Category / Film

by Jonathan M

REVIEW – La Signora Senza Carmelie

Videovista have my review of Michelangelo Antonioni’s La Signora Senza Camelie:

However, look beyond such technical considerations and you will find not only a fascinating glimpse into the state of female emancipation in 1950s’ Italy but also an absolutely vicious indictment of the Italian studio system at the time.

Looking back at the review (I actually wrote it for the April issue of Videovista), I think I was a trifle harsh in giving the film only 7 out of 10 but my rather subdued marking does reflect a problem I have with Antonioni.

One of the accusations leveledat the postmodern novel by more traditionally-minded readers is that these works are nothing more than ‘clever tricks for grad students’. What this means is that the people who write postmodern novels imbue the work with so much front-loaded theoretical complexity that their novels can only ever be appreciated by people who share their understanding of postmodern theory. While I would never argue that Antonioni made films with film students in mind, I do think that his worth has been inflated by people who have studied his work in an academic setting.

As with L’Avventura (1960), I can watch La Donna Senza Camelie and marvel at its technical sophistication, its intellectual politics and the ways in which it moves the medium of film onwards and upwards. I understand both why and how he made the film, I understand how he was trying to attack the mythical status of Cinecitta. I can understand and appreciate all of these things about the film and still it bores me. La Donna Senza Camelie imparts information but it does not speak to me.

by Jonathan M

REVIEW – Savage (2010)

Videovista have my review of Brendan Muldowney’s Irish thriller Savage:

The concept of a crisis in masculinity is undeniably an interesting one but Savage seems more of a victim of this crisis than a commentary upon it. Having asked the question of what it means to be a man in the modern world, Muldowney fails to see past male complicity in patriarchal oppression and so he struggles to come up with any conceptions of masculinity that are not anchored in adolescent willy-worrying and cartoonish levels of violence.

Savage‘s problem is reflected in Jonathan Liu’s recent piece for The New York Observer:

From the back row, looking at the sea of shiny pink scalps, it was easy to chalk up the whole scene to a category error: Someone mistaking the biographical decline of a man—namely himself—for a historical Decline of Men. Yet, strange as it may sound, grown men still have influence—if only on not-grown men—and should perhaps not be cut the slack reserved for the subjugated and infantilized.

In other words, it is difficult to delve into the issue of what it means to be a man in the 21st century without such delving coming across as either a misogynistic entitlement whine, an attempt at historical revisionism or (as is the case with Savage) slavish adherence to popular prejudice and received wisdom.

by Jonathan M

REVIEW – Monsters (2010)

Videovista has my review of Gareth Edwards’ low-budget science fiction film Monsters:

The ‘big idea’ behind Monsters is that instead of fearing the alien and trying to isolate ourselves from the ‘other’, we should be opening ourselves up to its strangeness by looking at it with an open mind and an open heart. Edwards initially makes us fear the creatures by drawing upon our fears of terrorism, immigration, chemical weapons and third world squalor. However, he then makes us come to appreciate the innate beauty of the creatures and, in so doing, suggests that there may be some beauty to be found in the things that we, as a culture, fear the most.

Easily one of the best science fiction films in recent memory, Monsters was (of course) absent from the recently released Hugo award shortlist for Best Dramatic Presentation – Long Form thereby raising the question, yet again, of what point the award actually serves beyond reminding the world that Hugo voters know fuck all about film.

by Jonathan M

Cold Weather (2010) – The Eyes of the Sensitive Observer

Cold Weather is an experiment that does not quite work but which is all the more beautiful for its failure.

Aaron Katz is one of several young American filmmakers to be tarred with the Mumblecore brush. Neither a genre nor a movement, ‘Mumblecore’ refers to one of those rare and beautiful moments when a group of creative artists with similar tastes and interests come together and begin to learn from each other’s methods and respond to each other’s ideas thereby creating a series of works with a similar set of aesthetic priorities. While these aesthetics are still evolving, it is possible to see in the work of such directors as Andrew Bujalsky (2002’s Funny Ha Ha), Lynn Shelton (2009’s Humpday) and the Duplass brothers (2008’s Baghead) the development of a cinematic style that has been heavily influenced by the films of John Cassavetes, Mike Leigh and Maurice Pialat.

