LFM’s Govindini Murty at The Huffington Post: A Conversation With Director Robert Stone of Pandora’s Promise; Film Debuts Tonight (11/7) on CNN

[Editor’s Note: the post below appears today at The Huffington Post.]

By Govindini Murty. There are few things more important than the energy that powers our civilization. And yet, generating that energy involves difficult trade offs between human progress and the environment. Whether it was Prometheus who stole fire from the gods or Pandora who opened Zeus’ box, the human desire for knowledge and development has often conflicted with nature’s implacable will.

Nothing symbolizes this more in the modern age than nuclear power. Academy Award-nominated director Robert Stone’s provocative new documentary Pandora’s Promise, airing November 7th on CNN, takes a surprising look at this most controversial of energy technologies. I saw Pandora’s Promise earlier this year at the Sundance Film Festival and interviewed Robert Stone in person about this much-debated film.

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Robert Stone "Pandora's Promise."

Pandora’s Promise interviews a series of notable environmentalists who were formerly anti-nuclear activists but who changed their minds and became proponents of nuclear energy (director Robert Stone himself made this journey). Stewart Brand, Michael Shellenberger, Mark Lynas, and Gwyneth Craven make their case for why nuclear power (which gives off no CO2 emissions) is the best option for fulfilling the rapidly growing energy needs of the planet without increasing fossil fuel consumption.

Although I had a considerable bar of skepticism to overcome given the high-profile nuclear accidents that have occurred, the film did take the time to examine these. Stone and his subjects traveled to the Three Mile Island, Chernobyl, and Fukushima nuclear plants and examined the design flaws that led to their infamous accidents (Chernobyl, for example, had no containment structure). The film argues that such reactors would never be built today.

Pandora’s Promise also interviews nuclear scientists about what it states are the vastly better fourth generation of nuclear reactors (for which Bill Gates is funding some of the research) that can recycle their own fuel and are impossible to melt down. The film contrasts this with the thousands of coal power plants that are being built in China and the developing world today at enormous environmental cost.

A cube of uranium in "Pandora's Promise."

While I don’t know if nuclear energy is the answer (I’d like to know a lot more first), Pandora’s Promise did open my eyes to the costs of renewable energy, such as with wind and solar (wind uses oil and gas-powered backup generators, solar panels are toxic to manufacture). It also inspired me to think that there may be cleaner, more high-tech options on the horizon to generate energy – options we don’t even know about, but that are worth rigorously investigating.

Beyond the specific issue of nuclear energy, however, the most interesting aspect of Pandora’s Promise is that it highlights the ethical imperative of using science to lift billions of people around the world out of poverty. This focus on improving human lives and alleviating poverty is notably missing from many discussions of the subject.

For example, when I lived a year in Borneo as a teenager while my mother worked on an agricultural development project, the tribes-people we visited in the rainforest would raise the question: why should they remain poor and undeveloped while we in the West enjoyed all the comforts of electricity and technology? Similarly, a bright and idealistic cousin of mine who works in the electric utilities field in India asked me what right the developed world has to demand that India not build more power plants when electricity is crucial to improving the lives of hundreds of millions of their poor? Continue reading LFM’s Govindini Murty at The Huffington Post: A Conversation With Director Robert Stone of Pandora’s Promise; Film Debuts Tonight (11/7) on CNN

LFM Reviews Houston @ The 2013 Sundance Film Festival

By Joe Bendel. H-Town is way different from the Ewings’ Dallas, but there is still a lot of energy money there. That is indirectly why German corporate headhunter Clemens Trunschka is visiting. He is supposed to make a confidential offer on behalf of a client to a prominent Texas petroleum CEO without alerting his current firm. This turns out to be easier said than done in Bastian Günther’s Houston (clip here), which screened as part of the World Dramatic Competition at this year’s Sundance Film Festival.

Trunschka drinks too much, straining his relationship with his wife Christine. Perhaps sensing trouble at home, his son has been acting out at school. It is a problem his father is not inclined to face. In a way, the assignment to recruit Steve Ringer comes at an opportune time, getting Trunschka out of the house for a while. After missing Ringer at an exclusive European energy conference, Trunschka must follow him to H-Town. However, the combination of jet lag, liquor, and the blinding Texas sun seem to have a disorienting effect on the headhunter.

