Greetings again from the darkness. What a compelling neo-noir quasi-crime thriller from first time director (and long time Peruvian actor) Salvador del Solar. The story is based on Alonso Cueto’s novel “La Pasagera”, and while it’s anchored by a terrific performance from Damian Alcazar, there are numerous twists, turns, and intense sequences.
Mr. Alcazar plays Magallanes, a former Army soldier now struggling to earn a living as a freelance taxi driver in the city of Lima. He has a second job as driver and part-time caretaker for his former military commander (played by Federico Luppi), who now suffers from Alzheimer’s disease … though to what extent plays a role throughout.
One day Magallanes picks up a passenger whom he immediately recognizes. When she exits the taxi, his breathless anxiety is a powerful moment. We slowly learn that the woman is Celina (the stunning Magaly Solier), and there is a dark and horrific secret that binds these two to the colonel.
Watching the numerous story lines unfold is a nerve-racking movie-going pleasure, as secrets and pain and struggles abound. Celina is close to losing her salon and is being pressured by a tyrannical loan shark – a rare cinematic female role absent any empathy. Secrets and circumstances being what they are lead Magallanes to plan blackmail against the colonel’s wealthy doctor son (Christian Meier). To say that nothing goes according to plan is a bit of an understatement.
The brilliance of the story is that we find ourselves pulling for Magallanes right up until the moment when we can’t possibly forgive him his transgressions … any more than Celina can. More than an example of the jumbled mess of war and terrorists, the film is a wonderful observation of human nature and how we often rationalize our worst actions to the point of delusion of our own goodness. No matter how hard we try to put things behind us, the bad choices are always there. Some sins just cannot be washed away, and redemption is not always possible. In the words of the characters … “well, that’s football.”
Greetings again from the darkness. Austin-based filmmaker Jeff Nichols serves up some of the familiar themes of spiritualism and parenting seen in his first three films: Mud (2012), Take Shelter(2011), Shotgun Stories(2007), but this time he goes a bit heavier on the science fiction … while maintaining his focus on the individual.
An exceptional opening scene kicks off the story, and Nichols makes sure we are alert by forcing us to absorb and assemble the slew of clues flying at us … an Amber alert, cardboard on the windows of a cheap motel, a news report tying us to San Angelo, Texas, duct tape on the peep hole, a duffel bag of weapons, two anxiety-filled men, and a goggled-boy under a white sheet who seems extremely calm in an otherwise hectic environment. We learn a lot, yet many questions remain.
As the boy and the two men speed off down the backroads, the setting switches to an eerily calm Calvin Meyer (the always great Sam Shepard), who is the leader of a religious cult similar to the Branch Davidians. “The Ranch” is desperate to get the boy back, and we learn they worship the numbers and words the boy has “received” from above. An FBI agent (Paul Sparks) leads the raid on the compound and takes us to an interrogation of Calvin by NSA analyst Paul Sevier (Adam Driver).
Alternating between sci-fi special effects and an “on the run” story line, we slowly pick up more details about the boy Alton (Jaeden Lieberher), as well as the men with him – his father Roy (Michael Shannon) and Roy’s childhood friend Lucas (Joel Edgerton). It’s not long before they reunite with Alton’s mother Sarah (Kirsten Dunst) and we really start to comprehend just how different and special Alton is.
It’s easy to see the influence of such films as Starman, E.T.: The ExtraTerrestrial, Close Encounters of the Third Kind, and The Day the Earth Stood Still. We are reminded that our society inevitably assumes the worst when something we don’t understand appears right in front of us. The Ranch sees the boy as a savior, and the government labels him a weapon. But it’s Shannon who captures the protective determination of a father trying to do the right thing for his son. Shannon again flashes the best ‘pained’ expression in the business, but it’s young Lieberher (so terrific in St. Vincent) who allows us to accept the father/son story in spite of the bright white lasers shooting from his eyeballs.
There are plenty of unanswered questions – not the least of which is, how did two “normal” parents end up with this “special” son? The visuals near the end are impressive to see on screen, but don’t appear to have much impact on the final questioning of Lucas or our understanding of how it all happened. It should also be noted that the piano score is especially impactful during both the quiet and thrilling moments. Director Nichols is a talented idea man, but he does leave us wanting more details. (That’s his brother singing the song over the closing credits.)
