peteg's blog - noise - movies

The Dry

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Mum reckoned the book was good. Another draw was Uncle Chop Chop's return to Victoria. So I'm blaming director Robert Connolly for this being a clunky bland out, playing more like an overlong episode of The Bill with too many unconvincing, unmotivated and underdeveloped zigs and zags. Just what do people do in rural Victorian towns between murders anyway?

Feted locally, of course. Sandra Hall. David Stratton apparently also gave it four stars. The same from Luke Buckmaster who makes the inevitable comparisons with Picnic at Hanging Rock (the granite boulder/river scenes on the flashback track) and Wake in Fright (the early pub scenes).

Magnolia

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A Tom Cruise jag from Collateral. Nth time around with this P. T. Anderson classic. Janet Maslin nailed it in her review: the final movement doesn't live up to the first two. Eight stars from Roger Ebert (2000, 2008).

Collateral

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Second time around with this Michael Mann. It struck me that this was his attempt at making The Terminator. The cinematography is classic Mann. Tom Cruise is mechanical in the lead. Mark Ruffalo, Jada Pinkett Smith, Javier Bardem, Jason Statham all have bit parts. Without Jamie Foxx it'd be mostly bust.

Roger Ebert. That opening scene he liked so much is the same gambit Mann played in Thief (which Ebert liked just as much). He's right that Mann puts a few really good things on the table. Manohla Dargis. She's right that Cruise is generally underrated as an actor and does fine here.

Rabbit-Proof Fence

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It's taken me a long time to get around to this one. There's a lot to like. First up Peter Gabriel did the soundtrack, including my all-time favourite Cloudless. I was glad to learn that Molly's mother-actress Ningali Lawford sings the lead for it. Secondly the cast is great. Lead Everlyn Sampi is fantastic, and I was disappointed to see that she didn't go on with her acting. The supporting cast (including Kenneth Branagh, Garry McDonald, Deborah Mailman, Jason Clarke, and David Gulpilil) fill their slots well. The cinematography is gorgeous, which is what I'd expect from Christopher Doyle at the height of his powers.

For all that it's a great story that is not told very well. The core is endurance and tribalism, being essentially bound up with land, of ancient and timeless connections, and of course, crass injustice. Most of that does not readily translate to the screen, and juicing it for drama as Phillip Noyce and his screenwriter Christine Olsen unfortunately do reduces rather than adds. The coda with the two aged ladies tells further stories briefly and powerfully; incorporating those might've made for a better movie.

I'm reading Xavier Herbert's Poor Fellow My Country presently, which after a bumpy intro it settles into a didacticism about the Aboriginality of the north. He notes the use of sign language, which we see Molly employ early on here when the girls have a wary encounter with a pair of Aboriginal men, and gives a best-guess whitefella's interpretation of why you should not point with your finger. This sort of detail, and an underlying sense that things not only must be made good but still could be, is missing here, as is an account of the fence itself, which could've been another character.

3.5 stars from Roger Ebert. He made a few errors of fact about the movie, and seemed unaware of the history of eugenics in the USA. Stephen Holden. David Stratton.

The Turning

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Second time around, on an epically rainy Tasmanian evening. I remembered two things: Rose Byrne playing trailer trash, and the very brief shot in the second last short (Immunity) where a woman is balanced on a man's palm. The IMDB rating is dire; Ed Gibbs forecast that back in 2013 for brief and accurate reasons. Despite that it still has its moments.

Sound of Metal

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The draw was Riz Ahmed in the lead. This is a tale of going deaf. The frame is a bit of a cliche — he's a drummer in a heavy-metal/punk duo, so what else could he or we expect? — but there are enough jags along the way to keep us unbalanced, or even too many as it often seems that writer/director Darius Marder has little clue where it's all headed, making for an unfortunate bust of an ending. I was here for the deaf theatricals (to me always fun and funny, as Adam Hills knows so well), with the cash out being a scene in the middle where wise man Paul Raci asks one of his cohort for help in setting up some tech: the arc of a flicked cigarette stands in for an epic eye roll. IMDB trivia suggests Raci is mostly playing himself.

