Category: 4. Joe Bendel

LFM Reviews Wes Anderson’s Cannes Opener Moonrise Kingdom

By Joe Bendel. Two twelve year-old runaways would like to remake the generic sounding Mile 3.25 Tidal Inlet into a New England version of the Blue Lagoon, but they aim to maintain the cultural trappings of 1965 middle class America, as they relate to it, in the process. Unfortunately, the adult world keeps intruding on their private moments in Wes Anderson’s Moonrise Kingdom, the opening night film of this year’s Cannes Film Festival, which bows theatrically in New York tomorrow (Friday, 5/25).

Sam Shakusky is a terrible Khaki Scout. Actually, his skills are not that bad, but he does not fit in socially with Scout Master Ward’s troupe. Unbeknownst to Ward, Shakusky is an orphan, about to get the heave-ho from his foster family. However, the sensitive scout has successfully wooed Suzy Bishop, the eldest child of two self-absorbed yet profoundly unhappy attorneys.

When Shakusky fails to appear at revile one fateful morning, it sets off a manhunt throughout New Penzance Island, taxing the meager resources of Captain Sharp, Mrs. Bishop’s recently dumped lover. Chastely dedicated to each other, the two fugitives would like to permanently retreat from reality at the prosaically named inlet they duly redub “Moonrise Kingdom.” Instead, they will repeat a cycle of chase, apprehension, and escape, as a historic storm approaches New Penzance, as it always happens in an island-bound story.

Bill Murray, Frances McDormand, Ed Norton and Bruce Willis in "Moonrise Kingdom."

It takes about ten seconds for Moonrise Kingdom to announce itself as a Wes Anderson film, through his constantly panning camera and the richly detailed vintage sets. Indeed, the attention to detail extends down to the covers of the chapter-books Bishop reads aloud to Shakusky. Yet, rather than detracting from his fable-like story, Anderson’s signature style is perfectly suited to the innocence of young love. Focusing on young POV characters is actually quite a shrewd strategy on his part, giving him the license to incorporate all kinds of nostalgic eccentricity (nod to Norman Rockwell? Check.) while staying faithful to their precocious worldview. Frankly, this is the sort of film a visual stylist like Tim Burton ought to be making, instead of aimless tent-poles like Dark Shadows.

As Mr. Bishop, Anderson mainstay Bill Murray once again plays a middle-aged depressive with deep-seated relationship woes. Fellow alumnus Jason Schwartzman is also back for more, getting some of Moonrise’s best comedy scenes as Cousin Ben, a slick operating senior Khaki Scout. Indeed, the film boasts several notably colorful supporting turns, including by Bruce Willis, acting his age and playing against his action hero persona as the put-upon Captain Sharp. Tilda Swinton also absolutely plays to the hilt the personification of bureaucracy known simply as “Social Services,” while the mere sight of Bob Balban’s “Narrator” in his bright crimson wardrobe generates laughter. Still, the dramatic load largely falls on the young newcomers, Jared Gilman and Kara Hayward, who are quite emotionally engaging leads, playing their scenes together scrupulously straight.

Essentially, Moonrise is a children’s movie for adults. Robert Yeoman’s cinematography gives it all a sensitive period sheen, while the soundtrack (dominated by the unlikely combination of Benjamin Britten and Hank Williams recordings, more than Alexandre Desplat’s original themes) effectively underscores the wistful vibe. Altogether, it is very Wes Anderson – but its gentle, humane spirit is quite winning. Recommended surprisingly highly (well beyond Anderson’s established circle of admirers), Moonrise opens tomorrow (5/25) in New York at the AMC Lincoln Square and Regal Union Square.

LFM GRADE: B+

Posted on May 24th, 2012 at 1:08pm.

The Price of Liberty: LFM Reviews The Last Christeros @ The 2012 Seattle International Film Festival

By Joe Bendel. One of the twentieth century’s bloodiest assaults on religious freedom happened in the western hemisphere. It was perpetrated by “revolutionary” Mexican socialist president Plutarco Calles, whose iron-fisted anti-clerical policies inspired a real grassroots revolution. By the 1930’s an uneasy and imperfect peace had been brokered, but scattered bands of Cristero resistance fighters held out as best they could. One of the final squads grapples with their destiny in Matías Meyer’s The Last Christeros, which screens during the 2012 Seattle International Film Festival.

Mexico is still a land of wide vistas John Ford could love, but it is steadily closing in on the Cristero remnants. Pursued by a company of Federales, Col. Florencio Estrada’s troops are running low on everything, including bullets. Word reaches them of an amnesty, which some of the men are willing to consider. However, Estrada has been down that road before. Calles had violated the terms of truces before, and the period of his unelected “Maximato” was still underway. Though he misses his wife and daughters, Estrada has long since realized he will meet his end through this war, one way or another.

