Category: Trailers

LFM Review: Revenge of the Electric Car @ Tribeca 2011

By Joe Bendel. In Terminator 2, the villain of the previous film comes back as the hero of the sequel. Such is also the case with Chris Paine’s latest film, except it is a documentary. The freshly reformed protagonist? General Motors. The times just might be changing after all in Paines’ Revenge of the Electric Car, which premiered recently at the 2011 Tribeca Film Festival.

According to Paine’s Who Killed the Electric Car, despite enthusiastic driver feedback, GM recalled their experimental EV-1, while twisting its mustache and laughing maniacally. Instead, they ramped up production on Hummers. The end, or is it? Fast-forward a few years and meet Bob Lutz, the Vice Chairman of the automotive giant. The car executive’s car executive, Lutz is no tree-hugger. Yet, like Saul on the road to Damascus, Lutz fundamentally changed his mind about the feasibility and desirability of electric cars. Only Lutz has the prestige to put GM back in the electric business and the guts to allow their old nemesis to document it.

Revenge has other protagonists, like Elon Musk, the tech-centric entrepreneur, who made his fortune with Pay Pal before starting Tesla Motors. Sleek and striking, these sports cars are probably too elite to change the world, but they ought to make electric cool. Unfortunately, Musk has trouble filling customer orders (including Paine’s). As more mass market competition, Nissan chairman Carlos Ghosn has “bet the future” of his company on electric, but that shoe has yet to drop.

It is important to note, none of these ventures are the result of government mandates. Indeed, they are highly speculative ventures that might just short circuit careers and fortunes. To his credit, Paine himself gives due credit to the captains of industry and entrepreneurs of Revenge. Though he retracts nothing from his previous film, it is clear he and pre-government takeover GM made a lasting peace.

Of course, Bob Lutz is a major reason why. Although Paine probably has a naturally affinity for the Silicon Valley-based Musk, Lutz’s curmudgeonly charm dominates the film. The camera loves the cigar chomping old school executive far more than the icy Ghosn or the cerebral Musk. (While Revenge eventually addresses the government bail-out, most of the GM segments deal with Lutz’s early championing of the hitherto underwhelming Volt.) Continue reading LFM Review: Revenge of the Electric Car @ Tribeca 2011

LFM Review: Braid (Short) @ Tribeca 2011

By Joe Bendel. Kids focus on the most superficial things. Ting is a sweet-tempered, compassionate little girl, but her classmates zero-in on her sloppy braids. It is not her fault, though. Her grieving father Jie is not used to tying them. Nor does he have the heart to explain her mother’s extended absence in Bian Zi’s short film Braid, which screens as part of the Take As Directed shorts block at the 2011 Tribeca Film Festival.

One day, while being ignored by the kids playing in her neighborhood, Ting finds an abandoned kitten. Empathizing with the motherless feline, she takes it home with her. Her father is trying to care for her as best he can, but he is overwhelmed with grief. Unemployed with few prospects, the death of his wife was also a devastating financial blow. Things look truly bleak for them, but keep an eye on that kitten.

Bian Zi’s fifteen minute Braid is surprisingly moving, particularly for a student film. Sensitively helmed, the Taiwanese filmmaker deftly hints at the metaphysical with the conclusion to what is an otherwise starkly naturalistic work. Unquestionably, though, the key to the film is the remarkably poignant, completely convincing work of Jun-Jie Du as Ting. Scores of viewers will want to adopt her, after only two or three minutes into the film.

Braid might be a simple story, but it is powerful in its honest directness, reaching deeper places than most smugly sentimental indies could ever hope to approach. Featuring truly memorable performances, the well conceived Braid is easily a stand-out among Tribeca’s shorts this year.  Highly recommended, it screens during the Take As Directed program on Thursday (4/28), Saturday (4/30), and Sunday (5/1).

Posted on April 26th, 2011 at 9:37am.


FRANCE EATS HOLLYWOOD’S LUNCH: LFM Reviews the New French Anti-Terrorism Thriller The Assault @ Tribeca 2011

By Joe Bendel. It was France’s Entebbe. In what is often referred to as “the most successful anti-terrorist operation in history” (at least among those not involving the Israelis), French commandos stormed an airliner hijacked by Algerian Islamist terrorists on Christmas Eve. The hijackers had no intention of negotiating. Their plan was to crash Air France 8969 into the Eifel Tower. The year was 1994. The missed lessons are painfully obvious. In a case of France eating Hollywood’s lunch, Julien Leclercq vividly dramatizes the historic raid in The Assault (French trailer above), which screens at the 2011 Tribeca Film Festival.

The Algerian terrorists were Islamic and they never let their captives forget it. As soon as they secured the plane, Abdul Abdullah Yahia and his accomplices forced all the women to cover-up with makeshift head scarves. The French being French, they first tried to appease GIA terrorists. Not surprisingly, the Islamist GIA was not interested in a payoff. They were hoping to make a big statement instead. Fortunately, they were delayed so long in Algiers (where the Algerians refused to remove the gangway stairs from the airliners, yet perversely denied permission for the French GIGN SWAT team to operate in-country), Flight 8969 was forced to stop for refueling in Marseilles.

Considering the film is called The Assault, it is not much of a spoiler to say the GIGN eventually board the plane. However, there is nothing video game-like about the film’s centerpiece action sequence. This is close-quarters combat, vividly depicted as a distinctly violent, claustrophobic, confusing, and messy proposition. Tense and scrupulously realistic, these scenes are unlike anything peddled by recent antiseptic Hollywood action movies.

