Quebecois filmmaker Jean-François Caissy‘s documentary is situated in a motel which has been repurposed as an retirement home. Judging from the trailer, he has an eye for great faces, intimate detail and a dry sense of humor.
Archive for September, 2009
Documentary filmmaker Thomas Heise is currently doing the festival rounds with Material. It’s a rattle bag of footage he has shot stretching from the dying days of the GDR to 2008. Heise grapples with finding a use for what originally he did not use, but which still remained important to him.
One day, Jinhee’s father takes her to the outskirts of Seoul. He leaves her in an orphanage. At first Jinhee has difficulty adjusting. She eventually makes friends and the pattern of life asserts itself. New orphans come and go. Throughout, Jinhee is certain her father is coming back to her. French-Korean director Ounie Lecomte drew on her experiences in an orphanage for her dramatic feature debut. The performance by Sae Ron Kim looks like a heartbreaker.
A Spanish beauty and a man with Down’s Syndrome? It could work, even if the trailer teases audiences with a cliched shot of its star sticking his head out of a moving car’s window. Lola Duenas was excellent in Volver, and for every joke about “going full retard,” there is the hope that this might be as wonderful as last decade’s Oasis.
Tuesday brings us a new DVD Debut over at VH1.com:
As high concepts go, it’s a better idea than Cats & Dogs. A meteorite turns Susan Murphy into the 49-foot 11-inch woman just as she’s about to walk up the aisle. Dubbed Ginormiac, she’s taken to a top secret government installation and joins a posse of monsters dating from the 1950s. The blob-like B.O.B., Insectosaur and the rest are called to comedic arms when a giant robot menaces San Francisco. DreamWorks’s 3D CGI extravaganza features the voices of Reese Witherspoon and Seth Rogen.
Starts off badly by showing what the 1984 original left to the imagination. Dives into a rut with the legend “Produced by Michael Bay.” There are carbon copies of the first Nightmare‘s best scenes. Interesting stuff going on the soundtrack however, perhaps fitting as “reimaginer in chief” Samuel Bayer is best known for his music video work. Also a strange choice for Jackie Earle Haley to recite his dialogue with a mouth full of marbles–can’t wait to discuss that one at the roundtables. Seriously, folks, acquainting yourself with Wes Craven’s superb original is just a Netflix download away. The script is by tyro Eric Heisserer and veteran Wesley Strick, who a long time ago did good work on Cape Fear and Wolf.
Poland’s post-Communist experiment goes off the rails in Xawery Zulawski’s adaptation of the Dorota Maslowska novel. If the name sounds familiar, it’s because his dad Andrzej made Possession. Looks like the kind of movie which demands a nice warm bath afterwards.
Not sure I’ve entirely got a grip on this. Preston Sturges’s previous films The Great McGinty and Christmas in July were more obvious in their critiques of the American political system and the welfare gap. This would seem to be a playful skewering of romantic comedy, beginning with a rich scion playing with his snake and ending with his preferring a beautiful con woman to a duchess with a past (seemingly oblivious that they’re both the same person.) Fonda is funny, Stanwyck moves at a mile-a-minute and although it should be oil and water, they get on great together. Some very ribald moments for 1941, and a great supporting cast that includes familiar B&W faces Eric Blore, Melville Cooper and Eugene Palette.
Three girls spend the dazzling days in their snowy valley doing everything together. Then one of them disappears. Julie and Mette learn that Naisha’s family have gone to ground in Oslo to escape the country’s immigration authorities. The pair leave their country home for the big, bad city, hoping to find their vanished chum. Judging from the heart-string yanking and gloopy music, Christian Lo’s festival-bound film is proof even the Norwegians can do feel-good.
First-time director Dominic Murphy hangs a gonzo Gothic horror movie on real-life “dancing outlaw” Jesco White. Anybody who frowns at the sound of a banjo, taste of moonshine, the sight of Carrie Fisher sippin’ and all-around hootin’ and a-hollerin’ should stay away. The Showerses, however, would pick this over Walk the Line any day.