http://www.criticalmassfilmhouse.com/reviews/ en Copyright 2010 Fri, 18 Dec 2009 21:38:35 -0800 http://www.sixapart.com/movabletype/ http://blogs.law.harvard.edu/tech/rss 2009, USA Adventure, Crime, Drama, Romance Review by Deborah Dearth READ THE REVIEW AT The Desert Sun. Extended version: Comic actress Cheryl Hines ("Curb Your Enthusiasm") debuts in the director's chair to helm her first feature film, Serious Moonlight. Written by the late Adrienne Shelly, who tragically died before her last film Waitress premiered, it seems appropriate that one of the latter film's stars would guide this production. Unfortunately, it fails to hold the sweet humor that Shelly gently conveyed in Waitress, and falls flat in a sea of aggravation. In Serious Moonlight, workaholic lawyer Louise decides to head early to her country getaway home in order to surprise her husband Ian on a romantic weekend. Little was she aware that he also had plans to arrive early -- in order to meet his young mistress Sara before they fly off to Paris, leaving Louise with a Dear John letter and an officially broken marriage. When Ian confesses to Louise, she accidentally knocks him unconscious in a fit of frustration. Logic escapes her legal mind as she duct-tapes her husband to a chair in the hopes that he will pause and consider his actions -- or at least fall in love with her again as a result of the Stockholm syndrome. Meg Ryan attempts to tap into comic cuteness in the role of Louise, but Timothy Hutton only engages in rage as Ian. His response to her panicked attempts at remembering happier days are filled with coldness and boredom. His hurtful insults defuse her attempts at humor, and as dislikable as Hutton's character is, Ian is easy to root for in his efforts to convince Louise that their marriage is over, if only to halt the uncomfortable scenes. Things go from bad to worse as the landscaper finds Ian when Louise leaves the house, and he decides to take advantage of the situation and rob their home. Usually comic Justin Long (He's Just Not That Into You) portrays the thief in a creepy, violent manner, adding insult to injury by heckling the couple for their inadequacies while breaking their valuables. Add the appearance of a hysterical and bratty Sara played by Kristen Bell (Forgetting Sarah Marshall), and the cloud of uncomfortable dread expands. Whether Serious Moonlight is attempting to portray the truthful awkwardness of relationships gone sour, a darkly comic sensibility or just a creative twist on a midlife crisis, the film fails miserably in all accounts. Perhaps Hines was attempting to prove her dramatic behind-the-camera chops, but the results are far more dark and aggressive than required. There is little enjoyable or redeemable about this venture, as Serious Moonlight becomes a serious disappointment. ]]> http://www.criticalmassfilmhouse.com/reviews/seriousmoonlight.html http://www.criticalmassfilmhouse.com/reviews/seriousmoonlight.html Adventure Crime Drama Romance Fri, 18 Dec 2009 21:38:35 -0800 2009, USA Biography, Documentary, Drama, History, TV Review by Deborah Dearth READ THE REVIEW AT The Desert Sun. Extended version: Gertrude Berg and her alter ego Molly Goldberg may be unfamiliar to younger generations, but her influence and effect cast a wide net. In Yoo-Hoo, Mrs. Goldberg, director Aviva Kempner delves into the history of this early Oprah who made her mark in radio, television and the stage and refused to water down her beliefs while doing so. Though the documentary explores minute details that would be more interesting to a family reunion than the average audience, Berg's tale is surprising in that it is not better known. The New Yorker followed her dreams of becoming an actress, and in the process added writer and producer to her many hyphenates. With the launch of her radio program, "The Rise of the Goldbergs," she presented a close-knit family never more than a holler away from their neighbors. As the Depression swallowed the nation, her program presented an outlook of appreciation for the little things. The show would become only second in popularity to "Amos and Andy" where white actors portrayed racist stereotypes of black characters, with the irony of the "Goldbergs" having Jewish actors portraying Jewish characters. As the program entered the '30s and an era filled with particular anti-Semitic sentiment, Berg managed to incorporate her religion into the show with pride while simultaneously conveying the idea of a happy American family who just happened to be Jewish. In 1949, the show changed mediums as it became one of television's first situation comedies, "The Goldbergs." Berg continued to slip important messages of education, family and patriotism into an entertaining format, and earned the first ever Best Actress Emmy for her portrayal of the lovable Molly. Berg proved herself as a strong woman on and off the small screen, not only for her incredible work ethic but for standing by her fellow actors. An absorbing focus of the film falls to the story of her fellow actor Philip Loeb, who played her husband in the show. A champion of the Actors Equity Association, he fought for fairness in the union and helped established such standards as rehearsal pay. Yet, for all his good efforts, his career and life were ruined when he was blacklisted through Communist accusations in the Red Channels pamphlet. Berg stood by his side at the risk of her own career. For reasons such as this, Berg deserves this careful dedication. Not only was she a phenomenal, progressive businesswoman but her ethics and conviction were unwavering -- impressive for her time or any time. The film may have benefited from a tighter focus, but