him at bay simply by palming his forehead. Regardless, the film’s misogynistic impulses are far more troubling. It is not content to dispatch Megan Duffy’s inked-up Lucie in typically gruesome fashion. It first forces her to voluntarily relinquish her dignity. Frankly, the cheap thrills in this Maniac are better described as cheap rather than thrilling. Yet, somehow Khalfoun’s Maniac has arthouse pretensions, even bringing the classy Nora Arnezeder aboard as Anna. Unfortunately, her winning screen presence is undermined by the character’s profoundly poor judgment.

One could raise a host of issues with the film, but the bottom line is that it just isn’t any fun. Still, in their way, both Maniacs 1.0 and 2.0 are a tribute to the Giuliani transformation of 42nd Street. The fact that such grubby exploitation is now at odds with the City is a good thing for those of us who live here. Not recommended, Khalfoun’s Maniac opens Friday (6/21) at the IFC Center for its built-in grindhouse fan base.

LFM GRADE: D-

Posted on June 19th, 2013 at 1:21pm.