LFM Reviews Tibetan Warrior

By Joe BendelAn optimist might argue that Tibetan Buddhism has already defeated Maoist Communism, because it continues to rapidly gain converts around the world, while nobody believes in the CCP, not even the Politburo. His Holiness, the Dalai Lama, is globally revered, whereas those who know of Premier Li Kequiang are generally not favorably disposed towards him. However, pessimists will counter that nonviolence is doomed to fail against a government that ruthlessly massacred its own people at Tiananmen Square. Traditional Tibetan musician and activist Loten Namling is definitely a glass-is-half-empty sort of person, but he continues to do his part to advance the cause of Tibetan freedom through nonviolent means. However, the increasingly oppressive situation in occupied Tibet and the alarming reports of self-immolation protest-suicides escalates the urgency of his efforts in Dodo Hunziker’s documentary Tibetan Warrior, which released last week on DVD and VOD.

Namling is Tibetan, but he has never set foot in his country. He was raised in Dharamsala, but Switzerland has been his home for many years. Namling has achieved some prominence popularizing Tibetan music, even performing for His Holiness. Not surprisingly, music will play a role in his latest campaign, but that will be the easy part. First he will make a pilgrimage from Bern to Geneva, on foot, dragging a coffin to raise awareness of Tibet’s plight. Once he has completed his journey, he will play in a consciousness-raising concert, co-organized by Franz Treichler of the New Gods.

When Namling set off on his trek, thirty-some Tibetans had self-immolated. In a relatively short period of time, the number rises above one hundred thirty. Maddeningly, the only media outlet reporting on the phenomenon is the Chinese propaganda media, which blames the “Dalai Clique.” Ironically though, His Holiness advocates a non-confrontational policy of coexistence known as the Middle Way Approach. Namling is losing confidence in the Middle Way and his is deeply disappointed in the Swiss government’s proposed free trade agreement with Beijing. Nevertheless, he is only too aware of the Chinese government’s overwhelming military and economic power.

From "Tibetan Warrior."
From “Tibetan Warrior.”

This is a grim conundrum viewers will grapple with, along with the frustrated Namling. He might be an activist, but Namling is not an idiot. In fact, he is refreshingly down to earth. He never claims to have all the answers, but he is certainly eloquent explaining the problems. His concern for the long-term survival of Tibetan culture and the health of the country’s once pristine environment are entirely justifiable.

One can immediately see why Hunziker focused in on Namling as his subject. He is a charismatic, interesting looking figure who really fills the screen. He is not a poseur chanting slogans. His life has been shaped by the occupation, fragmenting his family. It is a sobering and timely film that gives audiences a fuller perspective on the Tibetan exile experience. Respectfully recommended for everyone concerned about human rights in Tibetan and the predatory destruction of ethnic cultures, Tibetan Warrior is now available on DVD and VOD, from Garden Thieves Pictures.

LFM GRADE: B+

Posted on October 12th, 2015 at 12:55pm.

LFM Reviews The Assassin @ The 53rd New York Film Festival

By Joe BendelThe cinematic tradition of the butt-kicking woman wuxia warrior can be traced directly to Red Heroine from 1929. It might date back even further, but sadly few Chinese silent films survived Mao’s many destructive mass campaigns. In the succeeding years, Michelle Yeoh and Cheng Pei-pei made their legendary careers playing such characters. However, they never had the sort of exquisitely lush backdrops afforded to Nie Yinniang, the titular anti-heroine of Hou Hsiao-hsien’s long-anticipated first wuxia film (and Taiwan’s official Academy submission), The Assassin, which screened as a Main Slate selection of the 53rd New York Film Festival.

As child, Nie Yinniang was promised in marriage to her cousin Tian Ji’an but scandal tore those plans asunder. After an ill-fated episode trespassing in a rival family’s palace, Nie is trundled off to Jiaxin, a martial arts nun, who trains her to be the perfect assassin. At twenty-three, her education is complete, but she still shows traces of a conscience. After sparing her most recent target out of sympathy for his young son, Nie is sent home, ostensibly to visit her parents. However, her next assignment will be the very same Tian Ji’an, who is now the headstrong military governor of Hebei Province.

To further complicate matters, Tian Ji’an is openly plotting against Tian Xing, one of his military commanders, who also happens to be a distant relative. Nie Yinniang might just be inclined to intercede on Tian Xing’s behalf, but that is decidedly not what Jiaxin had in mind.