Yoo-Hoo, Mrs. Goldberg does well to exhibit such an inspirational life. ]]> http://www.criticalmassfilmhouse.com/reviews/yoohoomrsgoldberg.html http://www.criticalmassfilmhouse.com/reviews/yoohoomrsgoldberg.html Biography Documentary Drama History TV Fri, 18 Dec 2009 21:16:19 -0800 2008, China Adventure, Drama, Romance, War Review by Deborah Dearth READ THE REVIEW AT The Desert Sun. Extended version: After 17 years of high stakes Hollywood action flicks such as Mission: Impossible II and Face/Off, director John Woo returns to his native China and his Hard Boiled star, Tony Leung, to create an epic Asian adventure that can hardly be contained in its two-and-a-half hours (in fact, slimmed down from the Asian-distributed two-parter). Woo's latest film, Red Cliff, keeps the blood and humor flowing, winking at the audience beneath an engaging saga of war and peace. Red Cliff tells the typical western, where the man in black has taken over as sheriff and fancies the Lone Ranger's gal to be his bride. So he shoots up the town, inadvertently though expectantly throwing former adversaries together to fight at dawn for land and love. Only in Woo's legendary story based on Guanzhong Luo's thirteenth century novel, Romance of the Three Kingdoms, it is 208 A.D. during the Han Dynasty. Self-appointed Prime Minister Cao Cao (Fengyi Zhang, Farewell My Concubine) has bullied the emperor into allowing him to stage a war against new Southlands allies Sun Quan and Liu Bei, represented respectively by their keen military advisors Zhou Yu (Tony Leung, Lust, Caution) and Kong Ming (Takeshi Kaneshiro, House of Flying Daggers). What Cao Cao plays up as a need to extinguish rebel activities is actually an elaborate and excessive war to bring him closer to Zhou Yu's beautiful wife, Xiao Qiao (fashion model Chiling Lin in her debut role). The terrible irony of fighting over this particular girl in question is that, despite being married to great military hero, she fancies herself a pacifist. The Art of War-quoting pacifist, but a peacenik nonetheless. Meanwhile, the world is on fire, just in time for Woo to step in with his trademark martial arts sequences, led by action director Corey Yuen (X-Men). Blood shoots from wounds in slow-motion as a spear is pulled through one soldier and stabbed into another. Battles are long and elaborate, with clever group tactics and swift one-against-all combat. There are no small parts, only small stuntmen, as bodies fly from impressive explosions for a third century battle. And the film never forgets to perform a speedy close-up of an angered foe's face before the real bloodshed begins. Woo aimed to create a cinematic Asian Troy, and he does just that. A detailed army of 800,000 is viewed from land, air and sea, thanks to a crew that includes Oscar-winning production designer Timmy Yip (Crouching Tiger, Hidden Dragon) and Oscar-nominated visual effects supervisor Craig Hayes (Hollow Man). The imagery is vast yet believable as war is waged by physical manpower before expanding to biological warfare and the harnessing of nature. With Red Cliff, Woo does not disappoint in creating a lively heroic adventure by returning to his roots while incorporating a little Hollywood gloss. Perhaps there is a message of peace buried under the bodies, but watching the body count rise proves dreadfully entertaining.]]> http://www.criticalmassfilmhouse.com/reviews/redcliff.html http://www.criticalmassfilmhouse.com/reviews/redcliff.html Adventure Drama Romance War Tue, 01 Dec 2009 22:12:02 -0800 2009, Chile/Mexico Drama Review by Deborah Dearth Read the review in The Desert Sun. Extended version: Sometimes a maid does not just cook and clean, she cares for the family at every level, learning their secrets and watching them grow. In The Maid, Raquel has been living with her family for over 20 years, and she holds a tight grip on the household. She has her rules, she has her favorites, and no one is going to change that. Chilean filmmaker Sebastián Silva directs his second film and has garnered many awards in the process, including the Sundance Film Festival's Grand and Special Jury Prizes in the Dramatic World Cinema category. His film finds a delicate balance in portraying the familiarity of Raquel and her working family, and yet there are evident boundaries drawn between the two -- ironically and unintentionally created by Raquel herself. Catalina Saavedra takes on the titular role as the stubborn woman convinced she can maintain her obsessive control over the home despite failing health -- caused by her fanatical behavior. When the mother of the family suggests that they get Raquel an assistant, she takes great offense at the prospect. For every woman brought in to help, Raquel doubles her efforts at aggravating them to the point of no return, even disinfecting any speck of evidence that they were there. At one moment she tries on the son's gorilla mask, making all the more blatant that she has become the 800 pound gorilla of the house. There are hints at dark humor, but overall the film provides dramatic glimpses of a past that was not kind to Raquel. Her attempts at juggling a perfect household reflect against an unknown upbringing and distant family, the memory of which leaves her fragile and powerless. However, convinced that she has proven to her working family her worthiness through her elbow grease, she cannot afford to have anyone else destroy what is her impression of love. Her territoriality is childish, as she both literally and figuratively locks out her competition. The family is kind and maintains the loyalty that binds them to the woman who helped raise four children from the day they were born. She acts more like one of the kids, playing unexplainable favorites among family members, and yet she is trusted with every aspect of their homelife. The relationship is tricky, as she tries on their nerves but is bound by years of dedication. Silva is careful not to reveal too much of Raquel's history in The Maid. Her life is as much a mystery to the audience as it is to this mythical family. Her bandages are only gently pulled back by a woman who is finally able to see her pain through the hatred, and allows Raquel some relief from her constant guard dog stance. As she is able to be viewed as more human and less worker bee, it becomes obvious that her title as maid is just that, and that a complex woman stands beneath the uniform.]]