Enter The Void (2009)

Directed by: Gaspar Noé

Written by: Gaspar Noé (with the help of Lucile Hadzihalilovic)

Players: Nathaniel Brown, Paz de la Huerta, Cyril Roy

Setup: Coincidentally reading a book about life and death from his French stoner friend, we see the past, present and future of an American drug dealer in Tokyo following his death (and an irrelevant drug trip).

Review: Having previously written about filmmaker Gaspar Noé’s second feature film Irreversible (appreciating the craft and technique, while giving caution regarding the disturbing visual and thematic material therein) I looked upon Enter The Void with overall excitement for the striking visuals and atmosphere the director would most likely present.  Our own Status Joe’s pseudo-recommendation motivated me to finally check it due to the fact I am currently working on an experimental short film with a first person point-of-view, which as you may excitedly/skeptically surmise is the modus operandi of this film.  Anyone who is skeptical in this regard can chill out; the effect only adds to the beautiful and languid visual language Noé developed for this film, while adhering to specific rules based on the story at hand.  Anyone who is excited should still be warned; this is by far one of the least accessible movies I’ve seen from the last decade, with hauntingly disturbing imagery and material making for a film I can’t stop thinking about, and yet can’t fully recommend 

After a truly jarring, shocking and awesome opening credits sequence full of colors and LFO’s “Freak,” we find ourselves behind the eyes of our visual surrogate Oscar as he looks out into the Toyko night from a high-rise apartment.  Once he’s done tripping on DMT, he meets his buddy Alex, they proceed to discuss The Tibetan Book of the Dead that Alex has loaned him, and watch as Oscar is killed in a police raid.  Without much information given to the audience except life and death musings and alterations in cinema style, we follow “Oscar” through languid camera movements as he encounters all the important people in his life, especially his sister (played by the beautiful yet slightly irritating Paz de la Huerta).  Besides seeing the immediate present following his death, we go into his past with the camera following directly behind his head, and then the future with more floating. 

In what overall amounts to a poetic fever dream, I cannot hold back my appreciation for the visual rules and cinematography Noé has laid out; they are arguably more important to the effective telling of this bizarre story than anything else, as well as show that based on the fantastic movement of camera and effects there is no doubt we are in the hands of a genius technician. 

While there is much to appreciate here, one can’t help but wonder at the lack of connection and importance to a number of scenes, along with unfortunately consciously pretentious moments.  Even certain scenes without any visual effects still amaze, though at times with a lack of vitality.  I can’t help but think Gaspar Noé pushes the dramatic limits for the sake of doing so, as seen in a not too graphic but obviously implied disturbing abortion scene, and a final scene where we actually see a digital penis during intercourse (its evoking the creation of life, but I honestly couldn’t help but laugh).   

While the credits are a work of wonder, they do not directly appear to connect to the film’s thematic material as a whole; in other words, you could not decipher what the movie is about based on credits alone.  This is also true for the opening DMT “trip” Oscar has; while relaxingly hypnotic, and possibly related to the fact that he is a drug dealer along with a foreshadowing of his transition to the afterlife, it does not seem to have a connection to his post-mortem adventure.

However, even when the film is losing connectedness plot wise, the striking visuals can be argued to have a thematic relation to one another whether it be the surreal, false perceptions of reality, or just wannabe Freud-weirdness (having seriously bizarre and incestuous thoughts about his mother and sister, Oscar should have seen a psychiatrist before his death).  Overall, when you avoid these critiques, you come away with a truly unsettling look at life and death, past and future, all presented as a cyclical process (think the antithesis of The Tree of Life, or an exceptionally gritty It’s A Wonderful Life).  For complete transparency, my jaw was dropped when the movie finished (few films have done this too me) and I’ve been thinking about this film more than 5 days after I watched it.  While pretentious at times, Enter The Void is a truly vivid and unique trip with verisimilitude behind every shot and a trance for the audience around every corner. 

Note: Based on your openness to this style of filmmaking, or the very disturbing and depressing material that’s associated with the rest of the director’s oeuvre, it may (probably) would be one you want to skip.

 

Tidbit: Gaspar Noé was inspired by a few other films, most notably 2001: A Space Odyssey during Bowman’s Star gate sequence.  Based on the lush quality of his sequences and his appreciation for similar scenes presented previously, its obvious he appreciates the ITunes visualizer. 

