TSC 6: The Depature (Skolimowski, 1967)

After being virtually unheard from for the past 20 years, legendary Polish filmmaker Jerzy Skolimoski has been enjoying a comeback of sorts recently, highlighted by the re-release of his landmark 1960s work in Paris theaters this year. The Departure tells the tale of Marc (a splendid Jean-Pierre Léaud, as manic as ever), a young hairdresser's assistant who has 48 hours to "find" a Porsche for a big car race. The film is bursting with creativity, containing shots both playful and meaningful, while a great jazz score keeps up the tempo. Like a good driver, Skolimowski knows exactly where he's going, always staying close to the edge between speed and loss of control. And as such, he also knows when to slow down to allow for contemplation.

****

TSC 5: Rise Of The Planet Of The Apes (Wyatt, 2011)

Like most red-blooded teenagers, I first got into movies by the way of the action genre. The Rock, Independence Day and Twister were some of the blockbusters that first got my thirst for the silver screen going. And while my tastes have since progressively evolved to more diversified fare, I still like to indulge in cheap thrills once in a while. So after a week filled with Iranian melodrama, psychedelic partying and tugs at the heartstrings, it seemed appropriate to cap things off with a good old Hollywood blockbuster.
Picking things up in a prequel setting, ROTPOTA (that title is so off, even the acronym is clunky) explains how said apes came to take over the planet, as seen in the 1960s sci-fi series of films. The explanation is fairly acceptable, but the acting so strangely wooden (James Franco bravely taking the lead in that department), that the CGI monkeys end up being the most believable characters. Not a bad thing per se, since the goal of the movie is to make us understand their progression, but overall not a great thing either if you're looking for an all-around solid flick. And if, like myself, you're not the biggest CGI fan, then you might want to go in with your irony meter at 0 and go along for the ride.

**

TSC 4: The Party (Edwards, 1968)

Here's a very simple rule: if you ever get the chance to see one of your favorite films on the big screen, do it. Doesn't matter how many times you've seen it, you'll enjoy it. And if, like me today, you've only seen it on a TV until then, you might just enjoy it even more than you thought you could.

****1/2

TSC 3: Putty Hill (Porterfield, 2011)

Like a (much) more naturalistic Paranoid Park, Putty Hill shows the aftermath of a young man's death from overdose on his family and friends. Porterfield uses interviews recurrently, blurring the line between fiction and documentary, but mostly lets the images speak for themselves. There is a pervasive wistfulness felt through the images of a middle-class Baltimore that looks like it could be the basis for a prequel of The Wire, if only you took out all the activism of that show (which means it really wouldn't be The Wire) and replaced it with Sofia Coppola's view of the suburbs in The Virgin Suicides.

***

TSC 2: La Guerre Est Declarée (Donzelli, 2011)

One of the clearest critical successes of the last Cannes festival, Valérie Donzelli's second feature film manages the exploit of telling a minefield of a story (a young couple's child is diagnosed with cancer before his second birthday) without making it feel exploitative or over-filled with drama and pathos. Partly that is based on her talent as a filmmaker, always making the right choices to hold back or lean in to show what her characters are going through. Another factor is how good she and her costar Jeremie Elkaim are, making us feel with them not for them. This actually happened to them in real life, and you can feel the honesty pulsating through the screen throughout. This is a story both very small (one couple's love story) and very big (the remarkable job done by the public healthcare system in France), and Donzelli manages to express both with tremendous aptitude.
****

TSC 1: A Separation (Fahradi, 2011)

This being day 1 of The September Challenge, it was key that I get off the right foot, and actually go see a movie today. September is often when a lot of the Cannes movies get released, i.e. flicks with a little more cachet than what typically gets released during the summer (no offense, Pirates of the Caribbean 7: Skulls v. Bones). But since I have a whole month to get to these new releases, I thought I'd play a little catch up first, and go see this Iranian movie I've been hearing a lot about since landing back in France. Focused on a couple whose would-be divorce causes untold complications within their family and beyond it, it's another example of the tremendous vitality of contemporary Iranian cinema. The acting is fantastic from top to bottom, encompassing thespians old and young alike. But the story is where this film really shines, going through many iterations of what at first seems like a simple event until the idea of truth gets shaken to its core. And thankfully it does so without resorting to a Rashomon-type structure or manichean shenanigans, thus showing a trust of the audience that is sadly too often lacking nowadays.
****

the old old thing

Lots has happened since my last post on here. Some mundane, and some less so. To cut it short, I left my job in Houston in July, then moved back to France since my visa was tied to the job. A fantastic trip in Norway, a wedding in Spain, and lots of relaxing with the family have filled my days until now. The initial plan was that I'd drive back to Paris in September and start looking for a place of employment then. But in the meantime I got offered a job....in Houston. So the new plan is to (hopefully) wait for a successful visa application this month, then fly out to New Zealand for two weeks in early October. That trip's two years in the making, if not four, so you could say I'd sort of like for it to work out as planned.
Until then, since I'm in the City of Lights, with most of my friends and family working during the day, looks like I'm gonna have myself a decent chunk of free time. And because one of the main things about this city I've missed since moving away 4 1/2 years ago was the quality of movie theaters, I've decided to set myself a challenge. Let's call it the September Challenge (TSC). It goes thusly: I will try to see 20 movies in the theater while I'm here, i.e. just about one month. Can be any type, new releases, reruns, whatever. And since diversity is the greatest asset the Paris movie scene possesses, it's unlikely I'll get bored anytime soon. I will follow up each notch with a quick review, and possibly add general updates on life back in Paris if my brutal schedule leaves me enough time.
LET'S DO THIS!