> http://www.criticalmassfilmhouse.com/reviews/maid.html http://www.criticalmassfilmhouse.com/reviews/maid.html Drama Wed, 25 Nov 2009 00:01:38 -0800 2009, USA Drama Review by Deborah Dearth Read the review in The Desert Sun. Extended version: Life is hard for the surrounding world when stubborn bulldogs face off, and in That Evening Sun, family and friends can all but tie down two men who would rather bite and snarl at each other than work out their problems. Director Scott Teems tackles his first feature film and second William Gay short story, here with an adaptation of "I Hate to See That Evening Sun Go Down." Hal Holbrook (Into the Wild) portrays the elderly Abner Meecham, fed up the controlled loneliness of nursing home living. After three months of the same routine, he hits the road and heads to his Tennessee farmstead. Only his home is no longer his; his son has rented it to the Choat family. Not only does Abner take offense to being considered too old to care for his much cherished land, but Lonzo Choat (Ray McKinnon, "Deadwood") is a particular spur in his side as the lazy redneck who has somehow obtained it. Waiting for Lonzo to slip and ready to push his buttons along the way, Abner squats in the dilapidated tenant house on the lot, ready to take over when they leave. Teems smartly avoids all of the usual traps easily set for this film. Lonzo's daughter, Pamela (Mia Wasikowska, who plays Alice in Tim Burton's upcoming Alice in Wonderland), attempts to connect with Abner, and though there is a discovered tenderness, there is no magical grandfatherly moment. There is an implication that Abner's younger self may be reflected in Lonzo, but there is no great epiphany in a mirrored flashback. The two men constantly butt heads, but there is no hokey moment where they fall to the floor laughing at their follies. By avoiding the easy paths, Teems discovers an intriguing story that stays true and feels honest. Honesty comes at a hard price, as characters avoid black and white labels. Though Abner is determined to judge Lonzo as no-good white trash, Lonzo has made great strides to change that label. However, it is not an easy path, and his family loves him for the changes he has made and the man he is attempting to be -- not for the faulty personality he still inhabits. Abner, too, must acknowledge that he is no easy man with which to live, yet his stubbornness to convince Lonzo that he is worthless clouds his own perception of himself. Lonzo's wife (Carrie Preston, "True Blood") and Abner's friend Thurl (Barry Corbin, "Northern Exposure") attempt to provide solid advice, but the men prove nearly too stubborn to survive one another. As That Evening Sun slowly sets, Teems reveals a world full of cracks but aching to heal.]]> http://www.criticalmassfilmhouse.com/reviews/thateveningsun.html http://www.criticalmassfilmhouse.com/reviews/thateveningsun.html Drama Tue, 24 Nov 2009 23:50:04 -0800 2009, France/USA Documentary, Music Review by Deborah Dearth Read the review in The Desert Sun. Extended version: Paris: the city, the art, the ballet. La Danse: The Paris Opera Ballet gets down to the nitty-gritty of the ballet world, spreading focus to all levels of both business and art. Documentary filmmaker Frederick Wiseman makes an appropriate follow-up to his previous films on the American Ballet Theatre (Ballet) and the French state theatre (The Comedie Francaise) with La Danse. The film has no introduction, no narration; it merely observes. Vaguely following administration and artists as they plan for the next show and the next three years of shows, the film is not simply a day-in-the-life glimpse of operations but rather an oops-I-just-walked-into-this-classroom sort of documentation. Clocking in at over two-and-a-half hours, the film requires an appreciation of the world of dance, inside and out. The filming of the building's painters, janitors and beekeepers may seem excessive, but there is a sense of a more complete picture of the business aspect that keeps alive the artistic side. However, lengthy discussions on how best to schmooze high-level contributors could be easily kept on the cutting room floor. Most people will focus their attention on the dancers' rehearsals and performances. It is almost reassuring to watch them occasionally struggle with a move. They are human, after all, and not merely spirits on stage. Their athletic prowess is unquestionable, as they complete a challenging routine with breathless panting, only to be criticized by teachers who demand they repeat it all again. The company's artistic director recalls the choreographer Maurice Béjart's quote that dancers are "half nun, half boxer," referring to their combined dedication and strength. There is a method to the madness, and what looks effortless on stage is torn apart in this film to its basic, repetitive steps. As masters help novices discover the symbolism behind a role, costumers sew sequins and the artistic director helps a dancer arrange