Drink of Choice:  As jarring as the film can be, one must be calm and relaxed to let it completely wash over you.  For this, I recommends VSOP Brandy, served neat. 

The House of the Devil (2009)

Directed by: Ti West

Written by: Ti West

Players: Jocelin Donahue, Tom Noonan, Mary Woronov

Setup: Strapped for cash, young college student Samantha Hughes accepts an offer to "babysit" for some stranger, on your average weeknight with a solar eclipse... on the outskirts of town...somehow dealing with Satanic rituals (CHILL, you learn this in the beginning)...in a house built on a Native American burial ground (I said CHILL, as seen in... oh wait, that's from a different movie).

Review:  Color me excited to finally be checking a movie by oft heard about director Ti West (who also writes AND edits the picture), especially right before Halloween when I already happen to be on the prowl for an atmospheric and well made thriller that happily lacks B movie clichés. Suffice to say, this prowl was a success as we have a decent little suspense film (and an attractive throwback poster to boot!).

It's clear West is all about nostalgia by the opening credits; the whole segment happily emulates sequences from the 70s and early 80s, horror movies or not.  If one had no previous knowledge of the picture, they may assume they're checking a peppy dramedy... until about the 38 minute mark (and besides the fact the opening states "facts" about Satanic worshipers from the 80s).  Still, while relaxing moments exist, its pretty clear all is not what it seems with a calm yet creepy atmosphere right on the fringes of this frigid college town, (developed with assistance from the beautifully legato yet foreboding score).
 

Development is key, and West seems to appreciate this second to nostalgia.  Though the director may appear to only desire another chance to live in the 25-35 years ago (maybe the 60s with a little Rosemary’s Baby here and there) he clearly is interested in bringing those elements into the present day with a fresh take on the genre.  This shows especially in the camera work, which goes back and forth between dated and modern techniques, and without removing one from the film.  His love of the past also shows when viewing Tom Noonan's name in the cast (he of Manhunter fame, you know he's GOTTA be bad somehow) along with the solid music selection.  

"You know I was also in Heat... but yeah most people know me as the scary SOB from Manhunter"

While it is clear this is an independently produced film (not a terrible thing, but couldn't help but be conscious of the acting at times), it’s just as apparent this is a unique flavor of filmmaking.  Fresh moments of didactic emotions flood the screen, as when Samantha listens to music that evokes positivity, yet is crushed by the viewer when they recall the true environment she exists in (I get that same feeling when I'm up late at night dancing to "Call On Me" thinking an Alien baby might attack me).  Potential happiness can't be exhibited forever in this genre, as seen when the constructed and lengthy suspense leads to a decently gruesome and horrific third act (SPOILER: There will be blood).  

The film may find some detractors in its apparently meandering course to the crux of the matter.  While maybe too slow in some spots, I applaud this effort overall, as West displays the necessity and interest in showing some depth to the world (and developing some solid tension, giving the audience no clue as to when they should expect what they've been expecting!).  Almost bare bones, Devil excels in its tight construction and setting that all can relate to: being alone in the unknown... and for normal people, fear of being stuck in a creepy ass house babysitting for Tom Noonan (Manhunter YO!).

Tidbit: The film was shot on 16mm and had a VHS release.  Made in 2009, you cannot tell me somebody isn’t yearning to travel back 20 years or more.

Drink of Choice:  Blood On The Rocks

• 2 parts Tequila
• 1 part Triple Sec
• Club Soda 
• Grenadine (BLOOD)

Combine over some rocks, with a heavy hit of that Grenadine, and you've got a Margarita tailor made for Zombies.

The Conversation (1974)

Directed By: Francis Ford Coppola

Written By: Francis Ford Coppola

Players: Gene Hackman, John Cazale, Harrison Ford, Terri Garr and Robert Duvall

Setup: When a secretive surveillance expert is hired to record a couples conversation he feels what he heard could lead to their murder he forgets his cardinal rule: don't get involved.

What follows is an unraveling of control and a smothering paranoia all driven by the guilt of a previous job that ended in cold-blooded murder.

Just be careful what you say, you never know who's listening ...