Mumblecore films tend to be made with small budgets, small crews and small casts composed of largely non-professional actors working from and improvising around a more or less pre-written script. The non-professional nature of the actors and the improvisational aspects of the dialogue along with the tendency to frame character development in such a way that the audience has to draw its own inferences about the characters means that Mumblecore films frequently feel remarkably rough, realistic, unpolished and spontaneous. Mumblecore films invariably feel as though they simply ‘happen’; a stylistic tic also that owes quite a lot to the tendency to use 20-something actors and unglamorous settings that make it look as though the films might have been made in the director’s spare time.

 Cold Weather is an attempt to move Mumblecore outside of its comfort zone by taking the aesthetics of spontaneous authenticity and fusing them with those of a cinematic genre that is defined by its careful plotting and its use of directorial technique to create a sense of tension. While this Mumblecore thriller never feels like more than the sum of its parts, it is difficult not to love a film that so perfectly understands the allure of a good mystery.

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by Jonathan M

Limitless (2011) – Mega Mega White Thing

They say that cocaine can make a good man great.

The also say that it can make him into a tedious jabbering fool.

These things are not necessarily mutually exclusive.

One of the more intriguing sequences in Charles Ferguson’s Oscar-winning documentary about the credit crunch Inside Job (2010) reveals that, prior to the crash, a number of New York brokerage houses and management consultancies allowed their employees to pay for sex on their company credit cards. Ferguson uses this revelation to add a tinge of decadence to his depiction of Wall Street institutions but it also raises the question of a degree of kinship between betting large amounts of other people’s money and a lifestyle littered with cocaine and high-class escorts. Ferguson hand-waves this association with some waffling about pleasure centres in the brain but what if the link is not neurology but a question of peer groups? Are the sort of people who tend to do well in banking also the sort of people who tend to enjoy coke and hookers? Does a fondness for coke and hookers mark financial executives out as ‘our sort of chap’?

Neil Burger’s Limitless is a science fiction film about a man who discovers a drug that unlocks the untapped potential of his brain. Initially a struggling science fiction writer, the film’s protagonist soon morphs into the sort of arrogant, swaggering, bollock-talking bell-end that seem to dominate the world’s financial institutions and, as long as he keeps taking the pills, there’s a good chance that this particular bell-end will wind up President.

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by Jonathan M

The Valley of the Bees (1968) – The Cross or The Cock?

In his best-known work – The Essence of Christianity (1848) – the Bavarian philosopher and anthropologist Ludwig Feuerbach argues that religion is a form of psychological projection as humanity created God as a means of externalising such basic human values as benevolence, love and the ability to do as one pleases. Religion is the process through which values are stripped from individual things and rendered abstract for the purposes of worship and contemplation. God is nothing more than Man; he is the projection of our inner nature and our most basic desires. According to Feuerbach, this process has become increasingly problematic over the years as people now prize the abstract construct over the values themselves. God was supposed to be a means, but now he has become an end.

Frantisek Vlácil’s film Údolí vcel (a.k.a. The Valley of the Bees) is an examination of what happens when people project their desires onto abstract entities only to forget that these entities are not actually real. Set in medieval Bohemia, the film tells the story of one knight’s love for another knight and how, by projecting that love onto God, something as simple and human as wonderful as love can be distorted into something truly monstrous.

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by Jonathan M

BG 38 – Sucker Punch: Video Games and The Future of the Blockbuster

Futurismic have my 38th Blasphemous Geometries column.