her schedule. The cinematography is very simple, with a single camera capturing these casual moments of preparation. Occasionally the camera wanders off to a hallway or window, but it merely sits and waits for something to happen. The action is kept to the stage, with the audience now aware of the many pieces that contributed to the success of the performance. The dances are beautiful and impressive, ranging from classics such as "The Nutcracker" to a modern interpretation of "Medea." The performances often begin suddenly and end before the celebration by the audience, with the camera disappearing as quickly as it arrived. The moment was captured, the camera was never there, and La Danse continues. ]]> http://www.criticalmassfilmhouse.com/reviews/ladanse.html http://www.criticalmassfilmhouse.com/reviews/ladanse.html Documentary Music Tue, 24 Nov 2009 22:53:26 -0800 2009, USA Drama, War Review by Deborah Dearth READ THE REVIEW AT The Desert Sun. Extended version: War is made of many parts, from the reasons for initial conflict, to stories from the battlefield, to the incongruity of life once soldiers return home. The Messenger tackles the hardship of the small, terrible moment when a family member is notified that a soldier has died at war -- from the unique perspective of the notification team. Oren Moverman makes his directorial debut after a writing career including thoughtful indie films Jesus' Son, Married Life and the Bob Dylan biopic remix, I'm Not There. Unlike the latter film, The Messenger focuses on one small but important moment, rather than becoming distracted by side stories. However, it simultaneously acknowledges that although the notifiers are supposed to perform their duties with professionalism and detachment, each family they confront has a distinct story where the consequences of the tragedy will ripple differently. Ben Foster stars as Army Staff Sergeant Will Montgomery, a decorated Iraqi War hero who lives a somewhat Spartan and solitary existence. With only three months left to serve, he is unexpectedly paired with Captain Tony Stone, leader of a Casualty Notification team and played with careful dignity by Woody Harrelson. Upon meeting, Stone immediately lists the rules of the post, which include the ability to maintain composure when faced with extreme emotional responses and the power to hold a distance from the informed -- no hugs or reassuring pats allowed. Their duties are difficult enough without the messiness of becoming involved with the human factor. Montgomery proves he is made of strong stuff, but only barely. With situations that range from a pregnant girlfriend who must wait for the soldier's mother to return to officially hear the news, to a father (Steve Buscemi in a small but powerful role) who reacts violently, there is no perfect situation. Even when a wife, Olivia (Samantha Morton), graciously thanks them and sympathizes with their hard task, Stone assumes she must have been cheating on her husband while Montgomery becomes moved by her composure. There are no grandly dramatic scenes in this film. The most touching moments arise from the small and awkward connections that occur when two characters realize that it is easier to survive together, holding each other up for support and comfort, even if their individual needs are never fully acknowledged. Despite his unethical obsession with Olivia, Montgomery becomes a sweet distraction for her as she reassesses her new single-mother life. And despite his initial standoffishness with Stone, Montgomery becomes a much needed confidant for a man whose only friend seems to be his AA sponsor. Politics are subtly ambiguous in The Messenger. The soldiers are proud, but the consequences are dire. Stone believes that all military funerals should be broadcast, but his reasoning is that he believes the public is blindly ignorant of the worst case scenarios from war. War and death go hand in hand; this is merely factual. The people left standing must recognize the chance to create new bonds, to become human again at home as humanity destroys itself on the battlefield. ]]> http://www.criticalmassfilmhouse.com/reviews/messenger.html http://www.criticalmassfilmhouse.com/reviews/messenger.html Drama War Sat, 21 Nov 2009 12:47:33 -0800 2009, Denmark/Germany/France/Sweden/Italy/Poland Drama, Horror, Thriller Review by Deborah Dearth Director Lars von Trier is no stranger to the wicked depths of mindplay. Bold in style, whether stripped down to his Dogme 95 vow of cinematic chastity or oozing with excessive symbolism, his films portray an internal vision about as delicate as a kick in the teeth. His latest film, Antichrist, opts for pulling each tooth out by hand, with some of the imagery about as palatable. That is not to say that the often violent, disturbing images do not have their place. Beautiful in their artistry, the creative team of von Trier and frequent collaborator and cinematographer Anthony Dod Mantle (who nabbed an Oscar for Slumdog Millionaire) builds a dark world that neatly envelops their cursed characters. The film begins with fantastic pretentiousness. A libretto from Handel's opera Renaldo laments "Leave me to weep over my cruel fate," playing behind a slow motion, black-and-white scene of a husband and wife making forceful love while their toddler son follows billowy snow out of his bedroom window, falling to his death. Charlotte Gainsbourg (I'm Not There) and Willem Dafoe (Shadow of the Vampire) portray this unnamed couple who spend the rest of the film swallowed by the despair of losing their young son. At least, the wife is absorbed by the tragedy. The husband -- who is also a therapist -- focuses all of his energies on