Since Ringer’s gatekeepers keep him locked up tighter than Rapunzel, Trunschka will have to get creative to reach him. The pressure is mounting, which has a further destabilizing effect on the German. However, a fellow guest in his hotel seems eager to help. Robert Wagner, the actor’s namesake as he is quick to point out, seems to be the perfect caricature of the loud backslapping American. In fact, he is clearly supposed to make viewers suspicious—about Trunschka.

From "Houston."

While there is plenty to make viewers wonder about the firmness of the German protagonist’s grip on things, Günther’s approach is tightly restrained, dry even. Trunschka’s dark night of the soul is all about brooding rather than knock-down drag-out binge drama. Ulrich Tukur, best known for The Lives of Others and John Rabe is perfectly suited for the tightly wound, quietly cracking-up Trunschka. He can do a slow burn better than just about anyone. Likewise, Garret Dillahunt nicely hints at an unsettling undercurrent beneath Wagner’s aggressively good humor.

Cinematographer Michael Kotschi makes the most of Houston’s dazzling sunlight and the reflections off its glass and steel towers, creating a real sense of an urban wonderland. While strikingly composed, the entire film is too fixated on shiny surfaces, never really getting to the characters root cores. Nonetheless, some commentators will surely embrace the film as another critique of the capitalist system, even though it depicts a rather singular crisis—a self-destructive alcoholic’s inability to convey a lucrative job offer to a highly successful executive.

Houston looks great, but mostly offers empty calories, despite the quality of Tukur’s work. Still, it might be interesting to some East and West Coasters as a window into Europe’s perspective on the Texas state of reality. As a result, Houston is likely to get further festival play, particularly given the two well known German and American principle cast-members, following its world premiere at the 2013 Sundance Film Festival.

LFM GRADE: C+

Posted on February 4th, 2012 at 9:58am.

LFM Reviews Stoker @ The 2013 Sundance Film Festival

By Joe Bendel. India Stoker is sort of a female Hamlet. After her father died under mysterious circumstances, her mother is all eyes for her uncle. However, Uncle Charlie is more interested in replacing his brother as a pseudo-father-figure for India in Park Chan-wook’s first English language film, Stoker, which screened during the 2013 Sundance Film Festival.

India Stoker and her father were always very close, having bonded during their regular hunting trips. Yes, she is a gothic protagonist who can handle a firearm. Her relationship with her mother is another matter. Evelyn “Evie” Stoker is a woman so chilly and severe, by law she has to be played by Nicole Kidman. When Uncle Charlie shows up after the funeral, the widow turns to him for “comfort.” India is not impressed, rebuffing all her Uncle’s overtures of friendship. Kindly Aunt Gin appears quite alarmed by Charlie Stoker’s presence, but she disappears before she can explain why. People seem to do that around the Stoker family.

Stoker is exactly the sort of film Tim Burton’s Dark Shadows should have been, but totally wasn’t. Park’s mastery of mood is reflected in every scene, particularly in some visually arresting transitions. While the lurid nature of the material often approaches camp, Park emphasizes the repressed, brooding and eerie atmospherics. It also helps that Wentworth Miller’s screenplay tells a fully fledged story that mostly comes together down the stretch (rather than stringing together a series of gags).

It would be spoilery to explain why, but it is safe to say audiences have never seen Mia Wasikowska like this before. Yet in a way, India Stoker is something of a psychologically troubled cousin to Jane Eyre. Matthew Goode holds up his end, bringing all kinds of creepiness as Uncle Charlie. Although Kidman is often relegated to the sidelines, she perfectly delivers some scathing Mommie Dearest lines in the pivotal third act confrontation that audience members were quoting immediately after the screening.

Park’s accomplished hands have transformed a V.C. Andrews-ish yarn into an unusually stylish, dark fable. The Oldboy auteur’s admirers should be well pleased with his English debut and it also ought to earn Wasikowska a whole new level of fanboy appreciation. Elegantly sinister, Stoker is recommended for sophisticated genre patrons. It screened as a Premiere selection of this year’s Sundance Film Festival.