Greetings again from the darkness. The best neo-noir crime thrillers immersed in the grim tone of “True Detective”, Stieg Larsson’s trilogy and El secreto de sus ojos(The Secret in Their Eyes, 2009) have a way of drawing us into the atmospheric underbelly of society and keeping us grappling for solid ground until a resolution is in place. This gem from Spain comes courtesy of director Alberto Rodriguez, who co-wrote the story with Rafael Cobos. Cinematographer Alex Catalan also deserves much credit.
Juan (Javier Gutierrez) and Pablo (Raul Arevalo) are two police detectives thrown together to investigate the disappearance of two teenage sisters in a remote part of the southern country. It’s 1980, five years after the death of Franco, and the country is in the midst of political and social transition/turmoil. The two detectives are a microcosm of this transition as Juan is the old-school cop who views “physicality” as part of the interrogation process, while Pablo is next generation and believes in following the new rules of democracy and treating all with respect. Pablo, whose wife is back home in Madrid expecting their first child, is none too happy about being paired with Juan, who seems to have no real moral compass at this stage in his life and career.
When the violently abused bodies of the sisters are discovered, Juan and Pablo follow a trail of leads that take them through a mostly closed-circuit and uncooperative community … one eager to explain that those sisters had “a reputation”. The village women are all frightened to speak, the men are zealously protective of each other, and both are suspicious of outsiders. Even the Civil Guard systematically defends the old society of man-rule.
The contrast between the two polar opposite detectives, and their slow to develop meeting of minds, is more the focus here than the still quite interesting procedural work being done to investigate the murders and uncover the atrocities. This is not one of those heart-pounding, adrenaline-laced joy rides, but rather a slow-burn of police work and character development.
Aerial shots to open the film are breath-taking and included periodically throughout the film. Mr. Catalan’s work is combined with digitized versions of the work of photographer Hector Garrido to create the haunting atmosphere around an area of Spain that otherwise lacks the natural beauty we often associate with the country. This setting adds yet another layer to this mesmerizing movie-watching (for those of us who appreciate the genre).
Greetings again from the darkness. For those high school Literature teachers struggling to get their students to embrace the classics from writers like Jane Austen, this movie won’t help much. However, chances are good that those same students will enjoy this blending of 19th century British class warfare with “The Walking Dead” – likely one of their favorite shows. The zombie apocalypse has landed in the middle of Austen’s prim and proper story, including the repressed attraction between Elizabeth Bennett and Mr. Darcy.
Anyone expecting the serious undertones of Ms. Austen’s1813 novel will be disappointed … but the title should have provided a pretty solid hint. While her characters and general story line act as a structure here, it’s really based on Seth Grahame-Smith’s YA hit novel … delivering zombie battles and often zany humor. Burr Steers (Igby Goes Down) directs his own adapted screenplay and seems to really be having a great time – right along with his talented cast. The sets, costumes, dialogue and fight scenes work together to create an unusual movie experience that will generate plenty of laughs while not dwelling on the zombies or violence (it is PG-13). Expect most critics to destroy this one because it’s made simply for fun, not for art.
Of course, any Pride and Prejudice spin-off (even one with zombies) must pay particular attention to Elizabeth Bennett and Mr. Darcy. It turns out that Elizabeth and her four sisters are highly trained warriors raised to survive against the undead. It’s even clearer for Mr. Darcy as he is billed as a zombie hunter and protector of Mr. Bingley, the rich bachelor hooked on Jane Bennett. Things get muddled by the devious Mr. Wickham, a focused Lady Catherine de Bourgh, and especially the flamboyant fop Parson Collins. The interactions between these characters bounce between loyalty, romantic attraction, emotional turmoil and hand-to-hand combat … with enough comedic elements that most viewers will find plenty of opportunities to laugh.