Ahmed got an Oscar nom for his work here (as did Raci, the movie itself, the screenplay, the editing and the sound — the last of which is beyond amazing and surely must win), and for the most part he's quite good. I only wish they'd toned down the violent acting out as his character is otherwise sufficiently together to be realistic and reasonable, especially with regards to his girlfriend/mutual saviour played very ably by Olivia Cooke.

I'm glad they're still making movies like this.

Jeannette Catsoulis.

The Hunt

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A Mads Mikkelsen and Thomas Vinterberg (and Thomas Bo Larsen) jag from Another Round. The premise is entirely #metoo: a very young girl confusedly accuses a kindy teacher she is infatuated with of sexual assault. The focus here is on the fallout for that man in the context of small-town Denmark. A setup like that (established very early on) and some awareness of Vinterberg's prior work might make you expect to squirm a lot. As it is he doesn't have the guts to really take it to us, or perhaps the topic is just too loaded to go anywhere interesting with. It is well made etc.

Stephen Holden.

In Bruges

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A Martin McDonagh writer/director jag from Three Billboards Outside Ebbing, Missouri. I gave it a miss at the time as I don't think much of Colin Farrell as an actor or of Ralph Fiennes's choice of roles. Suffice it to say that there was even less there than I expected then; the humour was forced and cliched, with most scenes cleaving closely to formula. Farrell struggled to play dumb (that dumb anyway) and while Brendan Gleeson has redeemed other material this was beyond him. The remainder of the players are cast as eurotrash.

Manohla Dargis: it signifies nothing. Dana Stevens trainspots the legion antecedents, and told me that McDonagh wrote The Lieutenant of Inishmore: this thing needed a cat. Roger Ebert dug it.

Minari

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A young Korean family move first to California and then to Arkansas in the pursuit of elusive happiness. It's a messy story whose best bits involve the wife's mother. The ending is inconclusive. I enjoyed the actors more: Steven Yeun as the exasperating, aspirational husband, Yeri Han as his conflicted wife, Yuh-jung Youn as grandma. Conversely I always struggle with Will Patton's sly grin, and daughter Noel Cho's character is underdrawn.

Jason Di Rosso's interview with the director prompted me to see it. A. O. Scott.

Three Billboards Outside Ebbing, Missouri

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Frances McDormand completism, and a Peter Dinklage jag from I Care a Lot. I gave it a miss at the time because I couldn't see how the themes would add up to a decent movie, and the reviews were mixed. It turned out to be quite fun despite all that, for the most part, mostly due to some very amusing framing and dialogue. The cast is stellar: both McDormand and Sam Rockwell got Oscars for their roles. I warmed up to Rockwell further in, once he got past his moments as himself, though I found his transition from dumb hothead to circumspect vigilante clunky. Woody Harrelson done as good as always. Apart from the accent I didn't recognise Abbie Cornish as his wife. Caleb Landry Jones has fun as an advertising mogul. The ending is not very adequate. #151 in the IMDB top-250.

Dana Stevens. Manohla Dargis.

I Care A Lot

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Stellar cast, total dog. What were they thinking?

Jeannette Catsoulis.

Nomadland

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Frances McDormand plays a widowed older lady who hits the road in the wake of the creative destruction of her company town (Empire in Nevada). Could anyone else play this role? It's always good to see David Strathairn, recognisable by his voice. I liked the way in which she cared. Someone should line her up for a Shakespeare; Plummer would've been her obvious costar.

Dana Stevens dug it and deemed it "message free", but to this foreigner it is far from. A. O. Scott. Kyle Buchanan interviewed McDormand.

Another Round

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Driving around outback NSW, I did find Radio National on the dial and the time/patience to listen to it. Jason Di Rosso on his The Screen Show interviewed Thomas Vinterberg amongst others. He was plugging his new feature Another Round starring Mads Mikkelsen. I liked how Di Rosso framed and engaged with things, and probed his guests, politely and firmly and personally.

