WHAT WOULD TOTO WATCH?

‘Unmistaken Child’ - Tibet baby drama

cftoto — Fri, 03 Jul 2009 19:41:25 +0000

Somewhere out there exits a small Tibetan child with the wisdom and insight of an aged Buddhist monk.

The documentary “Unmistaken Child” follows the search for just such a child, the host body of a reincarnated philosopher ready to share his thoughts with the world anew.

“Child” begins with a cursory explanation of how the Buddhist reincarnation process works. The enlightened ones, or Lamas, are able to choose how they are reincarnated, which leaves the less enlightened ones with the task of figuring out which baby is the new version of the old master.

Here, that mission falls to Tenzin Zopa, a Nepalese monk, who served Tibetan master Geshe Lama Konchog for 21 years. When the master passed in 2001, it became Zopa’s duty to find his reincarnated master.

The film doesn’t stop to explain the rules and rituals behind these 700 year old traditions. We must simply absorb them and move on.

If only the story itself did the same.

Director Nati Baratz creates such a leisurely pace that it’s hard to appreciate the scope and power of the tale being told.

Matters improve when Zopa thinks he finds the right child, a chubby faced boy who responds favorably to some of the tests designed to suss out the reincarnated ones.

The boy cherishes the attention from Zopa, a decent soul who bonds quickly with the lad. But the boy’s possible fate is fraught with complications. Where will he live, for starters? What if his parents disagree with the Tibetan rules?

“He looks very fresh and clean,” one monk says. It’s one of several sequences which will chill the hearts of Western audiences.

“Child” offers sumptuous vistas and a peek into a culture steeped in tradition and quiet pageantry. Other scenes aren’t as comforting. Watching a boy having his head shaved to appease Tibetan lore is painful to watch.

“Unmistaken Child” offers a rare and deeply personal glimpse into a societal tradition unlike few others, assuming one has the patience to endure its near somnambulic storytelling.

(Photo: “Unmistaken Child” - Oscilloscope Laboratories)

‘Whatever Works’ - Allen’s latest love rationale

cftoto — Fri, 03 Jul 2009 14:33:52 +0000

It keeps getting harder to separate Woody Allen the filmmaker from the tabloid generating artist.

Allen brings it on himself, dealing with issues that dovetail directly with his own personal life. Filmmakers should draw from their own experiences, but for Allen doing so means dragging us through his sordid romances of yore.

And a middling Allen effort like “Whatever Works” doesn’t need those kinds of distractions.

“Works” stars Larry David of “Curb Your Enthusiasm” fame as Boris, arguably the least likable main character in any Allen film. He’s an egomaniacal academic who recently split with his wife, and he’s content to live alone in a shabby apartment in between passing judgment on anyone who crosses his path.

He tries to do the same with a runaway Southern girl named Melodie (Evan Rachel Wood), but a romantic spark alights despite their vast age difference.

Where have we seen that before? Oh, yeah, in every other Allen picture.

The pair quickly marry, but it soon becomes clear the age - and life experience - gap could jeopardize their pairing.

It’s a wonder why young, desperate Melodie has any use for him, but the fact that she falls so quickly for Boris beggars belief. He’s put off by darn near everything about her, but she’s awful cute and occasionally gets his jokes.

The signature Allen touches are firmly in place in “Works” - the scratchy oldie track to open the movie, the ego free credits and the idealized Manhattan sensibilities.

Yet “Works” still feels like watered down Woody. The gags don’t have much bite - or surprise. Neither does the story.

Can’t a talent of his caliber find another story line besides the braying old man wooing the ingenue at this point?

David, a lovable misanthrope on “Curb,” goes the Full Monty here. He’s utterly deplorable as a Boris, and it’s the kind of challenging role ideal for someone like Gene Hackman who can find Boris’ long-buried humanity.

David hasn’t a clue how to do anything of the kind.

Wood is a lovely young actress, and while her character may be pure Allen fiction she renders it in more shades than the screenplay allows.

The great Patricia Clarkson temporarily steals the movie as Melodie’s mom, but her character’s growth is silly and superficial.

Conservatives won’t appreciate the nonstop attacks on Red States types and traditional values, but Allen forgives and forgets their tics so long as they have a change of heart by the final reel.

The film’s title refers to Boris’ approach to romance. Sure, couples can have big age difference or other major hurdles to overcome, but hey, “Whatever works.”

One guesses “The Heart Wants What it Wants” was the original working title.

The film’s ending feels like it’s slapped on from a generic rom-com, and for an Allen flick that just doesn’t “Work” at all.

(Photo: Evan Rachel Wood and Larry David star in Woody Allen’s latest romantic comedy “Whatever Works.”/Sony Pictures Classics)

‘Public Enemies’ - Mann-made precision

cftoto — Thu, 02 Jul 2009 15:29:40 +0000

When is a smart, sophisticated summer movie brimming with history and gravitas a letdown?

When it stars Johnny Depp and Christian Bale and the man behind the camera is Michael Mann.

“Public Enemies” should satiate mature minded movie goers looking for salvation against the tide of mindless blockbusters. It’s a beautifully constructed film, one with seemingly every element locked in for a modern movie classic.