assisting his wife through her grief, who he feels is currently being numbed by unnecessary prescriptions. Removing the artificial aids, he plumbs her mind and soul for the true source of her fears. Physician, heal thyself, not your wife. Leaving the cold, sterile environment of their sanitarium-like home, they head away from society to their woodland retreat known as Eden -- even going so far as to refer to a garden there (hint, hint). As the husband forces her to face her fears, he is blissfully unaware that he is quickly approaching his own. As her demons quiet, his become louder. This, of course, is no ordinary tale of woe. From the title card that utilizes the female Venus symbol to the wife's study of tortured women through the ages, the snake slowly creeps from the tree, producing no shiny apple but rather bruised and worm-holed fruit. However, man is not picky, and in his arrogance will assume that a good dusting will make the fruit edible again. When things become emotionally tricky, the wife aggressively attacks her husband for sex. There is no love in the action, but rather it becomes a distracting replacement for pharmaceuticals, numbing her from her own racing thoughts. Nudity is used in a graphic manner, where bodies no longer appear soft but instead are angular and raw. As he attempts to heal her soul, she presents a hopeless stack of bones and skin, unable to alter their inevitable chemistry. Fate falls to the female of the species, the sex with the power to procreate in spite of the other's tendency towards destruction. In a film driven by tragedy, a seemingly controlled and identifiable microcosm becomes a grandly twisted interpretation of man and woman, free will and fate, good and evil. Human nature is presented for examination, and according to von Trier's Antichrist, it is a bloody chaotic mess. ]]> http://www.criticalmassfilmhouse.com/reviews/antichrist.html http://www.criticalmassfilmhouse.com/reviews/antichrist.html Drama Horror Thriller Tue, 17 Nov 2009 02:21:37 -0800 2009, UK/Germany/USA/France Adventure, Comedy, Music Review by Deborah Dearth Richard Curtis -- director of Love Actually and writer of Four Weddings and a Funeral -- steps away from romantic awkwardness and plunges deep into the sea of bawdy attitude with his latest film, Pirate Radio. Not exactly based on real events but close enough to keep it interesting, the film follows a ship of wild DJs who spin the hits that Brits would otherwise miss in their regularly sanctioned broadcasts. Smartly set in 1966, the soundtrack is good enough to make any nation rebel. Recognizable but solid tunes by British rock legends such as The Kinks, the Stones and The Who pepper the frat house atmosphere. The right lyrics guiding every moment down to The Turtles' "Eleanor" playing for an appropriately named female visitor. The DJs record every foolish action for their airwaves, from purposely accidental cursing to a celebrated loss of innocence. Like college radio and shock jocks simmered down to their original essence, the mood is always feisty and the attitude joyfully irreverent. Kenneth Branagh's (Valkyrie) dastardly Sir Alistair Dormandy sneers off to the side, whispering into the Prime Minister's ear that though what the Radio Rock boat is doing is not illegal, he can make it so. With an assistant named Twatt and comical innuendos shooting off like rockets, it is surprising there is no scene of Dormandy twisting a handlebar mustache in mischievous delight as Benny Hill scenes play out in the background. The character gives the movie a bit of a plot, but only in the sense that the rebels need to be fighting The Man. The kids wanna rock, but the stuffy old conservative won't let them. The specifics do not really matter as long as rock n' roll is blasting and love is flowing. And love flows out of each mic as the DJs seduce the airwaves and the ladies. Philip Seymour Hoffman (Doubt) plays another cocky but always enjoyable-to-watch Philip Seymour Hoffman character, this time as American song spinner, the Count. Rhys Ifans (Notting Hill, written by Curtis) is Gavin, the Count's rival and God's gift to the airwaves. Nick Frost (Hot Fuzz) brings on the dry comic heat as Dr. Dave, hefty but record-setting charmer of any girl within earshot. The rest of the motley crew includes Nutty Nutsford (Rhys Darby, "The Flight of the Conchords"), Thick Kevin (Tom Brooke), Midnight Mark (Tom Wisdom) and Young Carl (Tom Sturridge). Oh yes, and Young Carl was thrown onto the boat to become more well-adjusted by the radio's maladjusted manager, Quentin (Bill Nighy, Love Actually). And something about bastard Carl looking for his notoriously free-loving mom's one-night-stand who produced him. Doesn't matter. What does matter is that sex, drugs and great rock n' roll dominate the party atmosphere of Pirate Radio along with a steady stream of jokes to keep the audience chuckling. And when those elements come together, just turn the dial up.]]