Frankly, Hou’s narrative (also credited to three co-screenwriters) is rather murky and elliptical. Wuxia fans simply have to be content knowing some kind of intrigue is going on, even if the who’s and why’s are a tad tricky to follow. Instead, this is a film meant to wash over viewers. Even at the deliberately confined Academy ratio, The Assassin is a staggering sight, often resembling traditional Chinese watercolor scrolls, with one lone figure (usually Nie) tucked away in the corner of a sprawling landscape. Mark Lee Ping-bin has been one of the best cinematographers not named Christopher Doyle for years, but The Assassin is his finest work yet. Not to belabor the point, but the film is gorgeous.

AssassinHaving Shu Qi as the lead does not hurt either. In fact, the film would not have worked without her. As a standout in previous Hou films (remember the opening tunnel scene in Millennium Mambo), she can withstand his close scrutiny, quietly projecting a host of emotions with power and economy. Yet, she also has legit action chops forged in films like Journey to the West. In contrast, Chang Cheng looks ill at ease as Tian Ji’an, even though he certainly knows his way around a wuxia film. However, as Jiaxin, Sheu Fang-yi (also excellent as a very different teacher in Touch of the Light) is a wonderfully ambiguous antagonist and a fitting equal to Shu Qi’s Nie.

Martial arts fans might well be put off by Hou’s approach to the fight scenes. For the most part they are executed spectacularly quickly, but that is how an assassin like Nie Yinniang would want to take care of business. It will likely prove divisive among genre diehards, but it is worth experiencing just to see how Hou’s aesthetic translates in a wuxia setting. Recommended for its remarkably accomplished artistry and what may very well prove to be an iconic turn from Shu Qi, The Assassin screened this past weekend at the Walter Reade, as part of this year’s NYFF, in advance of its October 16th New York opening at the IFC Center and the Elinor Bunin Munroe Film Center.

LFM GRADE: A-

Posted on October 12th, 2015 at 12:55pm.

LFM Reviews Right Now, Wrong Then @ The 53rd New York Film Festival

By Joe BendelHam Chun-su is definitely the sort of director who needs more than one take. That is just as true of his own life as it is with his films. Strictly speaking, he will not know he is replaying his visit to a modestly prestigious film festival. The ultimate results will not vary so drastically either, but sweet regrets are much nicer than sour ones in Hong Sang-soo’s Right Now, Wrong Then, which screened as a Main Slate selection of the 53rd New York Film Festival.

Through miscommunication, Ham has come to Suwon one day before his film screens, but we doubt he had anything better to do. While killing time, he finds himself drawn to the shrine at Hwaseong Haeng-gung palace, possibly because Yoon Hee-jung is also a frequent visitor there. Despite his awkwardness, Ham strikes up a conversation, learning she is a former model who has forsaken her former life to become a fulltime painter. She is therefore impressed to learn he is an art-house film director transparently based on Hong.

Ham manages to spend the rest of the day and most of the night with her, but the drunker he gets, the more he sabotages himself. What was once a reasonably pleasant ships-passing encounter turns out to be rather disappointing and uncomfortable for all parties. Take two. Everything happens more or less the same, yet it is different. Yoon initially seems sadder, but Ham is more honest. Of course, since this is a Hong Sang-soo film, he gets just as drunk.

If you enjoy Hong’s films, you will flip for RNWT, because it represents the filmmaker at his Hong Sang-soo-iest. On the other hand, those who are not so into him might still give it a shot, because it is much less mannered and considerably more resonant than many of his prior films. Still, all his hallmarks are present and accounted for. It is a defiantly talky film, featuring a filmmaker protagonist and a bountiful stream of booze—so what’s not to like?

From "Right Now, Wrong Then."
From “Right Now, Wrong Then.”

As the smitten Ham, Jang Jin-regular Jung Jae-young shows he also has the stuff to hang in Hong’s neurotic world. It is fascinating to see how dramatically he alters the colors and shadings of his performance with one small twist of the dial. While Kim Min-hee is just as understated, she lights up the screen with her sensitive, luminous presence. It is a wonderfully wise and sad performance that gets richer the second time through, even though her character remains in essentially the same headspace.

In RNWT, Hong captures the impressionistic sense of a late night spent with an almost complete stranger that you wish would never end almost as vividly as Zhang Lu’s Gyeongju (which is an absolutely terrific film). As with his previous film Hill of Freedom, Hong engages on an emotional level in RNWT, rather than just playing narrative games and reveling in clever banter. Bittersweet and subtle (two qualities that do not go together so often), Right Now, Wrong Then is recommended for those who appreciate mature relationship dramedies.  It screened this past weekend as part of the 2015 NYFF.

LFM GRADE: A

Posted on October 12th, 2015 at 12:54pm.