To establish the stakes of the Cristero revolution, Meyer opens the film with the 1969 oral history recording of Francisco Campos, who very well may have been the last Cristero. However, that is about as deeply as the film delves into the political, historical, and religious significance of the civil war. Instead, Last Christeros (for some reason, the international title carries the Anglicized “h,” while most references to the Cristeros maintain the original spelling) is an impressionistic depiction of the trying conditions endured by the weary freedom fighters. Theirs is not an existential life, though. Rather, they live for a purpose.

Though the ensemble consists largely of neophyte actors, they all look convincingly gaunt and weathered. Alejandro Limon is particularly haunting as the dedicated (and/or resigned to his fate) Estrada. Yet the picture’s defining work is that of cinematographer Gerardo Barroso, who creates painterly-like tableau of the rugged terrain and hardscrabble villages the Cristeros silently trudge through. Galo Duran’s evocative soundtrack also helps set an appropriately wistful mood.

For those thinking the Cristero revolt would also readily lend itself to a more traditional historical drama take heart—Andy Garcia rides into theaters with For Greater Glory on June 8th. This mini-boomlet of interest in the Cristeros is actually quite timely. In an election year, it reminds us of the price many have paid for liberty. If not exactly a work of advocacy cinema, Meyer certainly respects the Cristeros’ sacrifices. Recommended for open minded cineastes, The Last Christeros screens again next Wednesday following (5/30) as part of this year’s Seattle International Film Festival.

LFM GRADE: B

Posted on May 24th, 2012 at 1:08pm.

LFM Reviews Niall Ferguson’s Civilization: The West and the Rest on PBS

Watch Civilization – Preview on PBS. See more from Civilization: The West and the Rest with Niall Ferguson.

By Joe Bendel. The Ottoman Empire’s decree banning printed type in 1483 was obviously a noteworthy historical event. According to economic historian Niall Ferguson, it was a particularly telling incident, emblematic of the increasingly sharp distinctions between the West and the rest of the world. Ferguson lucidly explains six key attributes or so-called “killer apps” contributing to the West’s ascendency for the last five hundred years or so – and pointedly asks if they are now beginning to shift to the East – in the two-part sweeping survey Civilization: The West and the Rest, adapted from his bestselling book of the same name, which airs the next two Tuesday nights on most PBS outlets nationwide.

One of Ferguson’s touchstone figures is a “Resterner” rather than a Westerner. During the reign of Emperor Yongle, the technologically advanced China was a relatively pleasant place to live, especially compared to the dismal conditions of Europe. However, Yongle’s successors would turn China’s focus inward, ceding the global stage to upstart Westerners. The West was well suited to capitalize because of those six killer apps: competition (first between grubby European city-states for prestige, and than in the more traditional capitalistic sense), science, democracy (particularly when coupled with widespread property ownership), modern medicine, democracy, and the work ethic.

While many of these might sound rather obvious, Ferguson puts each into a fresh perspective. Science would indeed seem like a glaring no-brainer, but not to the Ottomans. Just as the Catholic Church was relaxing its attitudes towards scientific inquiry, the Muslim religious authorities were taking an even harder line, including but not limited to the prohibition against type in favor of calligraphy.

Historian Niall Ferguson.

Even when analyzing American history, the British historian offers some intriguing insights. Though public schools largely give short shrift to the founding of the Carolina Colony and the Fundamental Constitutions written by John Locke, Ferguson contends they represented an unprecedented opportunity for social mobility. In less than a decade, a despised member of the English underclass could bind himself into indentured servitude, receiving free and clear title to his own land holdings at the end of his term. As a property owning man, thereby entitled to vote, he became a fully vested member of the economic and political establishment.

While Ferguson largely avoids normative judgments, he makes time to critique what he dubs America’s “original sin,” slavery, and its bastard child, segregation. Yet, in keeping with his previous scholarship, Ferguson is more forgiving of European colonialism, especially with regards to the spread of modern medicine (in this case a kindly app) throughout Africa.

Of course, the central questions concerning Ferguson are whether the West still believes in its killer apps and if Resterners have developed better upgrades. This really comes to the fore during his discussion of the work ethic—the Protestant Work Ethic to be more precise. Here the Chinese are demonstrably outperforming the West, even America, by any standard of productivity. The real revelation, though, is the linkage Ferguson posits with the upsurge in Protestant religious observance in Mainland China. Ferguson’s observation: “today there may actually be more practicing Christians in China than in Europe” is a heavy statement rife with implications few are seriously grappling with. In no uncertain terms, China is identified as the Restern power to watch. Yet Ferguson never fully addresses the enormous disparities between the go-go coastal cities and the desperately poor rural villages, where consumerism and even modern medicine have yet to fully arrive.