> http://www.criticalmassfilmhouse.com/reviews/pirateradio.html http://www.criticalmassfilmhouse.com/reviews/pirateradio.html Thu, 12 Nov 2009 18:03:29 -0800 2009, UK Drama, History, War Review by Deborah Dearth READ THE REVIEW AT The Desert Sun. Extended version: It is no small feat to bring together the conflicted minds behind the warring bodies of a nation. In 1986, Head of Public Affairs of Consolidated Goldfields, Michael Young, suggested a secret meeting between African National Congress (ANC) Director of Information, Thabo Mbeki, and Afrikaner representative Professor Will Esterhuyse. The results of these discussions would become the stuff of history via the abolition of Apartheid in South Africa, as presented in the film, Endgame. Based upon the book The Fall of the Apartheid by Robert Harvey and directed by Pete Travis (Vantage Point), the film utilizes quick edits and cinematography that mimics hidden cameras in order to imply an urgency to the situation. One never knows who is watching whom nor who is telling whom the truth in the life threatening game that would ironically but ideally end in peace for both sides. Jonny Lee Miller (The Flying Scotsman) portrays Young, the glue that brings everyone together and yet the quietest character. His personal motives are unknown, though from a business standpoint it is easier to work in a country not in the midst of civil war. However, the atrocities that he witnesses should be enough to drive anyone to seek a healing solution. As a British outsider, he attempts to act as unbiased moderator for his South African guests, who trust neither him nor each other. Chiwetel Ejiofor (Talk to Me) plays Mbeki, aggravated by his country's constant state of unrest and busy counselor to ANC President Oliver Tambo. Tambo is secretly passing messages to the imprisoned Nelson Mandela, who is being carefully watched and dishonestly courted by the South African President through South African Intelligence, who is also keeping a thumb on Esterhuyse (William Hurt, delivering a curious Afrikaans accent) -- well aware of Young's covert meetings. A complicated series of relationships, indeed, representative of an exceedingly tricky history. Endgame presents a terrifying recent history engulfed in a mindset of fear that is easily reflected in modern politics. The film tightens its focus, both through camera and topic, on direct actions related to the talks with only momentary glimpses on the chaos of the country's streets. Each side is allowed their demons and questionable methodology, and considering their capacity for destruction, it is amazing that these talks could result in anything constructive. And yet, the film presents a hard-won miracle. Young's role is simultaneously downplayed and delivered as a phenomenal wonder. Considering the tunnel focus on the meeting at hand, the greater history plays an obvious role but is whittled down to incensed emotions and immediate attacks. To expand upon the evolution and dismantling of Apartheid would require an epic, so the quick and slick documentary approach of this film is effective. Endgame presents the devil in the details, and the story of Apartheid is rampant with details.]]> http://www.criticalmassfilmhouse.com/reviews/endgame.html http://www.criticalmassfilmhouse.com/reviews/endgame.html Drama History War Thu, 12 Nov 2009 17:48:12 -0800 2007, USA / UK Drama, Romance Review by Deborah Dearth READ THE REVIEW AT The Desert Sun. Extended version: There are some events in life that can change a person. When couple Don and Janna find themselves at such a crossroads, they create new personalities to cope with a shared tragedy. In Blind Date, they do just that, dating over and over again in search of the right formula of characters that will provide comfort. Stanley Tucci, who last directed Joe Gould's Secret in 2000, grabs the reins of late Theo van Gogh in the director's final plan to remake his own Dutch films with American actors. Steve Buscemi was the first to tackle this idea with Interview in 2007, and John Turturro is rumored to be completing the Triple Theo project with 06. In Blind Date, Tucci traces van Gogh's intimate style with the recreation of a 1996 film and the use of van Gogh's speedy triple camera shooting method over seven days along with the guidance of many of van Gogh's original Dutch crew. The intimate formula was then captured through a speaking cast of two: Tucci and Patricia Clarkson. Such exceptionally capable actors can find a home in any film (and did together before in Joe Gould's Secret), and this one is certainly a stretch of anyone's talents. Pithy lines and dry humor punctuate the often awkward dialogue of staged first dates arranged through personal ads. Incredibly personal topics that would not normally be discussed between strangers create the evidence of a relationship formed long ago, buried beneath guilt and regret. After each date inevitably ends in disaster, a new one begins fresh for psychological examination. The rundown bar which Don owns is the perfect backdrop for their worn emotions, with his vaudevillian magic act a good metaphor for the feats of desperation the two take in order to reconnect. These great lengths are made in order to aid in the grieving process for a lost daughter, who is oddly and unnecessarily narrating the film from the Great Beyond. This important fact does not require such a prop as it is naturally revealed in the conversations that begin to repeat themselves with the truths that constantly break through the façades. The couple uses the various date personalities to find a new angle for the assessment of their tragic experience, but the same painful wounds are always present despite the concurrent existence of a few joyful sparks. Blind Date's dramatic format is tough but intriguing. Beneath the premise of a romantic relationship is the need for closure and self-forgiveness, with characters who are constantly clawing for the light -- perhaps not so blind after all.]]