The talented cast is all in. They play it mostly straight (with one major exception) to achieve the balance between somber and silly. Lily James (“Downton Abbey”) and Sam Riley (On the Road, 2012) are both fun to watch as Elizabeth and Darcy. They are the film’s best fighters … both with swords and words. Bella Heathcoate (Dark Shadows, 2012) is “the pretty one” Jane, who is wooed by Douglas Booth (Noah, 2014) as Mr. Bingley. Lena Headey (“Game of Thrones”) makes an impression in her limited screen time as an eye-patched Lady Catherine de Bourgh, and Jack Huston (“Boardwalk Empire”) is well cast as Wickham. Screen veterans Charles Dance and Sally Phillips take on the role of parents to the five Bennett daughters, but it’s Matt Smith (“Dr Who”), who turns the film on its ear with his unconventional twist on the oddball Parson Collins, who pretty much steals each of his scenes. He had those in the theatre laughing out loud more than a few times.
Pity is the word that comes to mind for any young man who takes these Bennett girls to the prom … or more likely to one of the societal balls. The weapons hidden under their formal gowns offer fair warning to zombies and handsy suitors alike. It’s this element of strong women (physically and emotionally) that might even allow Ms. Austen to appreciate what’s happened to her characters … were she alive to see it.
Even though the film offers plenty of fun with laughs and action and romance, let’s hope it doesn’t kick off a new zombie-adaptation trend. Here are a few titles that we hope never see the big screen: Sense and Sensibilities and Zombies, War and Peace and Zombies, Crime and Punishment and Zombies, The Old Zombie and the Sea, Wuthering Zombies, Romeo and Juliet and Zombies, and Alice’s Adventure in Zombieland.
Greetings again from the darkness. In the not-inconsequential sub-genre of 1960’s tough guy crime thrillers, it’s tough to beat this neo-noir that carries the lineage of a fine wine, but the taste of a stout beer. Familiar faces are everywhere, bullets fly, double-crossing is expected, Angie flaunts, and revenge is the mission.
While not a box office hit on its release in 1967, the film grew into a cult classic and is now appreciated as one of the era’s best. The set-up is certainly not too complicated. During a heist (filmed at Alcatraz), one of the gang members shoots another at “point blank” range and takes off with both the money and the poor guy’s wife. The shot guy survives and seeks his money ($93,000) and revenge on those who wronged him.
Sure it sounds simple and common, but it’s made special thanks to top notch work from the writer, director, cinematographer, composer and cast. The story (adapted by Alexander Jacobs, David Newhouse, Rafe Newhouse) is based on “The Hunter” from acclaimed crime novelist Donald Westlake (as Richard Stark). The book was also the source material for Mel Gibson’s 1999 movie Payback. Oscar nominated director John Boorman (Deliverance 1972, Hope and Glory1987) works with Oscar nominated cinematographer Philip H Lathrop (Earthquake 1974) to create a stylish and gritty look and feel, while Oscar winning composer Johnny Mandel (The Sandpiper, MASH theme) adds just the right musical touch.
If that’s not enough for you, Lee Marvin commands attention as the revenge-obsessed tough guy who won’t get fooled again. To call Lee Marvin a tough guy seems redundant and unnecessary, as his screen presence oozed dominance. He was coming off an Oscar win for Cat Ballouand one of his best performances in The Dirty Dozen. In other words, he was an actor at the peak of his Hollywood power.
Joining Mr. Marvin on screen is a prestigious group led by Angie Dickinson and Carroll O’Connor. With a career that spanned more than 50 years, Ms. Dickinson starred in such films as the original Ocean’s 11 and Brian DePalma’s homage to Hitchcock, Dressed to Kill. Of course, she also starred in one of the biggest TV shows of the 1970’s “Police Woman”. And speaking of 1970’s TV, few were more jarring to the culture than “All in the Family” with Carroll O’Connor as Archie Bunker. In this film, Ms. Dickinson plays the sister of Marvin’s double-crossing wife and she gets to flail away in anger at him before the two fall into bed together … a terrific piece of editing. Mr. O’Connor plays Brewster, one of the three heads of “the Organization”, and one of the targets that Marvin chases to retrieve his money.