Christians in China.

Granted, Ferguson’s approach is somewhat anecdotal, but those stories are truly fascinating, more often than not. Naturally, compressing five hundred years into four hours will lead to odd allocations of focus. As a case in point, German sociologist Max Weber has at least twenty times more screen time than Lenin, Stalin, Hitler, and Bismarck combined. On the other hand, his scholarship withstands history’s scrutiny better than their ideologies.

Simultaneously erudite and telegenic, Ferguson is an almost chatty host, who could be accused of glossing over decades and even centuries with the wave of a hand. Yet he is dashed convincing, pulling viewers through his arguments, step by logical step. It all might sound dry, but it is surprisingly entertaining. Frankly, viewers will be rather sorry to see Civilization end, so to speak. Immensely timely and intellectually engaging, Ferguson’s Civilization is very highly recommended television. It begins this coming Tuesday (5/22) and concludes the following week (5/29) on most PBS stations.

Posted on May 19th, 2012 at 10:01am.

Alienation in LA: LFM Reviews IFC Midnight’s Entrance

By Joe Bendel. Suzy is carless in LA. That is about as depressing as it gets. Frankly, she might as well let her psycho-stalker kill her, if she really has one. Regardless, there is something seriously amiss with her life in Dallas Hallam & Patrick Horvath’s Entrance (spoilery trailer here), which opened a week of late night screenings at the IFC Center last night and is now available via IFC Midnight’s VOD platforms.

Suzy has a nice pad and her roommate Karen’s friends have accepted her readily enough. Yet she has yet to make any deep human connections in LA and her barista job is profoundly unfulfilling. There is something wrong with this picture, but we cannot determine if it is because of Suzy or someone around her.

Initially, Entrance sets off every mumblecore alarm bell, depicting Suzy’s workaday life in mind-numbingly repetitive detail. However, there are occasional what-the-heck-was-that moments that should not be ignored. Hallam & Horvath are steadily inching towards something and it is rather shocking – precisely because of the time we have invested in the scrupulously ordinary characters.

Actually, there is nothing commonplace about Suziey Block’s performance as Suzy (with the more conventional spelling). Quite attractive in a real world way, she withstands the co-directors’ harsh close-ups, vividly portraying a woman on the verge of an ambiguous breakdown. While the deliberately grubby DIY style might put off some viewers, most will find themselves caring about the increasingly alienated protagonist, despite her frequently problematic nature.

Suziey Block in "Entrance."

Hallam & Horvath shrewdly use the LA setting, but not necessarily with love. Instead, it represents an isolating, compartmentalized environment. The city also attracts a lot of sketchy types. There is indeed a reason why Entrance is being released as a Midnight special, but explaining why would give the game away.

Co-written by the co-directors with most of their principle cast, Entrance represents an unusually patient genre outing, taking considerable (perhaps even excruciating) time and effort to set up the third act that pulls the rug out from everyone’s feet. Though not another found footage film (thankfully), it feels substantially more real, which ultimately makes it far more disturbing. A slow build that eventually pays off, Entrance is recommended for genre fans who appreciate something a bit outside the norm. Now available on VOD, it also screens for a week of midnights (or thereabouts) starting tonight (5/18) at the IFC Center in New York.

LFM GRADE: B-

Posted on May 19th, 2012 at 9:59am.

Channeling Marilyn: LFM Reviews Nobody Else But You

By Joe Bendel. Generally speaking, it is a bad idea to emulate self-destructive movie stars. However, the sexpot of Mouthe, the coldest town in France, does not have a lot of role models to follow. Unfortunately, she meets the same fate as her idol Marilyn Monroe in Gérald Hustache-Mathieu’s slyly inventive Nobody Else But You (a.k.a. Poupoupidou), which is now screening in New York.

David Rousseau is a series mystery author with a severe case of grinder-outer’s block. In Mouthe on a time-wasting errand (the sort of excuse editors refer to as “waxing the cat”), Rousseau is intrigued by a tragic local death. The body of weathergirl and aspiring actress Candice Lecoeur was found in the no man’s land between the French and Swiss borders. As a result, her death will not be properly investigated, unless he does it himself.

As he reconstructs Lecoeur’s life, largely by reading her diaries, Rousseau begins to fall for the woman who honestly believed she was the reincarnation of Norma Jean. Likewise, Lecoeur develops affectionate feelings for the hack writer turned sleuth. Yes, she serves as the real time spectral narrator of the film, just one of the many potential pitfalls Hustache-Mathieu nimbly skirts.

