Category: 4. Joe Bendel

By Joe Bendel. It’s either the apocalypse or an average day on the outskirts of Los Angeles. Who’s to say which? Whatever the case might be, there is a palpable sense of menace in the air, but at least nobody has to hold down a regular job in Evan Glodell’s extreme DIY indie production Bellflower (trailer here), which opens this Friday in New York and elsewhere.

Woodrow and Aiden moved to LA more or less out of aimlessness. They drink a lot and speculate about the fall of civilization, which happened in LA around 1978. As part of their fantasy wish-fulfillment, they begin building a flame-thrower and pimping-out Medusa, a Mad Max style set of wheels. To put it more accurately, Aiden constructs all their hardcore hardware. Woodrow, by contrast, does not seem to be especially handy – but to be fair, he is a bit distracted by his love life.

If you consider a bug-eating contest at a downscale Coyote Ugly an endearing ice-breaker, then Woodrow and Milly do indeed meet cute.  She pretty much tells him straight out she is a problem chick, but he falls for her anyway. The fact that she is still sharing a crash-pad with her ex is of no never mind, until he inevitably walks in on them. From there things get really heavy, but Aiden has the flame-thrower operational, so they can set fire to stuff, which is always a good release.

Evidently a guerilla production of epic proportions, the behind-the-scenes story of Bellflower is probably more interesting than what made it onto the screen. Reportedly plagued with long involuntary shooting hiatuses, one would have thought Glodell could have used the time to tighten up the script. Frankly, his story is a real shrug-inducer, not in an obscure postmodern sense, but just for the baffling way it strings together scenes.

Yet, for all its deliberate eccentricity, there is something effectively eerie about the atmosphere Glodell crafts on his blue light special budget. While cinematographer Joel Hodge was probably forced to shoot on cast-off film-stock salvaged from dumpsters, Bellflower’s grainy look is appropriately suggestive of its apocalyptic themes, while evoking glorious exploitation movies past. Likewise, there is no denying the inventive design work that went into the creation of Medusa.

Not surprisingly, the performances in Bellflower are rather scattershot. Still, there is an interesting dynamic going on between Glodell and Tyler Dawson, as Woodrow and Aiden, respectively. While there are host of dark undercurrents at play, they still convey a sense of unconditional friendship that is surprisingly redemptive.

The term “rough around the edges” does not say the half of it for Bellflower. Yet, the craziest thing is the sense one gets that Glodell made exactly the film he intended. He definitely has a strange knack for establishing mood, but he probably ought to work from someone else’s scripts in the future. A decidedly mixed bag, but admirable nonetheless for its scrappiness, Bellflower opens this Friday (8/5) in New York at the Angelika Film Center.

Posted on August 4th, 2011 at 3:07pm.

By Joe Bendel. In the sleepy Latin American village of Mariquita, the battle of the sexes is over. Essentially, the women have won by default. A win is still a win though. Indeed, it allows the new mayor to institute some radical changes in Gabriela Tagliavini’s Without Men (trailer here), which screens for a week in New York as part of the traveling Maya Indie Film Series.

One fateful day, a band of Marxist guerillas arrive to liberate Mariquita. This entails shooting the mayor and forcibly impressing the rest of the village’s males into their ranks. Only the horndog priest is left behind in this village of supermodels. Rosalba should be the most distraught, since it was her husband who was executed. However, he was an unfaithful dog of a man, so good riddance. As she was always the brains behind his administration, she wastes no time in assuming office. Unfortunately, the rest of the village is at loose ends.

The first half of Without Men is likely to cause apoplexy among any women vaguely identifying as feminists. Incapable of even changing a light bulb on their own, the women of Mariquita basically sit around pining for some sexual healing. Naturally, to offend the Catholics in the audience, Father Rafael cons them all into believing the Holy Spirit has called him to ensure procreation continues unabated. Yet, once they boot him out of town (for running out of mojo), they start building a feminist utopia. This all sounds like a good story to the gonzo reporter who supplies the film’s framing device.

About ten seconds of internet research will reveal Eva Longoria makes out with another woman in Without Men. In fact, lesbianism becomes a major theme of the film. Even the great Maria Conchita Alonso gets in on the act. Frankly, her presence alone makes one far more predisposed to like the film. A truth-teller who has criticized the oppressive Chavez regime in her native Venezuela and its Hollywood cheerleaders, the film’s anti-Communist prologue must have appealed to her. However, aside from the general helpings of naughtiness (but nothing explicit), Without Men is fairly insubstantial.