Playing another of the three heads is Lloyd Bochner, who capitalized on his smooth demeanor and velvety voice during a 7 decade career in TV and movies. Mr. Bochner is the father of Hart Bochner, who (as Ellis) tried to out-smart Hans Gruber in Die Hard. Keenan Wynn appears as a mysterious figure feeding information to Marvin’s character to assist in his quest of taking down the organization. Mr. Wynn is the son of legendary entertainer Ed Wynn who was known for his work in vaudeville, Ziegfeld Follies, TV and movies (Mary Poppins). Keenan also appeared in many TV shows and movies, with Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb being his most famous. Appearing as Lynn, the two-timing wife, Sharon Acker was on the verge of movie stardom … only that stardom never came. By choosing to focus on TV roles, she had a nice long career, but never reached the superstar status many had predicted. Sandra Warner plays the waitress that Marvin talks to, and Ms. Warner simply walked away from the business after this role … despite a successful career that started when she was 18 years old. Yet another familiar face in the cast belongs to John Vernon, who was making his feature film debut. Here he plays the guy pulling the trigger at point blank range, and many will recognize him as Dean Wormer in Animal House. James Sikking plays the sharpshooter employed by the organization, and fans of “Hill Street Blues” will remember him as the slightly annoying Howard.
There are a few other notes of interest regarding actors in the movie … though you’ll have to look quickly. Sid Haig plays a henchman at the hotel. Mr. Haig has had a prolific career as a heavy, bad guy, villain, horror film staple, and even Tarantino favorite. Barbara Feldon, the beloved Agent 99 in “Get Smart” makes an appearance on a Ponds face cream commercial as Marvin watches TV, and Lauren Bacall is seen/heard quickly on a TV set as well. Also, Felix Silla has one scene as a hotel guard. The diminutive Mr. Silla also starred as Cousin Itt in “The Addams Family”. As a final note and shout out to “the Chevies”, it must be noted that Angie Dickinson and Keenan Wynn would also appear together in the deliciously twisted 1971 film Pretty Maids all in a Row from that lover of the female form, director Roger Vadim.
It’s pretty easy to see how all of these factors came together to create this cult favorite. From a filmmaking perspective, the use of flashbacks, editing and sound effects (footsteps) all add to the experience, as does Brewster’s stunning home – which in real life, now belongs to Drew Barrymore. If you are a fan of 1960’s film, it’s one you probably already have seen a few times, but if not, it’s one to watch if for no other reason that Lee Marvin firing shots into an empty bed … I’m still not sure how that was supposed to help him obtain his $93,000, but he really wants his money!
Greetings again from the darkness. The U.S. Coast Guard has played a role in many movies over the years, but only a few have placed this service branch directly in the heart of the story … most recently The Guardian (2006), which was little more than a cheesy, too-talkative water-based rip-off of Top Gun. Director Craig Gillespie (Lars and the Real Girl, 2007) takes a much different approach as he presents a look at one of the most legendary and heroic real-life rescues in Coast Guard history.
The Oscar-nominated writing team behind The Fighter(2010): Scott Silver, Paul Tamasy, and Eric Johnson have collaborated on the screenplay based on the book from Casey Sherman and Michael J Touglas. It’s a worthy tribute (and clearly Disney-influenced) to what is described as the greatest Coast Guard small-boat rescue. It combines a boat-load (sorry) of tension-filled ocean-based sequences with some pretty interesting character-based sub-plots within a Massachusetts community that has become all too familiar with storm-based catastrophes.
Chris Pine stars as Bernie Webber, an awkwardly shy and obsessive rule-follower, who has lived under a cloud of doubt ever since a previous rescue mission failed, resulting in the death of a local fisherman/husband/father. We first meet Bernie as he bungles through a first date with Miriam (Holliday Grainger, a young Gretchen Mol lookalike). The film then jumps ahead to 1952 when they become engaged and Bernie is ordered into a questionable mission by his “not-from-around-here” commanding officer Daniel Cluff (Eric Bana). See, a huge storm has literally ripped apart not one, but two giant tankers, leaving crew members battling for survival. It should be noted that Bana the Australian, tosses out a laughable southern accent that is a joke within the movie and within the theatre (for different reasons).
