Tag: 2000s
Dave Chappelle’s Block Party (2006, Michel Gondry)
One of the last movies I watched in theaters before starting this blog. Rewatching now because I read the great J Dilla book and am working my way through a list* of related artists. At the peak of his fame and success, Chappelle’s vanity project keeps alternating between music performances on the day, and his interactions with the public. Rewatching now I wish there was much more music and less Dave. Each group gets about one song, which keeps being interrupted by host episodes. This is a choice, not necessarily a defect – Gondry’s story is more about building this event and getting people excited about it, not a you-are-there concert film. Questlove must have remembered this movie once or twice when working on Summer of Soul. Filmed when Dave was at the top of fame, released a year later when he was in the news for walking away from his sketch show, and he’s had nothing but rocky press since then (along with then-rising young star K*nye W*st, bittersweet to see both of them here).
*A Tribe Called Quest, De La Soul, D’Angelo, The Pharcyde, Raekwon, Busta Rhymes, Fugees, Common, Erykah Badu, Slum Village, 5-Elementz, Talib Kweli & Mos Def, MF Doom, The Roots, Jill Scott, Ghostface Killah, Bilal, Madlib, Robert Glasper, Georgia Anne Muldrow, Hiatus Kaiyote, Thundercat, Flying Lotus, David Fiuczynski, Kendrick Lamar.
Yard Work Is Hard Work (2008, Jodie Mack)
A half-hour cut-up musical about attempting to settle down during the subprime mortgage crisis, incredible.
House of Wax (2005, Jaume Collet-Serra)
On one hand, this is a semi-remake about stupid college kids camping out inadvisably close to an evil wax museum and going dead/missing one by one, starring nobody of note, spending too much time trying to make us care about the central sibling relationship. On the other hand, Jaume (in his debut) overachieves, shooting the hell out of it. The twin brother writers envision twin brother killers, who’ve taken the title literally and constructed the entire multi-story house out of wax. The town has been Phantasm’d, every resident killed by the brothers, waxed and posed. I respect how bonkers it all becomes by the end.
Despite Woman in the Yard, Jaume is more hit than miss – I’m considering a Liam Neeson Action Thriller Week to catch up. The DP specialises in stupid nonsense, editor did The Nice Guys, and first victim Wade is 22nd-billed in Terrifier 3.
Dead End (2003, Andrea & Canepa)
A Marilyn Manson joke in the movie’s opening seconds, paterfamilias Ray Wise driving his daughter Laura, the camera hovering over the center line – somebody’s got a thing for David Lynch. It’s a Christmas road trip movie, petty griping from the back seat, until the ordinary gets interrupted by a Woman In White holding a dead baby. Figuring out what to do about the WIW the family members get separated, then they find what’s left of the daughter’s boyfriend Brad aside the road.
“This reeks of alien activity, you guys.” They appear to be on a loop road like the one in Freddy’s Dead, and whenever the Woman In White kills someone the survivors see them being taken away in a black car. After her son disappears mom goes nuts and shoots Ray in the leg, then she’s next. It all turns out to be a purgatorial fantasy when the daughter wakes up and is told she survived the car crash that killed the others.
Not a bad movie, though the music is a great crime. Most of the people who made this never worked again. The DP did an Elijah Wood thing, an exec producer worked on Voyage of Time. The mom is horror regular Lin Shaye, in Critters and The Hidden and New Nightmare, the WIW was a beer spokesmodel, and the daughter was in a Sid Haig / Bill Moseley movie that Rob Zombie had nothing to do with.
Scream 3 (2000, Wes Craven)
RIP Liev and his Gossip Girl-friend, as the new killer goes around tricking people with an electric voice-cloner. Lance Henriksen and Roger Corman are working on their Stab trilogy, a cover version of “Red Right Hand” playing on set, when Detective McDreamy comes to investigate why cast members are being killed off IRL. The two casts mix as Parker Posey, playing Fake Gale Weathers, is dating Dewey and tailing the real Gale for character tips, and all the worst characters get slashed as our old team takes their place. They all end up on an old Hollywood mansion as the movie becomes increasingly nonsensical, the closest to Freddy dream-logic these things have been (complimentary), topped by a pre-taped appearance by the rules-explainer-guy who wants to explain how trilogies work in the event of his death in part two. Killer is film director Scott Foley, McDreamy’s Grey’s Anatomy coworker.
The Devil’s Rejects (2005, Rob Zombie)
After 3 From Hell, I’m revisiting the original movie and this sequel for probably the last time. Part one was a good time, introducing a Texas Chainsaw-style murder family who slaughters tourists. Part two is just torture and torment (our three killers and their pursuer William Forsythe taking turns as torturers and torturees), part three is needless rehash.
Along the way Brian Posehn gets killed, the guy from The Hills Have Eyes is hanging out with Ken Foree, Danny Trejo and someone else call themselves The Unholy Two, a film critic is called in to analyze character names (all stolen from The Marx Bros), Callahan from Police Academy substitutes for Karen Black, and everybody dies (or DO they).
I Don’t Want to Sleep Alone (2006, Tsai Ming-Liang)
We got another The Hole situation, a girl living alone one loose floorboard away from the catatonic guy (played by short-haired Lee) in the apartment underneath. Meanwhile a local guy (this is Malaysia, where Tsai comes from) takes in a foreigner (played by long-haired Lee) who got himself beat up in the street, has to wash the mattress whenever the foreigner soils it, which is often. Overall more grime and desperation than usual (preceding the great Stray Dogs) though it ends with a lovely dream
The woman upstairs is Chen Shiang-Chyi of Stray Dogs, ticket taker of Goodbye Dragon Inn. Chris Fujiwara wrote of people “staying human under the most hostile conditions” in the final writeup of the Defining Movies book.
The Holy Girl (2004, Lucrecia Martel)
Strange focus and framing, really attractive. Amalia’s dad is having twins with a new girl, while her mom Helen is hosting a doctor conference at her hotel. One visiting doc presses his dick against Amalia in a crowd, and later when Dr. Jano has become friendly with mom, Amalia recognizes him as the street pervert. Amalia’s friend gets busted with her boyfriend and tells the adults Amalia’s secrets to distract them. The holy part fades away, and movie ends before either revelation drops – real “formal excellence plus narrative withholding.”
The girl went on to direct A Family Submerged, which played Locarno. Mom is from La Cienaga and costarred in a couple Gael Garcia Bernal movies.
Blake Williams in Cinema Scope:
Like La Ciénaga, The Holy Girl ends with sensorial obscurity, this time with sound, smell, and even weightlessness. As in the former’s conclusion, the setting is once again a swimming pool. Amalia and her best friend Josefina take a dip, and we witness a wave of uncertainty and disturbance briefly overcome Josefina. “Do you notice that smell?” she asks, and Amalia does. “Orange blossom.” Josefina promises to take care of her like a sister would, and the two recline. Floating in the water, an unidentified woman approaches to ask them both, “Did you hear?” which ends the film. It’s a startlingly open-ended and fitting conclusion to this tale of spiritual non-awakenings — cinema as a transitory state, elongated into permanence, stagnation, and aimlessness.
