Three stars, raved the critics, “so garishly digital.” Two and a half stars, “a little boring.” But I see “the Idris Elba genie movie from the Mad Max guy,” and I can’t help myself, I go to the movies and watch it, expecting to be absolutely delighted. Who was right, me or the critics? I was right. Katy is not as easily delighted as I, DNF.
The one about the magic family in a magic house.
I liked the Bruno song.
Watched on the exercise bike after Duel. Ultraviolent mythological epic, recalling Metalocalypse but with more rotoscoping. Swamp Witch and Ancient Guardian and Local Lord and Chief Librarian all struggle to obtain or protect or misuse a magic blue leaf that gives healing or destructive powers. I’m all in favor of this sort of thing.
In which Varda proves she can find good cinema anywhere, by wandering down the street into all the small shops and turning her neighbors into movie stars. There’s too much of the magician, but his magic show serves to bring together the people we’ve been seeing in separate shops into one space. Since I can’t take screenshots off the Criterion channel, I’ve stolen a still from their website.
My first-ever Sammo Hung movie. This did have skeletons, a ghost pulling somebody into a mirror, a hopping vampire, an Evil Dead hand rebelling against its body, and a battle between magicians, but it’s really not a horror movie. Rather a comedy action flick: a likeable loser called Big Guts is getting cucked by his wife and set up by his boss, but keeps managing to survive. I can see the Sammo influence on Jackie Chan, using all the props in the room and looking panicked while doing cool moves. Magician Lau (Tai Bo) disapproves of his master’s murderous work-for-hire, kwaidans and protects Sammo, then defeats evil magician Peter Chan Lung. Internet says both magicians were in Enter the Dragon, all my early kung fu movie interests starting to come together. I think one of the Jackie/Sammo collabs like Project A or Dragons Forever should be next. This movie has convinced me that Sammo is cool, but it loses points for bird killing.
I thought it was the Plazadrome screening of part 3 that got me on a Nightmare on Elm Street kick this month, but no, it was probably this:
I imagined a widescreen stop-motion puppet Midsummer from the creator of The Hand would be magical. It turns out if you remove all the language from a Shakespeare play, reducing it to plot action with explanatory voiceover, you don’t even reach feature length without some padding in the form of dance scenes and overlong rehearsals of the play-within-the-play. Sticking it out, there is some beautiful puppetry and effects, particularly whenever Puck casts a transformation spell.
This is how to do remakes – start with a disreputable movie, cast a good lead and a hammy villain, and have as much fun as possible. Add a couple twists (vampire needs to be invited to come inside, but there’s nothing stopping him from setting your house on fire to drive you out) and some real dodgy digi effects, you’re done. I don’t feel strongly about it either way.
I guess this guy stars in Kick-Ass:
Anton Yelchin is our guy, with mom Toni Collette, girl Imogen Poots, and nerdy childhood friend who has grown apart Chris Mintz-Plasse. When new neighbor Colin Farrell vampires the latter two, Anton escalates to the world’s foremost authority on the dark arts, Vegas magician David Tennant. Oh wait, the screenshots are confusing on this matter, maybe he doesn’t get Poots, or he does get her then they turn her back – either way, the magician will have none of this nonsense, then steps up when convinced of the reality.
Workers Leaving the Job Site (2013)
Silent handheld shot of the titular workers leaving the titular job site. Five minutes in – an edit! But it just cuts to another minute of the same thing. My least favorite film of workers leaving a job site, after the Lumiere and the Kaurismaki – or maybe it’s a tie for last with the Farocki.
Three Quarters (2015)
Silent again, medium shots of two guys doing magic tricks with cards and string and quarters, a hundred times more fun than watching them leave the job site.
Ears, Nose and Throat (2016)
1. Grainy outdoor night photography with fireflies, punctuated by left/right hearing-test tones.
2. Doctor with unsynched sound explains to patient that she has misaligned vocal cords and that’s why her voice gets tired.
3. She’s in a sound booth, unsynched again, telling about an argument she witnessed leading neighbor Chris to kill his friend DeCarrio. We’re outside the booth and I’m wondering if the opening scene was where the shooting happened.
4. We’re in the sound booth with her, hearing the tones she’s hearing.
5. Back at doctor’s office, room tone.
Ohhhhhh wow, DeCarrio was the director’s son, and the sound-booth woman a witness to his murder. That is a hell of a thing to make a film about.
Music from the Edge of the Allegheny Plateau (2019)
Two music performances, living room gospel and pickup truck rap, merged at the end by messing with the sync. The film title plus shots of a woman looking at a hillside through binoculars gives a (geo-)anthropological feeling, like the music is in the land and you can find it if you look hard enough.
Black Bus Stop (2019)
College(?) kids having non-sync discusions with imprecise focus and framing, start talking about a black bus stop and the sound doubles up on itself, cut to night with performance-art stances and choreographed performances and songs, I think all of them school/greek-related… then back to the meta-cacophony about the bus stop. Shot at the University of Virginia at Charlottesville, codirected with History Department chair Claudrena Harold.
We had a True/False Makeup Weekend to celebrate One Child Nation‘s release in local theaters on the same day Amazing Johnathan premiered on streaming. As with this year’s fest itself, our programming was about half successful. We followed this one for a while, but as the filmmaker lost exclusive access to his subject, who also refused to quit or die, the director turned the movie towards himself (and itself) and tried to manufacture drama and stunts. Given how it ends up being about his competition with other Amazing Johnathan documentaries, and this one’s “twist ending” is its own executive producer credit, I’m surprised they didn’t film an addendum with our dude filming himself signing the Hulu deal. The other finished doc, Always Amazing, apparently scored a David Copperfield interview. In interviews, AJ says he likes the other movie just as much, which Berman says is impossible.