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Reviews
La pianiste (2001)
Worse than a waste of time
Since when did depravity become entertainment? This film starts out kinky and descends into utter depravity. I'm no prude but I now know that I do have limits. If I were suicidal, I'd be looking for a way to off myself right now. I can't believe that the producers of this film felt anything other than total hatred for its intended audience. The Maltin book gave this movie three-and-one-half stars. I'm assuming that one star was for originality, a second for acting, a third for editing, and the half for holding the audience's attention long enough to be around for the extended slide into complete depravity and disgust. I feel like I need to take a shower. Please excuse me.
Stories We Tell (2012)
Not at all what the reviewers appear to think it is
I saw this film as part of a month-long series of documentaries at my local public library. Throughout the film, I was struck by the seeming incredible luck that the director had in having access to so much timely and relevant Super 8 movie footage of the family in their younger days. That all became moot when, near the end of the closing film credits, it is revealed that every single member of the family in past and present was portrayed by an actor. In effect, it is not a true documentary at all but the very well written and directed retelling of someone else's family story. The audience at the viewing I attended had much the same reaction--thinking that we had just been taken for a very elaborate ride.
Destry Rides Again (1939)
Perhaps the quintessential saloon western
This is not one of the greatest Western movies ever made because of its star, James Stewart, or even Marlene Dietrich, whose singing and barroom brawling puts all other hard-drinking saloon molls to shame. The movie is nearly perfect in every way, especially the script and acting, across the full cast. What makes this movie shine are the brilliantly drawn lesser characters--especially Mischa Auer as "Callahan", aka Boris, as an awkward, lanky "foreigner" with a good heart. Of course, lest we forget, all "white men" were foreigners in Wild West America, just as the storyline of our hero--in this case, backed up by a phalanx of armed and very irate and over-dressed women folk--out-shooting and out scrapping a saloon full of bad guys is a twist on the often over-looked historical fact that it was the Native Americans who were the ones who were out-gunned and,ultimately, conquered by White Men. As we know, all Western movies are romantic rationalizations for the injustice done, not to ranchers or farmers or miners in the West, but to those from whom all was taken. We should and do enjoy these indulgences, especially when they are crafted as wonderfully as Destry Rides Again. But, at the same time, we should remind ourselves that there is another story, not nearly as neatly tied up at the end, of justice denied.
Blood and Oil (2008)
This movie contains truths that are difficult for Americans to hear
Blood and Oil is a documentary about America's long and passionate love affair with cheap oil and the bloody lengths, including schmoozing up to some pretty strange and unpleasant bedfellows, to which we have gone to keep it flowing freely. It strips away the romanticism and innocence that has graced our diplomacy when it comes to geopolitics and we are left with the realization that, since at least 1945, every American president has kissed the hand of Saudi despots--and others as well--to make sure that our national wealth continues to grow, "plastics" make promising careers, three-ton SUVs can ply our freeways, and we continue to be the "arsenal of the world". This movie is not for those who demand complete allegiance to the American flag and blame Native Americans for wasting a perfectly good continent. But if you are a seeker of truth and, ultimately, justice (not necessarily the "American Way"), you must see this movie.
Everybody's Fine (2009)
A widowed father learns one of life's hardest lessons
"Your children are not your children. They are the sons and daughters of Life's longing for itself. They come through you but not from you, And though they are with you yet they belong not to you." --Khalil Gibran
A petulant, demanding, working-stiff of a father learns too late that wanting a better life for his four children is a feeble basis upon which to become a successful parent. This moral is particularly relevant in today's economy, when children of the 70's and 80's are facing the hard reality that they may never achieve the level of "success" their parents enjoyed.
This is a theme that has been around for a long time. "Ordinary People" and "The Dead Poet's Society" come readily to mind but, unlike those two great films, this one is told from the point-of-view of the parent. That role is played masterfully by one of the great actors of our age, Robert De Niro. If his performance doesn't grip you by the throat and threaten to never let go--he's in nearly every scene--I'd be surprised.