The premise is that humans are born alcohol deficient, and what better way to test that out than with a group of four male Danish schoolteachers undergoing mid-life crises. Things go as you might expect, which is a bit disappointing from the director of Festen. However the entire thing is almost redeemed by the last five minutes or so, when Mikkelsen dances. It struck me as solipsistic, as him being so wound up in himself but also momentarily liberated, unfurled in the world, carefree, expressive, but the camera would have you believe that other people were somehow relevant to it. There's also a cute montage of Yeltsin and Clinton in the middle amongst a few other world leaders.

Devika Girish at the New York Times. Also Lisa Abend. And Gia Kourlas interviewed Mikkelsen: "We wanted it not to be about the dance but about what was inside of the character. More than it is a performance, it's an internal journey. It’s almost like a close-up." Anthony Lane.

The Night of the Hunter

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Some nights there's nothing for it but to revisit this Robert Mitchum classic. Roger Ebert deemed it not only a "great movie" in 1996, but "one of the greatest of all American films". Who can argue with that. Bosley Crowther liked it at the time apart from the ending.

Walk the Line

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This was on the pile for ages. I'm not a fan of any of the actors or even Johnny Cash — he's mostly a legendary voice to me, and this movie doesn't really capture that. Reese Witherspoon got an Oscar for her efforts as Cash's eventual wife June Carter. Joaquin Phoenix is decent in the lead. Robert Patrick plays the unyielding father. There's not much of a story.

A. O. Scott was skeptical, Roger Ebert indulgent.

The Rules of the Game

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A French upstairs/downstairs farce from 1939 in black and white. Not for me. It's more fun to read Roger Ebert's "great movie" review. Prompted by Ben Kenigsberg.

Red River

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John Wayne in black and white in 1948, just like Gil Scott Heron used to say. Overall he's a bit undermodulated as he drives a massive herd of cattle from deflated post-civil-war Texas to Missouri with pseudo-son Montgomery Clift who is actually decent here. It's not spoiling a thing to say that they don't make it. The cinematography is quite good and as you'd expect from Howard Hawks there's enough going on to keep things interesting. One of these years I'll make it all the way to Montana with Lonesome Dove.

Roger Ebert in 1998. Bosley Crowther at the time. Both are disappointed by the intrusion of women into this masculine fabulation.

Last Tango in Paris

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Brando completism. He was all over the map here. Leading lady Maria Schneider had a difficult and often vacuous role. The main themes seem childish and exploitative. The Chekhovian device is annoyingly predictable and literal. The film-within-the-film is trite. It was on the pile for a very long time because it was and is very difficult for me to get excited about. Perhaps it speaks louder to Americans and French people as some sort of post-war (ma)lingering.

12 stars from Roger Ebert: 1972, 1995 (unexpected events?!?), 2004 (a revision of the 1995 opinions). Overall he views it, by channelling Kael, as some high point in art cinema.

O Lucky Man!

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A bemusing, clunky and overlong series of quasi fables from early 1970s England threaded by Malcolm McDowell. He and Lindsay Anderson previously made If..., which I don't remember being this uninspired, and also a followup Britannia Hospital that I'll now give a miss. Structurally it's similar to Tales from the Crypt (Ralph Richardson is in both). Confusingly Helen Mirren and others in the ensemble cast are sometimes the same character but mostly different. No new observations are made about the state of humankind here, not the least because McDowell made all of them and more in A Clockwork Orange a couple of years prior. Alan Price's music doesn't help, and nor do the title cards.

Fargo

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The Coen insta-classic from 1996. Prompted by a Roger Ebert review. He was still in love with it five years later. As he says the iconic scenes from the movie all come quite late, which is not to slight the very able setup work from Steve Buscemi, Peter Stormare, and William H. Macy but to observe just how much Frances McDormand inhabits her character and lifts the material above a police procedural about a kooky caper. Janet Maslin at the time.