> http://www.criticalmassfilmhouse.com/reviews/blinddate.html http://www.criticalmassfilmhouse.com/reviews/blinddate.html Drama Romance Wed, 28 Oct 2009 23:40:54 -0800 2008, USA Documentary, History Review by Deborah Dearth READ THE REVIEW AT The Desert Sun. Extended version: The recent loss of Julius Shulman forced many to become aware of the impact one man can have on the art world. He did not simply photograph houses; he helped to launch the modern architectural movement to international attention. The documentary, Visual Acoustics, sheds light on the history of Shulman's career as he used his art of photography to illustrate the art of structure. Eric Bricker makes a crisp directorial debut by allowing a smooth melding of Shulman's life with slick graphics that illustrate architectural movements through the artist's photos and Dustin Hoffman's narration. Shulman revisits photographed houses, in one instance allowing a behind the scenes discussion with the film's cinematographer, Dante Spinotti. Spinotti admits that he had once tried to film the Case Study House #22 in the same style as Shulman's famous nighttime photograph, but failed with the results on the cutting room floor. Together, they reinvent the scene for this film with the photographer's guidance. What could have been a cheesy ploy instead helps to illustrate what is masterful about Shulman's photographs: the man knows what he is talking about. Not merely shooting what is instantly aesthetically pleasing, he considers the knowledge he is conveying. Each shot must best represent the talents of the architect, through the infusing of creative style and structural purpose. Remarkably he succeeds in conveying the architect's ideals, beyond blueprint s and floor plans. Unfortunately, some of the mid-century homes have been allowed to fall to ruin, but thanks to Shulman's archive may be renovated to its original beauty. One such home is Palm Springs' own Kaufmann House, which was shockingly offered to the current owners for land value in disregard of the historical and artistic value. The home was designed by Richard Neutra who would usher Shulman into the world of architecture through his introductions to other designers in need of Shulman's suave public relations power. Palm Springs receives great attention in the film as the home of buildings from such modern architectural masters as Albert Frey (City Hall and the Tramway Station), E. Stewart Williams (Bank of America and City National Bank buildings) and John Lautner (Elrod House), each photographed with commanding presence by Shulman. As the photographs found their way to international magazines, so too did the architects find their way into the pages of modern history. Not only did Shulman bring attention to the manmade, but to the blending of it with the natural environment which surrounded them. As someone who truly appreciated good design, it becomes an interesting chapter in the film to discover his presence in better city planning and influence on a clean and natural habitat for the livable works of art. Shulman was an outspoken photographer to whom modesty was not a trouble. Yet, there is little denying the charm and personality that was his signature as he interacts with the families living in the now-(thanks-to-him)-famous homes, appreciating their beauty as initially reflected through Shulman's lens. ]]> http://www.criticalmassfilmhouse.com/reviews/visualacoustics.html http://www.criticalmassfilmhouse.com/reviews/visualacoustics.html Documentary History Wed, 28 Oct 2009 23:29:38 -0800 2008, USA Drama Review by Deborah Dearth READ THE REVIEW AT The Desert Sun. Extended version: Sometimes it takes an unexpected jolt to awaken the realization that life is not merely floating by for everyone. In Adopt a Sailor, a young man hits New York City for a night during Fleet Week, spending the evening with a couple who has volunteered to host a sailor -- only they have forgotten. His presence sets off kilter not only their schedules but their outlook on the world outside of their apartment. Charles Evered makes his directorial debut with Adopt a Sailor, based on the dichotomy of his experience as both a sailor and a writer. Palm Desert producer Kim Waltrip of WonderStar Productions worked for two years with Evered, a professor at UC Riverside, to bring the film to the screen and even shot the interiors in a Coachella Valley home. The film began as a short play to commemorate September 11 at a special event, and it certainly retains the close feel of a stage set with three characters bound by an evening of obligation. Though the topic expanded from a couple's reaction to the city's attacks to a night with a sailor about to return to war, soul searching remains the story's central focus. Ethan Peck ("10 Things I Hate about You") stars as the sailor and shares a natural poise and handsome resemblance to grandfather Gregory Peck. His character holds a careful balance between aw-shucks mannerisms and a quiet thoughtfulness, becoming a noticeable foil against the artsy intellectuals acting as hosts. Bebe Neuwirth ("Frasier") shows off her acting chops as Patricia, perfectly cast for the bold role as an annoyed and nagging wife who manages to incite sympathy despite passive aggressive tendencies. Peter Coyote ("The 4400") hams up his role as Richard, a dependent husband with no serious concerns who finds excessive emotional weight in every situation. Following one excessive diatribe, he labels himself as a "wanker dilettante idiot," and the shoe fits. Peck's sailor becomes the hinge on which the unhappy couple evaluates their lives, whether they are loudly confronting each other in front of him or individually speaking with him as to how their lives have evolved from former contentment. They tend to talk at the sailor rather than with him, only occasionally allowing his subdued and youthful wisdom to be heard. Each interpretation of his comments provides a mirror for their true selves, and it becomes apparent that the glass is smudged. Through the sailor's naïveté, the couple finds both superiority and guilt. The more they justify their behavior, the more they become aware that there is a third person in the room and that their insecurities do not affect his world that calmly rotates around a career involving life-and-death situations. It slowly becomes clear that the couple did not simply adopt a sailor, they adopted a broader view of the world around them.]]