LFM Reviews Carol @ The 53rd New York Film Festival

By Joe BendelIronically, one of the most literarily significant lesbian novels of the pre-Stonewall era was written (pseudonymously) by a notorious anti-Semitic mystery and suspense novelist. Yes, the same difficult mind that created the talented Tom Ripley also gave birth to Carol Aird. Journey back to Manhattan in the early 1950s, when Madison Avenue wasn’t so mad yet. Lesbianism might have been a love that dared not say its name, but the sophisticated Aird is still not one to mince words in Carol, Todd Haynes’ adaptation of Patricia Highsmith’s The Price of Salt, which screened as a Main Slate selection of the 53rd New York Film Festival.

Therese Belivet is a mousy but proper young woman working in a Manhattan department store, while secretly harboring ambitions of a photography career. When assisting Carol Aird schedule a delivery, she is quite taken by the older woman, in an uncertain kind of way. After she haltingly reaches out to Aird, she is surprised and pleased when Aird reaches back. Soon, they are spending more and more ambiguous time together. However, the development of their relationship is complicated by Aird’s messy divorce proceedings with her future ex, Harge, who still refuses to let go. (With a name like Harge Aird, he must be Ivy League, possibly even a future CIA director.)

In order to win her back, Harge is willing to play dirty. That includes calling out Aird’s past fling with Abby Gerhard, her childhood friend and now platonic confidant. Feeling overwhelmed by the tawdriness of it all, Aird packs up Belivet for an impulsive road trip. Naturally, further complications will ensue.

CarolCineastes generally get Haynes’ affinity for the era and its attendant angsts, but the quality of Carol’s period details are still impressive in their seamless accuracy. As we see, this is a time that predates the LP, when music stores stocked ten inch records in brown paper sleeves. The film also has the good taste to prominently feature Billie Holiday’s rendition of “Easy Living,” recorded with the great Teddy Wilson. In fact, Holiday is a rather fitting choice, given the film’s themes. However, it should also be noted the uncharacteristically lush orchestral score is one of Carter Burwell’s best.

Carol looks great and sounds great it is not quite the instant classic some represent it to be. Despite the breathless plaudits it has generated, there is something rather affected about Cate Blanchett’s performance as Aird. Instead of truly submerging herself into the character, she looks and sounds like she is doing Aird as if played by Joan Crawford or Rosalind Russell. Still, who wouldn’t like to see either of them dig into such a juicy role?

In contrast, Rooney Mara delves inward for an unusually brittle and disciplined turn. You would half expect her to shatter if she tipped over. However, Sarah Paulson steals scene after scene as the earthy, no-nonsense Gerhard, while Kyle Chandler manages to humanize square old Harge remarkably well.

As a recreation of the 1950s, Carol is richly realized, but it is less convincing as a relationship drama. Nevertheless, it takes viewers to a specific time and place, where it duly scores it points. Earning a moderate recommendation for its technical merits, Carol screened this past weekend as part of this year’s NYFF.

LFM GRADE: B-

Posted on October 12th, 2015 at 12:54pm.

LFM Reviews The Final Girls

By Joe BendelCamp Bloodbath is pretty much what it sounds like. The early 1980s slasher film has a loyal cult following, but nobody would want to become a part of it. After all, there will only be one young scantily clad woman who survives the massacre. Sadly, it is not the character played by Max Cartwright’s actress mother. That makes it even more disconcerting for her when she and her high school associates are swept into the vintage exploitation movie. Not even the Scream franchise was as satirically meta and self-referential as Todd Strauss-Schulson’s The Final Girls, which opened last week in New York.

Max and her mother Amanda Cartwright were always scuffling, but at least they had each other—until the fatal accident. Her biggest part was Nancy the camp counselor who unwisely relinquishes her virginity in Camp Bloodbath. Unfortunately, its campy reputation was more of a hindrance than a help whenever Cartwright auditioned for parts. Therefore Max has rather mixed feelings towards the film. Nevertheless, she agrees to attend the anniversary screening organized by her best friend Gertie’s annoyingly Tarantino-esque step-brother Duncan, in exchange for help in the class she is failing.

Gratifyingly, Chris, the classmate she is most definitely interested in, comes to offer moral support. Less agreeably, his codependent ex also tags along to gum up the works as best she can. Somehow, when disaster strikes they are all supernaturally transported into the world of Camp Bloodbath. Of course, it takes a while to figure out where they are and what are the rules that apply to them. Fortunately, Duncan knows precisely when and where bullied camper turned savage serial killer Billy Murphy will strike. They assume if they stick close to surviving “final girl” they should be fine. However, that will not be Nancy, whom Cartwright cannot help relating to as her mother.