LFM GRADE: B+

Posted on January 30th, 2012 at 11:10am.

LFM Reviews Metro Manila @ The 2013 Sundance Film Festival

By Joe Bendel. The blue Kevlar helmets issued by a Filipino armored car company identify their drivers as targets just as much as they provide protection. It is dangerous work, but it is the best opportunity for one desperate economic migrant. However, he finds himself in the midst of a risky game in British filmmaker Sean Ellis’s Metro Manila, which screened during this year’s Sundance Film Festival in Park City.

Exploited as rice farmers in the rural north, Oscar Ramirez and his family pull up stakes to seek work in Manila. Unfortunately, they fall victim to a series of cruel scams as soon as they get off the bus. With no other options, his wife reluctantly takes “hostess” work at a sex bar. Just as things look truly hopeless, Ramirez lands a job with an armored car company, thanks to his military background and some timely coaching from his prospective partner, Ong.

The veteran Ong definitely knows how to game the system, but he also seems to take an interest in Ramirez. After a few days on the job, though, it becomes clear the senior driver has a suspicious agenda, involving the recent hold-up that claimed the life of his previous partner.

Metro’s first act is unremittingly grim and naturalistic. Watching the Ramirez family suffer one indignity after another is tough going. Frankly, Ellis maintains the grim tone throughout, but really cranks up the tension as the crime drama takes shape. This is a smart, taut story, but like Ron Morales’ Graceland, Metro portrays Manila as a relentlessly corrupt and predatory metropolis (which some might raise some eyebrows coming from a Brit like Ellis). In a pointed example, the armored car company is just as likely to make deliveries for drug dealers as for legitimate banks. That is where the money is.

Jake Macapagal is very good as Ramirez, the Filipino Job, completely guileless but stretched to his breaking point. Nonetheless, John Arcilla constantly upstages him as Ong with his charismatically garrulous villainy. While completely convincing as a middle-aged ex-cop, he has an electric screen presence that largely pulls viewers through all the teeming misery and inequity miring the characters.

Metro fits a whole lot of plot into about a week’s worth of time. In fact, all the events transpire before Ramirez’s first payday—an important fact to keep in mind, given certain decisions he makes. Dark and gritty as anything screening in Utah last week, Metro will not be to all tastes, but it is a surprisingly powerful combination of class conscious social drama and the caper movie. Highly recommended for fans of Filipino cinema and verité-ish crime-in-the-streets films, Metro Manila screened in Park City as part of the World Cinema Dramatic Competition section at the 2013 Sundance Film Festival.

LFM GRADE: A-

Posted on January 30th, 2012 at 11:10am.

LFM Reviews Magic Magic @ The 2013 Sundance Film Festival

By Joe Bendel. And now Sebastián Silva presents the second part of Michael Cera’s Chilean vacation. This was the film they intended to make all along, but when the financing temporarily bogged down, they whipped up Crystal Fairy to pass the time. While Silva’s Magic Magic has a darker, more intriguing premise, it was probably too art-house for genre patrons when it screened as part of the Park City at Midnight section of this year’s Sundance Film Festival.

Alicia has come to Chile so she can visit her cousin Sarah, who is just so gosh-darned thrilled to have her there. Alicia seems a bit high maintenance, which is not what Sarah needs right now. Having some private business to tend to, Sarah pushes Alicia off on her boyfriend Agustín and some friends leaving on a coastal vacation. Something about Alicia brings out the absolute worst in the sexually confused expat Brink, but the shy and clumsy (perhaps deliberately so) Alicia gets on everyone’s last nerve. It is mutual. As Agustín’s friends mock and complain about Alicia behind her back, her mental state begins (or continues) to deteriorate.

Minor spoiler alert: By far the biggest disappointment of MM is the lack of a violent death for Cera’s Brink. Considering how unpleasant he is (just as annoying as his character in Crystal Fairy, if not more so), he really has it coming. In fact, Silva disregards most of the principles of EC Comics, avoiding genre scares in favor of slow brooding atmosphere. Something is definitely off in MM, but Silva lets it all emerge slowly.

Juno Temple and Emily Browning in "Magic Magic."