> http://www.criticalmassfilmhouse.com/reviews/adoptasailor.html http://www.criticalmassfilmhouse.com/reviews/adoptasailor.html Drama Wed, 28 Oct 2009 23:15:27 -0800 2008, USA Adventure, Drama Review by Deborah Dearth READ THE REVIEW AT The Desert Sun. Extended version: Typical fat girl revenge story: girl gets thin, calls up pretty college friends who always had more fun than she did, drags them into the woods and tears them apart. Perhaps not literally tears apart, but Pretty Ugly People relies on the weird premise of formerly obese Lucy essentially checking off that list, and yet the story somehow works. Tate Taylor makes his writing, directorial and producing feature debut with this film, and though some aspects of the tale are predictable -- the evolution of personalities after college, the value of inner beauty over the outer shell -- the characters still remain interesting. Usually comic Missi Pyle (Charlie and the Chocolate Factory) tones down the role of Lucy, a character who surrounds the story but never consumes it. Melissa McCarthy ("Gilmore Girls") acts as peppy Becky, former freelover, now kitsch-loving teacher married to an anal principal. Phill Lewis ("The Suite Life of Zack and Cody") is uptight politician Raye, embarrassed of his non-PC wife. And rounding out the bunch are two men, one who is always mistaken as being gay and the other who buries his sexuality to uncomfortable limits. Lucy urgently gathers her old pals through the deception that her life is on the line, rather than the truth that her life is just beginning following gastric bypass surgery. The relationships were already strained from time and growth, and the great outdoors becomes a claustrophobic space as Lucy forces them to become part of a three-day trek. Her moment of accomplishment -- the loss of the final four pounds towards her goal weight -- is confused as a chance for bragging rather than a shared bonding experience. While she sheds her weight, they shed dirty little secrets that have been buried under the years and shaky grounds are exposed. Though as a co-ed, Lucy worked hard to remain part of this clique, she now witnesses the cracks of imperfection. Yet her friends are not villains, merely ordinary people who have drifted away from their true selves. Taylor attempts to throw in an odd quirk for every character -- such as a fat vegetarian who joneses for hot dogs -- but they essentially boil down to identifiable personalities who clash but are not grating. Pretty Ugly People makes a pleasant endeavor to change up the usual routine of the reunion film, and the cast inhabit their characters without becoming too nasty or cloying. Although personal problems are obvious, solutions are private and attempt at realism over showiness. As Taylor learns to simplify his storytelling, his next effort should be worthy of a look.]]> http://www.criticalmassfilmhouse.com/reviews/prettyuglypeople.html http://www.criticalmassfilmhouse.com/reviews/prettyuglypeople.html Adventure Drama Thu, 22 Oct 2009 09:36:17 -0800 2007, USA Drama Review by Deborah Dearth READ THE REVIEW AT The Desert Sun. Extended version: A little inspiration goes a long way, and in Amin Matalqa's writing and directorial debut, Captain Abu Raed, one man's example ripples to all corners of a small community in Jordan's capital city of Amman. Inspired by the Tramp of City Lights, airport janitor Abu Raed (Nadim Sawalha) gains the title of Captain when a neighborhood boy spots him wearing a discarded pilot's cap. Though never claiming the occupation, Raed allows the illusion when local children gather for stories, hungry for tales of life outside of their depressing town. A well-read armchair traveler, Raed engages them with ideas of promise in the stirring setting of the Temple of Hercules ruins. Raed's path crosses with actual pilot, Nour -- the beautiful, single thirty-something from a wealthy family. She also seeks Raed's sage advice, which falls into similar counsel as that subtly delivered to the kids: break and deny the rules of society which limit any expectations or happiness. As Nour sidesteps the prodding of a family seeking a husband for her, the children slowly learn of a world of possibilities where they can achieve more than their parents imagined. Dramatic situations feel forced as the music swells and tension rises, but the objective seems earnest. As Raed attempts to guide one boy to school rather than selling treats on the street, he simultaneously gains a particular sympathy for Murad, the son of a drunken abuser. It is Murad who attempts to shatter the dreamworld Raed has created for his fellow classmates, as he has witnessed far too much reality and becomes jealous of the ease to which the others escape into tales of faraway journeys. Though the story treads familiar territory and tugs at predictable heartstrings, the delivery is sweet and harmless. It is a competent first-time effort by new filmmaker Matalqa and a nice representation for Jordan, but the director has a bit to learn about original storytelling. However, based on the positive attention that Captain Abu Raed received at film festivals around the world, hopes are high for his upcoming New York-set film, Gypsy Love.]]> http://www.criticalmassfilmhouse.com/reviews/captainaburaed.html http://www.criticalmassfilmhouse.com/reviews/captainaburaed.html Drama Thu, 01 Oct 2009 23:12:58 -0800