FinalGirlsWithout a doubt, Final Girls is the best horror send-up since the original Craven-era Scream films. While there are a decent number of laughs, it is more about visual inventiveness than set-ups and punchlines. The world of Camp Bloodbath is actually a closed ecosystem that strictly follows its own rigid logic. Frankly, it all makes perfect sense if you are a horror movie fan.

Final Girls also features an unusually big named cast for a horror spoof-nostalgia trip. Honest to goodness, Malin Åkerman is shockingly sweet and poignant as Amanda Cartwright and the character of Nancy as played by her. She also has some really nicely turned scenes with Taissa Farmiga, who makes a worthy prospective “final girl” as Max. As Gertie, Alia Shawkut is sort of doing her Arrested Development shtick again, but it works pretty well in the film’s context. However, Angela Trimbur and Tory N. Thompson steal scene after scene as Tina the nymphomaniac counselor and Blake the ultra-New Wave counselor.

It will probably be a cold day in the netherworld before production designer Katie Byron, art director Alexi Gomez and the rest of the design team get the awards recognition they deserve for Final Girls, but they make the film look terrific, in an eccentrically macabre way. Movie fans with any love for eighties horror will find it seriously stoked by M.A. Fortin & Joshua John Miller’s thoroughly clever screenplay and Strauss-Schulson’s high energy level. However, viewers should be cautioned to look for that plural “s.” The recently released Final Girl singular is an entirely different film. Highly recommended for retro genre connoisseurs, The Final Girls opened last week in New York, at the AMC Empire.

LFM GRADE: A-

Posted on October 12th, 2015 at 12:53pm.

LFM Reviews Yakuza Apocalypse

By Joe BendelYakuza and vampires depend on carefully balanced ecosystems that are not so different from Social Security. There absolutely must be more people bleeding money and plasma into the system than sucking it out. Due to his inexperience, a freshly turned Yakuza vampire threatens to upset the long term equilibrium, but he will have more pressing concerns when three agents of doomsday start wreaking cosmic havoc in Takashi Miike’s Yakuza Apocalypse, which opened last week in New York.

Genyō Kamiura is a benevolent Yakuza boss and a vampire, who refuses to drink civilian blood, even though it is sweeter and more nourishing than the bitter swill running through Yakuza veins. He has taken earnest Akira Kageyama under his wing, even though the lad’s skin is too sensitive to tattoo. They see eye to eye when it comes to giving civilians a fair shake, so when Kamiura is fatally jumped by Kyoken, a martial arts maniac and his boss, a Spanish priest carrying a disintegration ray in a casket, the last thing his severed head does is turn Kageyama into a vampire. Unfortunately, the unprepared Kageyama then accidentally turns a civilian, who immediately turns another, and so on. Soon nearly the entire town consists of vampires sporting supernatural Yakuza tats.

YakuzaApocalypseObviously things are a mess, but they will only get worse with the arrival of the third representative of the cosmic syndicate. Kaeru-kun might look like a guy in a fuzzy green frog costume, but he is as lethal as the Stay-Puft Marshmallow Man. What part of this being a Miike film didn’t you get?

Yakupoc has been dismissed as a Miike greatest hits package and there is a kernel of truth in that. One might have thought he worked through all his Django riffs in Sukiyaki Western Django, but apparently not. However, Miike is such a gleefully kitchen sink kind of filmmaker he constantly throws in inspired bits where you least expect them. Indeed, the audience’s introduction to Kamiura, in which a small army of earthly Yakuza learn the folly of trying to whack a vampire is truly vintage Miike. There are also a number of wonderfully droll lines sprinkled throughout the film and without question, it features some of the best fight choreography ever conceived for a dude in a downy soft animal costume.

Hayato Ichihara is shockingly engaging portraying Kageyama’s maturation process from awestruck henchman to hardnosed vampire. Largely playing against his usual hound dog type, Lily Franky is off the hook awesome as Kamiura. Unfortunately, Yayan Ruhian (the unrelated Mad Dogs in the Raid films) does have much of a character to work with in Kyoken, or much room to chew scenery. At least he still has all kinds of moves. The rest of the Yakuza underlings largely blur together.

When Miike is working in his chaotic one-upsman bag, his films are sort of like the weather. If it isn’t working for you, just wait ten minutes and it will change. Yet, even it clicks in fits and starts, it is exhilarating to watch him embrace the bedlam. His prolific work ethic is also pretty darn impressive. Recommended for Miike fans, but maybe not the best starter film for the uninitiated, Yakuza Apocalypse opened last week in New York, at the Village East.

LFM GRADE: B-

Posted on October 12th, 2015 at 12:52pm.