Bernie and his crew: Richard Livesay (Ben Foster), Andy Fitzgerald (Kyle Gallner), and Ervin Maske (John Magaro), take off against all odds in a too-small boat against too-big waves in a desperate attempt to rescue the tanker crew that includes brilliant engineer (and quiet leader) Ray Sybert (Casey Affleck) and characters played by John Ortiz and Graham McTavish. Affleck excels as what can be termed a quiet leader. Of course, we know how the story ends, but the heroic efforts against a very powerful Mother Nature show-of-force make for compelling movie watching.
The special effects are stout, though not be as spectacular as The Perfect Storm(2010) or In the Heart of the Sea (2015), and it’s the human-factor that provides more than enough thrills, excitement, and tension. In fact, the biggest issue I had was that I saw a 3-D version which is an absolute disservice to the film. Most of the story takes place at night and at sea, so the 3-D consequence of dimmed light and muted colors results in a far too dark and dull look to the film. I spent much of the movie sliding the 3-D glasses down my nose in a simple attempt to enjoy a bit more brightness. The recommendation would be to skip the higher-priced (money grabbing) 3-D version and take in the more pleasing “standard” version.
Disney makes feel-good movies. Their target market is not cynics or the overly critical among us. The romance pushes the “corny” meter, but keeps with tradition of other Disney movies based on true stories like The Rookie(2002) and Dreamer: Inspired by a True Story(2005). Keep this in mind you’ll likely find this one pretty entertaining. Stick around for the closing credits as a slew of real photographs from the actual 1952 event are displayed, as are photos of the real heroes from that night.
Greetings again from the darkness. Not wanting to watch another movie related to the Holocaust is understandable. Why should you purposefully agree to experience the misery and unfathomable horror that occurred? The simple answer is that we should never forget one of the darkest and inexcusable periods in human history. Director Laszlo Nemes delivers a new approach … a different viewpoint … and it grabs us and doesn’t let go.
The startling opening is a long-tracking shot featuring Saul Auslander (played by Geza Rohrig) and his duties as part of the Sonderkommando unit at 1944 Auschwitz-Birkenau concentration camp. The red X on his jacket relegates Saul to corralling the next round of Jews into the gas chamber and then cleaning up for the next group. The reward of this position means the delay of his own inevitable death. It’s a closer, more intimate look at a process that we have not prevented ourselves to think much on.
What we soon realize is that dialogue is minimal and most of what we see is as if we were standing right beside or just behind Saul. The shallow focus means much in our sight line is blurred, and we are exceptionally dependent on the sound – what we hear often conveys more of the message than what we see. Cinematographer Matyas Erdely never allows our eyes to drift … he shows us only so much, forcing our brain to process and interpret so many more clues.
The horrific proceedings may be blurred, but it’s a devastating experience nonetheless. Saul’s stoic face masks his true emotions and disgust, and prevents him from drawing any unwanted attention. Saul’s dependability as a Sonderkommando changes in the blink of an eye – he sees the body of a young boy whom he claims is his own son. He becomes obsessed with finding a Rabbi to allow for a proper burial for the boy. It seems clear that this mission is a chance to break from his soul-crushing duties and grab a bit of redemption before it’s too late. Unfortunately, the timing of this mission conflicts with a planned prisoner uprising … adding more complexity to a nearly impossible quest.
This is the feature film debut of director Laszlo Nemes, who also co-wrote the story with Clara Royer. Some of the specifics are drawn from “Voices from Beneath the Ashes” (edited by Ber Mark) and “Auschwitz: A Doctor’s Eyewitness Account” by Miklos Nyiszli. It’s a fearless vision for Holocaust storytelling with many open-ended issues (we don’t always know identities and positions of those we see) and few conclusions provided. But then we all know the ultimate conclusion, and this look may be the most devastatingly intimate look we have ever had.
It’s not a movie that allows you to kick back on the sofa and simultaneously catch up with Facebook. It demands and deserves attention and patience. Nothing here is designed to allow us a “hands off” view from a safe distance. In fact, the lack of traditional story structure and dialogue direction forces us to face the ugliest reality through a different perspective than we’ve ever considered. Powerful stuff.