In fact, Oscar Nuñez’s shtick as Father Rafael really is pretty offensive. Eva Longoria is game enough as the type-A Rosalba, but Kate del Castillo is rather pedestrian as her butchy new love interest. Frankly, they are both outshined by the dazzling Yvette Yates and Fernanda Romero, who have little to do except look hot, but they do that well. Christian Slater recycles his familiar slickster screen persona as the reporter likably enough, but Camryn Manheim is just embarrassing as his potty-mouthed boss.

Given all the teasing going on, the net result is certainly watchable. Tagliavini keeps everything bright and colorful, always showing her cast at the most flattering light. Ideologically, it is something of a mish-mash, which in itself is not necessarily a bad thing. There just is not much to it though, aside from Longoria’s scenes of you-know-what. One of the weaker installments of the Maya Indie Series, Without Men screens at the Quad Cinema in New York, once a day for a week, 7/29 through 8/4.

Posted on August 1st, 2011 at 3:15pm.

By Joe Bendel. These kids from South London do not have much of a sense of wonder. That’s okay, though, because the aliens they stumble across are not exactly cuddly E.T.’s. A juvie street gang and a marauding pack of aliens take it to each other real good in writer-director John Cornish’s sci-fi invasion mash-up Attack the Block (trailer here), which opens this Friday in New York.

Council estates (a.k.a. the projects) are not a fun place to live. Just ask Sam. The over-worked, under-paid nurse is mugged by Moses and his cronies on her way home from work. Much to everyone’s surprise, a crash-landed alien distracts the delinquents, allowing her to give them the slip. After a few tussles with the critter, Moses draws first blood, but there are plenty more on the way from who knows where. Before long, the kids will need the services of a nurse, even if she did finger them to the coppers. It is a reluctant alliance, but screaming balls of alien teeth are a strong motivation.

As a mere fifteen year-old, Moses is the oldest amongst his mates. Though poised to become a junior drug dealer for High Hatz, the estate’s top dog, he still has limited access to weaponry. Fortunately, they have well developed survival instincts and killer attitude.  Some might see all this as an allegory for the inner city’s ever-repeating cycle of violence, but it is definitely game-on regardless.

Cornish has a great ear for dialogue (when Yankee audiences can discern it), keeping the super cool banter flying fast and furious. Frankly, Block has the sort of the knowing genre edge overly broad spoofs like Black Dynamite sorely lack. Yet the film works rather well as an invading horde movie in its own right, capitalizing on the specifics of the council estate environment, like the notoriously slow elevators and winding hallways, for some cleverly staged thrills.

Sam the nurse is also a refreshing surprise, showing some backbone rather than merely assuming the role of passive victim. Indeed, Jodie Whittaker clearly plays her smart rather than dumb, which helps keep viewers rooted in the story. The young cast also bounces off her rather well in their scenes together, particularly the intense John Boyega, who is Block’s real find as Moses. He convincingly portrays the young tough growing up and coming to terms with his life choices, which is almost as hard to do in character as it is for real.

Wisely, Block largely eschews explicit politics, trusting those inclined to find class-consciousness in the council estate setting will duly find it. What is on the celluloid is an energetic, consistently inventive space alien smack-down. Definitely recommended as a high-end summer roller coaster, Block opens today (7/29) in New York at the AMC Empire and Regal Union Square 14.

Posted on July 29th, 2011 at 9:20am.

By Joe Bendel. When acquitted by a Bronx jury of a specious political prosecution, former Secretary of Labor Ray Donovan famously asked “which office do I go to get my reputation back?” Former Pennsylvania State Treasurer R. Budd Dwyer understood the sentiment. At least Donovan survived with his life and liberty relatively intact, whereas Dwyer took his own life during a press conference. While the media has always preferred to dwell on those final shocking images, James Dirschberger shines a light on Dwyer’s record of public service and the controversial prosecution that precipitated his suicide in the new documentary, Honest Man: The Life of R. Budd Dwyer (see the trailer), which screens in Los Angeles this Friday.

The media assumed Dwyer’s fateful presser would be their gloat session, where the recently convicted Dwyer would announce his resignation. Instead, they stood by watching as a man shot himself and then ran the video over and over again. Thanks to dubious testimony extracted under a plea bargain agreement, Dwyer had just been convicted of bribery, even though he never received any money from the government witness in question. He had not been sentenced yet, which proved to be the tragically significant impetus for his final act. Once that would occur, his family would lose all his pensions, while stuck with his mounting legal bills.

The refrain frequently heard in Honest Man is if this could happen to Dwyer, it could happen to anyone. There is no question John Torquato intended to bribe Dwyer for a state contract he was already best qualified to win. However, the prosecution conceded no money ever changed hands. Instead, acting U.S. Attorney James West offered the reputedly mobbed-up Torquato and his attorney William Smith a deal if they would establish Dwyer’s intention to accept. Continue reading LFM Review: The American Tragedy of An Honest Man