In a weird way, MM closely parallels Cristian Mungiu’s Beyond the Hills, right down to its ambiguous third act. However, the climatic event makes logical sense in the Romanian film, whereas in MM it rather comes out of left field.

As Brink, Cera is bilingually irritating, which is sort of impressive, really. As Alicia, Juno Temple is a perfect portrait of arrested development (if you will) and emotional neediness. She is just all kinds of trouble. She also takes the Sundance honors over Cera and Silva, having appeared in three films at this year’s festival (also including Lovelace and Afternoon Delight). To her credit, Emily Browning brings some presence to the underdeveloped role of Sarah, whereas the Chilean characters are even more undistinguished, seemingly on hand just to rub Alicia the wrong way.

Silva masterfully creates a mood of profound unease, but it never really pays off. Magic Magic is the sort of film that is more interesting to look back on than to watch in the moment. Given the big name talent involved, it is a cinch to play fairly far and wide after its premiere at the 2013 Sundance Film Festival.

LFM GRADE: C+

Posted on January 30th, 2012 at 11:09am.

LFM Reviews Big Sur @ The 2013 Sundance Film Festival

By Joe Bendel. Big Sur has a long history of inspiring artists, from Henry Miller to Charles Lloyd. Jack Keouac was also one of them, sort of. Adapting Kerouac’s autobiographical novel of his time spent along California’s scenic central coast, Michael Polish conveys an impressionistic sense of Kerouac’s language and the lonesome unspoiled environment in Big Sur, which screens during the 2013 Sundance Film Festival.

To protect the guilty (most definitely including himself), Kerouac changed the names of the Beat elite who appear in Big Sur. Polish changes them back, perhaps to make the film more commercial, but frankly there is no mistaking Kerouac or the Cassadys (or Ferlinghetti for that matter). Only a few years have passed since the publication of On the Road, but Kerouac is not dealing with success well. The literary rock star has come to California with the intention of holing up in Ferlinghetti’s Big Sur cabin to purge his soul. However, a typical Kerouac bender delays his arrival at City Lights.

Eventually, Ferlinghetti ensconces Kerouac in Big Sur, hoping his time spent in isolation will recharge his creative drive. For a few days Kerouac enjoys communing with nature, but he gets antsy quickly. Before long, he is reconnecting with Neal Cassady, launching into a doomed relationship with his friend’s soon-to-be-former mistress, and generally carousing with the usual suspects.

As plot goes, Big Sur leans to the sparse end of the spectrum, making it a real cinematic challenge. However, Polish arguably captures the rhythm and vibe of Kerouac’s language better than any other filmmaker, directly incorporating generous excerpts from Kerouac’s novel, read by Jean-Marc Barr in the persona of the author. Accompanied by images of natural beauty and underscored by a subtle but stylistically diverse score, Big Sur is not unlike a cinematic tone poem at times.

Yet the film is surprisingly peppy. Rather than hold one striking image for an interminable length of time, Polish shows the audience one after another, and yet another, in rapid succession. As result, Big Sur always feels like it is getting somewhere, even when it has little narrative business to show for itself.

A rich visual feast, Big Sur functions as a heck of a show-reel for cinematographer M. David Cullen (whose extensive credits include Jennifer’s Body). Barr also sounds great reciting Kerouac, but dramatically his work is something of a mixed bag. He lacks Kerouac’s considerable physicality and charm, but he certainly expresses the restlessness that defined the author, as well as his aura of danger and dissolute inclinations. Cullen’s lens also loves Kate Bosworth. Nonetheless, she is largely wasted as Kerouac’s increasingly exasperated lover Billie, but Anthony Edwards adds an appealing human dimension to the proceedings as Ferlinghetti.

With the choice to see one Beat Generation-related film from this year’s Sundance, it should be Big Sur rather than the over-hyped Kill Your Darlings. Granted, it might not completely pull it off, but Polish’s film comes far closer to translating Kerouac to the big screen than other recent attempts. There are even surprisingly playful moments that suggest the Pull My Daisy spirit.  Recommended for Beat fans, Big Sur screened as a Premiere selection of this year’s Sundance Film Festival.

LFM GRADE: B

Posted on January 30th, 2012 at 3:37pm.