Review: To say Francis Ford Coppola was on a filmmaking hot streak in the '70's would be an understatement but it still wouldn't be as brilliantly understated as his 1974 thriller The Conversation. The writing is taut and the slow-burning suspense is maddening, couple that with Gene Hackman's layered portrayal of a guilt-ridden surveillence expert Henry Caul and you have the recipe for something that borders on a line between Hitchcock and reality. It's a damn good winning combination (even those highfalutin French folk over in Cannes thought so)!

While many may view this simply as a film about growing paranoia it is Gene Hackman's portrayal that elevates it above most dime-store imitators. His character is a devout Catholic complete with the guilty concience, in his case a decade old triple-murder that was commited after he turned in some audio recordings. This guilt drives him to do things outside of his normally controlled and introverted nature that put him in the middle of a coorporate debacle that could have at least two lives at risk. Support Hackman's performance with that of a loyal, even when pushed away, character of Stan (John Cazale, The Godfather) and a looming and demanding client's assistant in the form of a young Harrison Ford and you've got a cast that can't really be topped.

If you're not a fan of a good slow-burn The Conversation may not be your bag, but I'd argue that its sometimes maddeningly slow pacing is deliberate and allows you to share in the unraveling of Henry Caul's determinedly controlled world. This is a thriller from the words and direction of one of the greatest film auteurs ever to spend time behind a camera and should definitely be checked out if you a fan of the genre, filmmaker or are looking for an phenomally unconventional performance from an actor of Gene Hackman's caliber.

Even though Henry Caul was "the best bugger on the West Coast" he never forgot his roots ...

Tidbit: It was brought to my attention that Gene Hackman's paranoid character Edward Lyle in 1998's Enemy of the State could be seen as a continuation of Henry Caul from The Conversation. I like that idea so much, in fact, that I'm just going to treat it as fact from here on out.

Drink of Choice: Like Henry Caul I'm a man that can enjoy some jazz from time to time (Dave Brubeck and Django Reinhardt are my cats of choice) so why not "The Jazz" Cocktail? The mixings: 1 Oz Campari, 1 Oz Havana Club 3yrs Old Rum, 0.5 Oz Passoa passion fruit liqueur, 1.5 Oz Sweet and sour mix, 2 Spoons passion fruit puree, 3 Oz Sparkling wine or champagne. Add ice and shake to a grooving bass line and serve in a classy highball. Cheers! 

Collateral (2004)

Directed by:  Michael Mann

Screenplay by:  Stuart Beattie

Starring:  Tom Cruise, Jamie Fox, Jada Pinkett Smith 

Plot:  After meeting the woman of his dreams, a Los Angeles cabbie in denial catches up with a killer brimming with STYLE!…It’s really kind of a bummer for the Cabbie.  Either way, both men will never be the same.

Review:  Alright alright, I know this is way ridiculous.  It has been a whole YEAR since I’ve written a review, and after all this time, I resort to reviewing ANOTHER Michael Mann movie.  My last review was The Last of the Mohicans, where I happened to unabashedly profess my love for the director and his films.  So where do I go now?  The MANN!

I coincidentally happened to watch Collateral recently, and as I meant to get back into the spirit of sharing my feelings on film with the masses (currently mass…or lack thereof), this 2004 beauty seemed like the perfect place to hang.  Do my ecstatic feelings shown previously appear in this endeavor?  For the most part, yest.

Collateral is a film I find myself pushing endlessly towards the masses (again…maybe just Mom here) regardless of my recent knowledge of it.  In all actuality, I truly believe I’d only seen this film twice, and the second time possibly more than 5 years ago.  Upon this revisit, there were moment of true bliss, and others that left me slightly perplexed; these were few and far between however, as Collateral may very well be Mann’s most taut film to date.

One major difference compared to all of his previous work is the script: it wasn’t his (although he reportedly revised it substantially).  Stuart Beattie is credited with this little baby (early drafts by Executive Producer Frank Darabont of Shawshank and The Walking Dead Fame) making quite a tightknit piece of work.  Not only does the story take place over the course of one night, but much of it is in a cab with major philosophical battle between the two leads.  The story is simple enough, with Vincent the hit man (played cool and efficiently by Tom Cruise) essentially taking Max the cabbie (Jamie Foxx in a star making turn) hostage, as he takes out his 5 targets he has been contracted to kill.  While you may think one has the upper hand over the other, events of the night and fairly calm debates show a continually alternating picture of who each of these two men really are, played effectively up front and in the subtext.