The column is one part review of Zack Snyder’s Sucker Punch to one part examination of the nature of blockbusters to one part analysis of trends in popular culture and the way in which video games are coming to replace super heroes as the blockbuster genre medium of choice (hence the length):

Sucker Punch mirrors the growing intertextuality of the video game experience by having Baby Doll shift seamlessly between the reality of the game, the reality of the brothel and the reality of the insane asylum. However, what makes Sucker Punch such an interesting film is not the fact that it displays an impressively detailed understanding of video game aesthetics, but rather the way in which it uses these images and techniques to attempt to create a cinematic effect.

by Jonathan M

The Hunter (2010) – America Unter Alles

Every morning, when I turn on the radio and hear of yet another wave of revolutionary uprisings or demonstrations in the Middle East and North Africa, I invariably think that such events are long overdue. But what causes a popular uprising? What makes such a thing overdue?

In the West, we have an ageing and apathetic population ruled over by a largely corrupt political class who have little or no interest in rocking the boat. However, though archly conservative and hugely selfish, the mindset of the political classes broadly mirrors the attitudes of the ageing population they claim to represent and so, despite the odd march and protest, a revolution is not likely to take place any time soon. However, in the Arab World, the picture is startlingly different.

In the Middle East and North Africa, a similarly corrupt, conservative and selfish political class is currently in power. However, unlike the West, the population of the Arab World is not conservative and apathetic but young, vibrant and idealistic. For a while now, the older political class has managed to keep the young in line by making lavish promises and allowing them to blow off steam by whipping up anti-US and anti-Israeli sentiment (despite their vocal outrage, Israeli atrocities have been a political godsend to the autocracies of the Arab world). When these fail to work, the ageing political classes use Western weapons and truncheons to put down the protestors while screaming about ‘foreign influence’. However, as the news reveals to us every morning, this tactic is rapidly starting to fail and the youth of the Arab World are starting to demand representation in the political classes of the countries they inhabit.

What makes this wave of uprisings feel overdue is the fact that they are largely the product of demographic weight.  The political algebra is quite clear:

Insufficient social and political mobility + high birth rate = revolution

But where does the truth of this equation come from? Where do revolutions start? Iranian director Rafi Pitts’ The Hunter suggests that, while revolutions begin with unhappy people, they seldom end that way as political issues have a tendency to outlive the people who first draw attention to them.

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by Jonathan M

Tokyo Sonata (2008) – How To Live a Meaningless Existence and Not Be Overly Bothered

According to both the Romantics and the Moderns, we are all guilty children of a slain father figure. Standing over the corpse of God with blood on our hands and tears in our eyes, we look down upon slain divinity and weep for the way that his touches always made us feel special. Informed by this sense of loss but unsure of how to respond to it, 20th Century literature built upon 19th Century psychological realism by focusing its gaze inwards to the point where the external world seemed to simply fade away. Convinced that god is dead, science is boring and politics is useless, 20th Century writers wrote about themselves and their problems, coaxing thousands of novels and hundreds of films from the unbearable tragedy of being middle class and a little bit unhappy. Unhappiness framed in terms of the disappearance of God and so made to seem important and cosmic rather than irrelevant and self-indulgent. The truth is that we no more morn the death of god than we do the fall of the Roman empire, like most people who lose a parent, we have moved on and now live our lives not in the shadow of a fictional God but in the sunlight of the real world. Kiyoshi Kurosawa’s Tokyo Sonata is a film about the ultimate irrelevance of questions of meaning and consolation to the lives of real people.

 

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by Jonathan M

REVIEW – Legend of the Guardians: The Owls of Ga’Hoole (2010)

Videovista has my review of Zack Snyder’s adaptation of Kathryn Lasky’s Legend of the Guardians.

Despite really liking Zack Snyder as a director, I thought this film was absolutely terrible.  Though, to be fair, Snyder’s direction is the best thing about it. Here’s a taste of my review:

Snyder is shamelessly misanthropic and perfectly adapted to a cultural climate where the individual is king and the king is assumed to be a complete cunt. His exquisite fetishisation of violence, his love of gore and grue, his spirals of death and destruction are not just an expression of a personal philosophy, they are a coherent and beautiful directorial vision. Zack Snyder speaks to the miserable, lank-haired, compulsively masturbating homunculus in all of us, but while the singularity and power of this vision has won him a legion of fan-boys, it also makes him a somewhat poor choice for making a children’s film about owls.