Battle: Los Angeles (Liebesman, 2010)

The very moody and effective trailer (highlighted by a great use of a Johann Johannson track) had me thinking the movie ifself was bound to be average at best. And indeed it's formulaic and kind of stupid, but also very badass. This is where it helps to have low expectations. Great action, and for once the aliens weren't completely all-powerful like in every other alien movie.

**1/2

top 10 movies of 2010

1. Somewhere (S. Coppola)
2. Winter's Bone (D. Granik)
3. The Social Network (D. Fincher)
4. Black Swan (D. Aronofsky)
5. Inception ( C. Nolan)
6. Mother (J. Bong)
7. True Grit (E/J Coen)
8. The Fighter (D. Russell)
9. 127 Hours (D. Boyle)
10. Please Give (N. Holofcener)

127 Hours (Boyle, 2010)

One of the most amazing stories of human will and survival in recent history, Aron Ralston's tale gets a very just treatment by Danny Boyle whose usual dynamic directing and pop-culture sensibilities for once seem appropriate. But this effort would be naught without James Franco's incredible performance. Looks like the Oscar race for Best Actor is over already (sorry Firth, again)
***

Black Swan (Aronofsky, 2010)

Astounding work all around, from the acting to the directing and the editing (especially during the virtuoso dance sequences). Natalie Portman gives her all in a career performance, and Aronofsky makes an inspired decision to alternate between different genres without really committing to one.

****

Skyline (The Brothers Strause, 2010)

Like a much more stupid version of Cloverfield, but still managed to keep things entertaining thanks to a deft blend of arresting visuals and well-constructed action scenes. This is where it helps to have (very) low expectations when going into a movie.

*1/2

Due Date (Philips, 2010)

Tough to see this one and not compare it to last year's comedy smash The Hangover, seeing as they share a star and a director. But Due Date is a much more minor effort, saved in large part by some great scenes sold by both Downey Jr's awesome deadpan and Galifianakis' weirdo routine (although he is much more grating than appealing in this one compared to The Hangover). If nothing else it confirms what I wrote in my previous review: we need more of Juliette Lewis in movies.

**1/2

Conviction (Goldwyn, 2010)

there is very little in this movie that doesn't scream LOOK AT ME OSCAR, but when the performances are this good (Swank just dives into the role with ferocity, and Rockwell is as amazing as he's ever been. Please tell me he'll finally get the acting nod he deserves with this one) it really doesn't matter. The story is dealt with in a strong-hearted manner that avoids pathos where it can, at least by Hollywood standards. And at the very least this movie reminds us why we need more Juliette Lewis in our lives.

***

It's Kind Of A Funny Story (Boden/Fleck, 2010)

sometimes I wish Zach Braff had never made Garden State. I mean, I liked it at the time, but I was young and foolish, so what did I know. The main problem with it is that it jumpstarted the whole cute indie movie movement about young people having problems which they could overcome in 90mins. You've seen them 1, you've seen them all. This one's not that different, but thankfully Boden and Fleck imbue it with enough soulfulness that it doesn't just feel like a rehash. And comedy god Zach Galifianikis is a revelation as a depressed man trying to teach young Keir Gilchrist the ropes of life.

**1/2

Never Let Me Go (Romanek, 2010)

truth be told, there was little chance I was not going to be disappointed by this adaptation of Kazuo Ishiguro's tremendous novel. Books have this unassailable advantage over movies when it comes to describing characters' inner lives, and as such the cinematic versions can feel incomplete. However this one, while no masterpiece, has tremendous acting and densely thought-out visuals which helps connect to the source material. A dour and somber tale, for sure, but still one focused enough on sentiments that it remains true to the universal themes of the book.

***

hubba hubba

The Social Network (Fincher, 2010)

sizzling writing and stellar acting make this one a strong contender to Inception's title of best movie of the year so far. Funny how with so much attention being paid to action in movies nowadays, that when one comes along that focuses on human interaction it can feel like the most exhilirating work in ages. Beyond whether all the facts are true or not (this isn't a documentary, but the heart of the story still seems very real), this is a brilliant portrayal of a man creating change, and through it, changing us all.

****

finally (now can we get a trailer sometime soon, hmmm?)

The Reader (USA, 2008)

while Winslet's performance does justice to the Oscar she was awarded on Sunday, her character's story often seems way too unconscionable. Perhaps the book goes into things more, but there's a form of heartlessness here that had me more than a little uncomfortable (not the good kind), to the point it affected my opinion of the whole movie.

*1/2