Mann’s first foray into digital cinematography (and justified by the accent of the LA night) truly is a visual masterwork.  Scenes showcasing life in and out of the taxi cab, in clubs, skyrises, and trains are truly stunning and beautiful.  One issue I could not separate myself from was that while it looked like Mann, it did not completely feel like Mann, most likely based on the fact that the story did not originate from him.  This should not be viewed as a fault necessarily; directors shouldn’t have to keep exactly consistent from movie to movie (why should they).  It just took me slightly out of the story, and I can’t help but feel upset.  Still….that’s my own damn fault, isn’t it?!  Not the fault of the MANN!  Even if it was something completely new, he actually did go with a script that in the end seems almost to be tailor made for his visual sensibilities. 

Maybe in my old age, I’m becoming a little short with my favorite filmmaker.  Regardless, Collateral truly is a slick spectacle that remains taut and tight through to the end.  Music here is fairly stellar (maybe a little too bombastic at the end) and the setting of LA is fleshed out well enough to truly be a supporting character.  And speaking of supporting, the cast adds depth and background that effectively surrounds our two leads without being overbearing.  Some of the cast you will may not even recognize at first (Mark Ruffalo never looked so Narc) while others might be making some of their first big US appearances (never realized Javier Bardem was here).

Even though at first the film may have differed from what I remember, I cannot deny the cool, the real, the vibe that makes me truly feel I’m in LA like I’ve never seen it before.  He may have not written the piece, but make no mistake, this is Michael Mann’s movie, and it ranks up there with his best. 

 

Sleepers (1996)

Directed By:  Barry Levinson  Written By: Lorenzo Carcaterra (book), Barry Levinson (screenplay)

Studio: Warner Brothers

Cast:  Kevin Bacon, Robert De Niro, Dustin Hoffman, Jason Patric, Brad Pitt

Synopsis:  Boys will be boys, but of course this may have a slightly/completely different context within Hell’s Kitchen, where boys will be boys by stealing hot dog carts and pushing them down on the ostensibly middle upper class because of the extreme malaise of their lives. 

Wow, I’m so judgmental.  Ok it was an accident, and these naïve, harmless, and God fearing children really didn’t mean it, but this was the pivotal event of their lives, changing everything from that moment forward, leading to the second act in the detention center, and a third act regarding the aftermath of their incarceration.  All of this is tied together because Kevin Bacon is a total wanker.

Note:  Kevin Bacon is my 3^rd, 4^th, or 5^th cousin…by marriage through Kyra Sedgwick… and even though I’ve never met him, my life is still awesome because I can beat anybody else in 6 Degrees of Separation from Kevin Bacon! 

Review:  This is one good ol film I’ve been curious about since 10 years after it came out, due to the fact that in my youth, this looked like what I regarded as dummy drivel (AKA not a Bruckheimer production; ironic).  However, I finally saw the talent and fairly decent acclaim backing it, prompting me to eventually check a copy after a long wait.

It may have its dull moments, but overall Sleepers contains a fascinating look at childhood bonds, revenge, and morality.  The look at what our main characters must go through after being put in an institution is fairly effective without showing too much, due in large part to Kevin Bacon’s character being completely ruthless and inhumane.  With this in mind, the controversial path they take as adults is something I can appreciate and accept; payback could not stray far from one’s mind after viewing the torture they endured, even through the fatal accident they caused.

Throughout we have a fairly in depth-look at the main characters and their connections with each other, and along with the decent chemistry between them as children, we can effectively care for them when they become physical/sexual fodder of the guards when incarcerated.  The transition to adults, and to our headlining stars, may be awkward and seem to lose some of the characterization from childhood, but they receive help from some major supporting players in an alcoholic lawyer (Dustin Hoffman) and a priest (Robert De Niro, in a wonderfully understated, interesting, and oddly polite role).  Here the story becomes slightly more immediate and thrilling; in essence, the whole film heads on an upward slope of intensity throughout, but it does start off in slightly dull territory.

Main aspects aside, the film scores fine points for its interesting and moving John Williams score, as well as creating and using the identity, culture, feel, and environment of Hell’s Kitchen, making the boys and those around them evoke authenticity.  There may be overly melodramatic moments, unbelievable connections between past and present, as well as an ending that is not completely satisfying due to revenge being taken too early and stakes not being high enough, but overall I fell for it.  In this case, even if you have qualms, it works.