Reportedly the terrorists were even more sadistic than they’re portrayed as being in Assault. Of course, there are understandable limits to what a commercial release can bear (particularly in France). To his credit, Leclercq and co-screenwriter Simon Moutairou never try to ameliorate the terrorists’ crimes with sympathetic back-stories. Instead they show them executing hostages in cold blood. Frankly, the GIA as seen in Assault can only be described as hateful savages.

Assault’s one weakness is the rather cookie-cutter characterization of the GIGN officers. Viewers only glimpse the private life of Thierry, a family man wrestling with his conscience after his previous assignment. The rest are essentially interchangeable. However, Mélanie Bernier makes a strong impression as Carole Jeanton, an ambitious Interior Ministry bureaucrat, who goes from Chamberlain-esque appeaser to a Churchillian advocate for an armed response to terror in about thirty seconds flat. Maybe it was the guns pointed at her.

The Assault is the sort of action film Hollywood ought to be producing at regular clip, but refuses to do so for petty ideological reasons. Still, though the GIGN emerges as the film’s heroes, the French government takes quite a few lumps. Recreating an important historical incident with grit and tick-tock precision, Leclercq’s Assault is easily one of the best selections at this year’s Tribeca. It screens Thursday (4/28).

Posted on April 25th, 2011 at 9:00am.

LFM Review: Give Up Tomorrow @ Tribeca 2011

By Joe Bendel. Class warfare can be ugly. When allowed access to power, it might be deadly. Just ask Paco Larrañaga. A perfect storm of sensational journalism and judicial-political malfeasance combined to rob him not just of his liberty, but perhaps even his life in Michael Collins’ documentary exposé Give Up Tomorrow (trailer above), which screens during the 2011 Tribeca Film Festival.

Larrañaga is an innocent man. Thirty-five of his teachers and classmates will testify he was nowhere near the island of Cebu when the Chong sisters disappeared under mysterious circumstances. Unfortunately, they never had an adequate opportunity to testify on Larrañaga’s behalf. Though just one of the so-called “Chiong Seven,” the media focused like a laser beam on Larrañaga, the son of the working middle class branch of the Kennedyesque Osmeña family. His trial was duly hyped up in explicit class warfare terms, creating a toxic environment for the defense.

Collins (with the close collaboration of producer Marty Syjuco, a distant relative of Larrañaga) picks the resulting kangaroo court apart like a skilled prosecutor. Right from his arrest, highly relevant information was deliberately disregarded by the police and prosecution, including the Chiong father’s close ties to reputed drug kingpin Peter Lim, whom he was scheduled to testify against the day after his daughters’ disappearance.

It seems Cebu is a small world after all, when Collins reveals several of the investigating officers also had ties to Lim. Indeed, they provide some of the most obvious lying ever seen on film when Collins grills them about their initial investigation. However, the Chiong sisters’ mother, Thelma, might be the most problematic figure in this scandal – ruthlessly exploiting her personal connections to the president at the time, the thoroughly corrupt populist (a redundancy, perhaps) Joseph Estrada, to pillory Larrañaga and his codefendants in the collusive media.

On one level, Tomorrow is a simple story: Larrañaga was railroaded for a crime he did not commit. Yet the case developed a series of bizarre twists and turns that Collins follows with remarkable clarity. Ironies truly abound when Larrañaga, a dual citizen as the son of a Spanish national, turns to the former colonial power as a last resort. Yet, the film preserves a sense of suspense regarding Larrañaga’s ultimate fate. Continue reading LFM Review: Give Up Tomorrow @ Tribeca 2011

LFM Review: Romantics Anonymous @ Tribeca 2011

By Joe Bendel. Chocolate is the food of romance and indulgence. Two social misfits still love it anyway. They might just love each other too, if they can psyche themselves up enough to take a chance. That would be a very big “if” in Jean-Pierre Améris’ Romantics Anonymous (trailer above), which screens during the 2011 Tribeca Film Festival.

Isabelle Carré in "Romantics Anonymous."

Angélique Delange is a gifted chocolatier, but she is paralyzed with shyness. Through sheer force of will, she manages to apply for a job at a down-market chocolate company, run by the gruff but ragingly insecure Jean-René Van Den Hugde. Sensing a fellow chocolate devotee, Van Den Hudge hires her on the spot. Unfortunately, it is for a sales position she is spectacularly unsuited for. Having accepted already, Delange tries to timidly carry on as best she can. Eventually though, Delange realizes she must use her true talents to save the floundering company.

Working under a veil of secrecy, Delange once made confections that delighted French gourmets. However, when her protective boss died, the secret of his chocolatier “hermit” died with him.  Yet, resurrecting the old hermit cover proves relatively easy. Going on a date with the boss is devilishly difficult, for both of them.

Like chocolate, Anonymous is a sweet film with a hint of bitterness to make it real. While everyone plays it for laughs, Améris and co-writer Philippe Blasband never minimize the challenges of the would-be couples’ extreme social awkwardness. They are not portrayed as freaks or loons, but as people who need a little more encouragement to come out of their shells (granted though, Van Den Hugde certainly has his eccentricities). Continue reading LFM Review: Romantics Anonymous @ Tribeca 2011