Greetings again from the darkness. The isolation of the desert seems the perfect place for an artist to achieve the existential awakening necessary during a time of personal doubt and crisis. The journey to find one’s true self becomes much more complicated when the one-man desert getaway is interrupted by heavy boozing, self-destructive tendencies, and a serial-killer sociopath. Such is the case with writer/director William Monahan’s (Oscar winner for his screenplay of The Departed) latest film.
Garrett Hedlund plays Thomas, a very successful filmmaker, who seems to take no joy from his life of luxury … a mansion in the hills, cool cars, a wife and daughter, and endless adulation. Sporting the ultra-cool celebrity look of sunglasses and long hair, Thomas heads off into the desert to either clear his mind or end his life. We aren’t really sure which, and neither is he. Lots of Vodka and reckless Jeep driving leave Thomas in a showdown of wits and machismo across a campfire from a sinister yet articulate drifter.
The drifter is Jack, played by Oscar Isaac, and it’s no surprise when we learn he is a serial killer … the sociopath part we figured out quickly, right along with Thomas. Their under-the-stars confrontation leads to a tragic accident the next day, and pits these two in a B-movie game of cat and mouse with a tone that reminds a bit of Cape Fear(1991) and U-Turn(1997).
Heading back to L.A., Thomas comes up with an incredibly stupid plan to cover his tracks. Being famous “since I was 19 years old” and having financial success with movies hasn’t trained Thomas on facing off against a clever nemesis. Even his discussion with his manager (played by an unusually low-key Walton Goggins) comes across as literary-speak rather than real advice. “Worry about what seems to be” is the advice Thomas rolls with.
Monahan fills the screen with tough-guy dialogue for these two characters that are both simultaneously stupid and smart. Jack and Thomas go at each like a couple of intellects, but it’s the class warfare that stands out. The 99% versus the 1%. The message seems to be that it comes down to circumstance on whether one is an artist or a psychotic felon … and the line separating the two is pretty slim.
It’s also not a very well disguised ripping of the film industry … especially of producers. Mark Wahlberg chews some scenery as a d-bag movie producer who talks loud and fast while accomplishing little. It’s a pretty funny turn for Wahlberg, though unfortunately his character spends limited time on screen. Louise Bourgoin has a couple of scenes, and quickly proves more would have been welcome.
The film may not be much to look at, and doesn’t really make much sense, but some of the dialogue duels and “brother” banter, manage to keep us interested throughout. “Take a left. Take a right.” It doesn’t much matter with these two well-read adversaries from opposite sides of the tracks.
Greetings again from the darkness. “Keep breathing.” A flashback in the opening sequence has Hugh Glass whispering the phrase as advice to his young son Hawk, the product of Glass and his beloved Pawnee bride. The phrase has a recurring role throughout the film … possibly serving as a courtesy reminder from director Alejandro Gonzalez Inarritu to the moviegoers mesmerized (and nearly traumatized) by the incredible brutality of what is on screen.
It’s a master class in filmmaking by those at the top of their game. Inarritu is the reigning Oscar winning director for Birdman or (The Unexpected Virtue of Ignorance),and he has re-teamed with the reigning Oscar winning cinematographer from that movie, Emmanuel Lubezki. Two of the finest actors of their generation, Leonardo DiCaprio and Tom Hardy, strip away any semblance of pampered movie stardom to deliver ultra-realistic performances in a story “based in part” on the true to life novel by Michael Punke.
An early action sequence is startling in its ferocity as Arikara surround and attack a group of hunters and trappers, and the whoosh of arrows – many of which find their mark – abruptly drag us into a world that we are unfamiliar with and certainly unprepared for. It’s early 19th century U.S. frontier, and just about everyone and everything can kill you. Providing just enough time for us to pry our fingers off the armrests, Inarritu stuns us with what is undoubtedly the most fantastic grizzly bear attack on a movie star ever filmed. In what appears to be a single take (which also happens to be the number of breaths I took), Mama Grizzly treats Leonardo the way a young puppy treats its first chew toy. Scratched, chewed, tossed and stomped. This scene is savage and brutal, and sets the stage for the true, yet still unbelievable odyssey of survival by frontiersman Hugh Glass.