I have two adult children who live a thousand miles away. They were born in the late 70's. In their relatively short lives, they have both seen more pain and faced more struggle than I ever did. Sometimes we all seem to be dancing on the edge of a cliff, blindfolded. This film reminds us of the fragility of young egos and the sacred duty of every parent to heed Gilbran's wisdom.
Rückenwind (2009)
Terror by small steps
I feel compelled to write a rare--for me--review because I feel that the only previous reviewer missed the point of this movie almost entirely.
It's true that the photography and setting are beautiful. It's also true that the title refers to the gently-sloping bike lane that the two protagonists choose for their camping weekend in the country. However, like almost everything else in the film, it also may allude to the gradual, almost imperceptible manner in which a "hike in the woods" can degenerate into a mad rush to terror.
The film opens in an antiseptic institution of unknown character wherein one of the central characters, Johann, finds himself. In voice-over, he tells of a fable involving a fox and a hare. The fox is attempting to lure the hare into the deep woods for a little adventure. The hare, ignorant of any impending danger, is finally persuaded. "I'm game", he intones. The scene then cuts to a passenger car on a train bound for the German countryside. The young man we have just met now has a new-found companion, Robin. It soon becomes apparent that the two very attractive young men are lovers, each with a bit of a masochistic/sadistic streak. The balance of this rather brief study in human nature--at a mere 75 minutes--is a test of the viewer's aptitude at deciphering which of the two boys is the hare and the other the fox. Every detail in the film is critical to avoiding being blind-sided by the ambiguous and chillingly abrupt ending.
Gohatto (1999)
Homophobia alert
I have seen this movie twice now. I thought I would give it another chance and, besides, I couldn't remember why I had given it such a poor rating.
Visually and musically, there is much to like about this movie. The photography is beautifully lit and stunning throughout. The musical score is original and gorgeous.
My issue is with the story, which, as a gay man, I found painful to sit through. The youngest samurai, Kano, is such a beauty that he is highly desired by his more experienced peers and teachers. If only his personality were as winning. His expression never changes, so it is impossible to guess where his head is at any given time. He is totally passive when making love and never seems to show any affection except when he spars with the man whom everyone suspects is his lover. Then, though clearly a better swordsman, Kano allows himself to be defeated, which only serves to cause the shogun master to believe that his suspicions were correct.
This film does its best to refute the mythology that has sprung up--at least in the US--concerning the supposed acceptance of homosexuality within the samurai cult. Kano's alleged gayness only causes his peers to view him with suspicion, if not disdain. If not for his skill with the blade and willingness to use it, he would have no stature at all. The plot thickens when his alleged lovers begin turning up dead. Were they killed out of jealousy? Or was it something more sinister? I won't spoil it for you. I will just say that if you're looking for a beautifully-produced Japanese gay love story, you'd do well to keep looking. Taboo will leave you with a splitting headache (pun intended).
L.I.E. (2001)
CHALLENGING RIGID NOTIONS OF MORAL RIGHT/WRONG
This brutally frank expose of man/boy love is definitely not for the squeamish or morally indignant. If you insist that a sixtyish, ex-Marine Momma's Boy who thinks all women are "ball-busters" and masturbates to naked photos of pre-teen blond boys is incapable of altruistic acts of romantic love, skip this one. This movie proclaims that the greater evil is in the neglect of children by their narcissistic parents and the indifference of society when they get into trouble, not in their sexual exploitation by men like "Big John". At the same time, it does not paint Big John as a hero. He's a deeply flawed man who casts off lovers at the first signs of losing the bloom of their youth. Don't look for heroes in this movie. There are only troubled and anguished angels fallen from grace for lack of unconditional love.
Rang-e khoda (1999)
A rare and obscure gem of a movie
I will never feel the same way about Iran or its people after seeing this moving story about a motherless blind young boy and his sympathetically portrayed, but self-absorbed father. The verdant and fertile Iranian countryside didn't match my stereotype, but then, stereotypes are often so much smoke. The Gramma reminded me of my former mother-in-law in her appearance and demeanor. For parents who have ever been embarrassed by the very existence of a child who is different and bothersome, as I was, this movie will either send chills down spines or spread love to dark corners of the heart.