NEBY obviously suggests comparisons with Otto Preminger’s Laura, but Lecoeur really is dead. Even so, it really is a love story between Rousseau and Lecoeur, distinguished by if-only regrets rather than romantic courtship. Yet somehow Hustache-Mathieu manages to keep the tone relatively light and buoyant, which is a neat trick indeed. He also fully develops the Marilyn Monroe connection in a spirit similar to Kenneth Branagh’s Dead Again and clearly demarcates each of the many flashback sequences.

Looking like Michael Fassbender’s dissolute older brother, Jean-Paul Rouve is scruffily charismatic as Rousseau, but he has an undeniably intelligent screen presence. Appropriately not exactly a drop-dead beauty, Sophie Quinton still exudes unbridled sex appeal as Lecoeur, while conveying all her inner insecurities. Rarely together on-screen, they still develop their not-relationship quite convincingly.

A great noir thriller with a fair sprinkling of laughs and a hint of paranormal romance, NEBY is a wholly original and completely satisfying film. Cleverly written yet totally engaging and accessible, it is highly recommended for general (if somewhat adult) audiences. It is now playing in New York at the Cinema Village and opens in Los Angeles at the Landmark Nuart on June 8th.

LFM GRADE: A

Posted May 16th, 2012 at 11:59am.

LFM Reviews The Tim Burtonized Dark Shadows

By Joe Bendel. Fans of The Adams Family get psyched. Tim Burton has revived your favorite franchise. He is calling it Dark Shadows now, but the goofy vibe remains the same. Die-hard devotees of the ostensive source material – Dan Curtis’s cult television show – might not be overwhelmed by the results, though. Burton and his regular repertory players certainly do their thing in the latest reboot of Dark Shadows, which is now playing widely throughout the country.

Barnabas Collins was the privileged son of an English fishing magnate, who built the coastal Maine town of Collinsport largely through his industry. Despite his fascination with the occult, the arrogant Collins spurns the love of Angelique Bouchard, a domestic servant who also happens to be a powerful witch. In retrospect, this was a mistake. Seething in fury, Bouchard bewitches Collins and his true love, compelling her to throw herself from the impossibly Burtonesque cliffs and turning him into an undead vampire.

Whipping the village rabble into a frenzy, Bouchard entraps Collins in a coffin, secretly burying him, so he can feel the anguish of his loss and unquenched thirst for all eternity. Then one fateful 1972 night, workmen discover Collins’ burial site. A spot of blood-letting and a liberal supply of fish-out-of-water gags soon follow.

It turns out the Collins family fortunes have suffered during the centuries Collins was away. Of course, the prodigal patriarch sets about righting matters, through the help of his supernatural powers. As per the rules of Tim Burton films, Sir Christopher Lee duly appears in a cameo as a salty dog sea captain falling victim to Collins’ mesmerism. Yes, that is one Burton tradition well worth maintaining.

Johnny Depp as Barnabas Collins.

Granted, Shadows looks great. Burton is clearly in his element when exploring spooky old houses and the 1970’s era wardrobe and soundtrack adds the right kind of kitsch. If only the script had benefited from the same attention to detail lavished on the banister in Collingwood, the Collins family manor. Instead, the story is really just a clothesline on which to hang Adams Family-style jokes, while Collins and Bouchard act like the Tracy and Hepburn from Hell.

As Collins, Johnny Depp basically does his shtick. In spite of viewer resistance, he gets laughs (particularly with his old school swearing invoking all manner of hellfire invective), but this is very definitely a one-note performance. At least Eva Green seems to get it. She is gleefully wicked as Bouchard. The fact that she looks like she was poured into her wardrobe does not hurt, either. Michelle Pfeiffer also looks great as Elizabeth Collins Stoddard, the living head of the Collins household. Still, aside from Depp and Green getting their supernatural groove on, the talented ensemble does not have much to do.

While the original cast members, including the recently deceased Jonathan Frid, briefly appear as party guests, the film’s truly inspired cameo features Alice Cooper as himself. Bizarrely, Burton tries to offer olive branches to the traditional fan-base by shotgunning about a half dozen of the revelations from the original show into the final climax. However, it would have worked much better had he sprinkled more of that plot throughout the film.

To some degree, Bruno Delbonnel’s dark and stormy cinematography, combined with Burton’s typically eccentric baroque sets and costumes, helps compensate for a thin screenplay and repetitive jokes. Overall, though, it is just a mildly diverting summer confection filled with empty cinematic calories. For Burton fans, it is now in theaters across the country, including the Chelsea Clearview here in New York.

LFM GRADE: C

Posted on May 15th, 2012 at 3:59pm.