Tom Hardy excels as the calmly psychotic villain Fitzgerald, though some of his early hillbilly-tinged dialogue is difficult to catch. His hulking presence fits with our imagined look of the frontiersman of the era … tough and unforgiving nearly beyond belief. His bullying of youngster Jim Bridger (played by Will Poulter) and power struggles with Captain Henry (Domhnall Gleeson) are at frightening levels of intensity. Fans of Tarantino’s Inglourious Basterdswill smile as they recognize the name of mountain man Jim Bridger … though that’s one of the few smiles offered by this 156 minute gut-wrenching ordeal. It would not be surprising if DiCaprio’s mantel sports an Oscar in a few months. He is that superb in a role that has nothing to do with good looks or charm.
A tale of survival. A quest for revenge. It’s both of those, as well as a reminder that nature can be both beautiful and brutal. Some of the photography is almost poetic, and often reminds of the work of director Terrence Malick. And in the blink of an eye, that moment is shattered by the torrential force of river rapids carrying Glass over the waterfall, or his taking a horseback ride off a steep cliff (one of the most dramatic shots of the film). The journey of Glass is unknown in distance or time in the movie, but there is no question as to the numerous struggles with the elements and the raw physicality required to persevere. If you can avoid diverting your eyes, there are visuals here that will be sincerely appreciated – even as you squirm, cringe and moan throughout.
From a technical standpoint, the film was shot on location in Canada and Argentina using only natural lighting, and emphasizing aspects of nature that often are overlooked. The sound of arrows, bears, and even DiCaprio’s breathing are profound and crucial to the overall effect, as are the animal skin garments and other costumes. It’s impossible to tell where CGI meets reality, but the visceral experience will be quite unique for most viewers … and not soon forgotten.
Greetings again from the darkness. You have surely seen more complex and intricate bank robbery movies, but it’s doubtful you’ve seen one more ambitious from a technical standpoint. In a remarkable achievement of commitment, planning, and technical execution (plus some good luck), director Sebastian Schipper and cinematographer Sturla Brandth Grovler deliver 2 hours and 14 minutes with a single take and a low budget. It’s a testament to the cast and crew, as well as the advancements in digital equipment (mobility and battery life).
Alfred Hitchcock’s Rope (1948) and last year’s Best Picture winner, Birdman or (The Unexpected Virtue of Ignorance), from Alejandro Gonzalez Inarritu, both utilized extended/seamless takes in fascinating manner; however, it’s Mr. Schipper’s film that takes us through multiple locations – a dance club, the streets of Berlin, the roof of a building, a local café, inside a stolen van, back to the dance club, through an inner city escape, and into a luxury hotel. That’s right … each of these puzzle pieces are generated without ever pausing the camera or editing a shot. You might expect nausea-inducing shaky cam, but instead it plays more like we viewers are along for the ride.
Beyond the technical goodies, we get two fine performances from Frederick Lau as the streetwise and smooth-talking Sonne, and especially Laia Costa as Victoria. The titular character is first spotted enjoying a sweaty dance to thumping club music before leaving the club and bumping into Sonne and his group of “real Berlin guys”. It all seems playful enough, but as the flirtations escalate between Victoria and Sonne, we sense things could become a bit more ominous. The first part of the film really allows us to get to know these two as they get to know each other. Victoria’s childhood story explains much about her reactions throughout the ordeal, and it’s also the point that we realize our infatuation with her is justified.
Things do in fact turn ominous for the group, and a criminal act conducted out of desperation leads to a few action-oriented sequences … each impressive in light of the single-shot approach. No CGI as a fallback and no carefully manipulated sets. Instead, the actors and camera must continue, no matter the glitches or obstacles that real time tosses in their path.
Run Lola Run(1998) may be the best comparison for the frantic pace, but in actuality, the film has no legitimate pairing given the 2 plus hours single shot approach. You may choose to see this for the technical achievement that it is, and the guess is you will be equally impressed with Ms. Costa.
Greetings again from the darkness. What a compelling neo-noir quasi-crime thriller from first time director (and long time Peruvian actor) Salvador del Solar. The story is based on Alonso Cueto’s novel “La Pasagera”, and while it’s anchored by a terrific performance from Damian Alcazar, there are numerous twists, turns, and intense sequences.
Posted by David Ferguson 
Movie Reviews from the Dark 