But while Mann (”Heat,” “Collateral”) remains a technical maestro, he still has trouble getting under the skin of his characters.

Who else could film the life story of boxing great Muhammad Ali and leave viewers unsure of what really made Ali tick by the film’s end?

“Public Enemies” tells the fascinating true story behind John Dillinger (Depp), the notorious bank robber from Depression-era Chicago.

The film opens with a bravura sequence featuring Dillinger breaking out of jail along with a few of his partners in crime. Right away, Dillinger’s savvy, his ability to cajole those around him with either his charisma or a Tommy Gun, get firmly established.

Dillinger’s crime spree catches the attention of J. Edgar Hoover (Billy Crudup in the film’s best supporting turn). Hoover hires Melvin Purvis (Bale) to bring said spree to an end.

Meanwhile, Dillinger remains a few paces ahead of Purvis’ small army, finding time between heists to woo a cagey hatcheck girl (Oscar winner Marion Cotillard).

Mann’s film doesn’t tap into the Depression-era zeitgeist as one might expect, or even fear. It’s all surface thrills and gorgeous tracking shots, leaving the viewer detached from the endless gun fights. And there’s little narrative cohesion to the story, leaving an episodic tale with an ending that doesn’t do Dillinger’s anti-hero life justice.

Depp established his career by playing against his physical type - and broadcasting his eccentric inner self to audiences. Here, he plays it maddeningly straight, and it’s one of his least compelling performances.

That’s still better than Bale, who’s given almost nothing to work with and substitutes stoicism for any sense of character. He’s a carbon copy, and a fading one at that, of Kevin Costner’s superior performance as Eliot Ness in “The Untouchables.”

This should have been the Summer of Bale, but from his on-set tirade to two lackluster turns (”Enemies” and “Terminator Salvation”) it’s ending up a season to forget for the gifted actor.

“Public Enemies” remains an intelligent piece of craftsmanship. It’s just not the thoroughly engaging film we were led to expect.

(Photo: Johnny Depp plays famed bank robber John Dillinger in “Public Enemies.”)

WWTW Bookshelf: ‘The Reel Truth’

cftoto — Wed, 01 Jul 2009 22:37:00 +0000

Think getting an independent film greenlit - and shot - and distributed - sounds hard?

Just leaf through the pages of Reed Martin’s new book, “The Reel Truth,” and you’ll see it’s a minor miracle every time an art-house picture hits the big screen.

Martin, a freelance film reporter and movie marketing professor at NYU’s Stern School of Business, delivers the ultimate warning for everyone who ever dreamed of a life in cinema.

The just released book, subtitled, “Everything You Didn’t Know You Need to Know About Making an Independent Film,” gives wannabe filmmakers and movie fans alike a fascinating peek into the indie film world.

And it isn’t pretty.

From squashed dreams to movie productions stopped cold when funding dries up, the book details just how many challenges directors must overcome before seeing their vision on screen.

Shady producers. Legal loopholes. Three-picture deals which become nightmares.

More importantly, Martin offers practical lessons for those just dedicated enough to want to make a film despite all of the above.

The author interviews some of the brightest minds in independent cinema, including Danny Boyle (”Slumdog Millionaire”) and Christopher Nolan (”Memento”), for riveting first-person accounts of those who bucked the enormous odds.

They share their own success stories as well as the moments when their careers could have ended right then and there if they opted to give up.

Some of the book’s inconvenient truths will shock fledgling filmmakers. Tomorrow’s Coppolas and Scorseses have a better chance getting into Harvard than making it into the Sundance Film Festival (the latter has a 3.3 percent acceptance rate while the former’s acceptance rate comes in at 7.1 percent)

The books’ accessible tone won’t make it a must read for everyone. “Truth” is for aspiring filmmakers and movie fanatics primarily. Some of the chapters can get dense, like the section dealing with the minute legal complications a film shoot demands.

But Martin’s interviews offer a crucial look into the indie film process and, more importantly, an appreciation for those who sacrifice so much for the act of making a movie.

(Photo: Bottom left - Author Reed Martin)

Remembering Karl Malden

cftoto — Wed, 01 Jul 2009 22:24:59 +0000

The cable channel TCM is remembering Oscar-winner Karl Malden, who passed away today at the age of 97, in the most fitting way possible.

The channel scrapped its existing July 10 prime-time programming to feature a film tribute to the late actor.

The night begins at 8 p.m. EST with “On the Waterfront,” continues at 10 p.m. with “A Streetcar Named Desire” and wraps at 12:15 a.m. with “Birdman of Alcatraz.”

Coming soon to WWTW

cftoto — Wed, 01 Jul 2009 15:45:29 +0000

Reviews of “Public Enemies” and “Whatever Works,” the new comedy from Woody Allen WWTW Bookshelf: A review of the new indie-themed book “The Reel Truth” Related posts:Coming soon to WWTWComing soon to WWTWWWTW Bookshelf: ‘The Reel Truth’ Related posts:

WWTW Rewind: ‘Lonely Are the Brave’

cftoto — Tue, 30 Jun 2009 15:59:41 +0000

Kirk Douglas etched an indelible portrait of the rugged, no-nonsense man in the 1962 drama “Lonely Are the Brave.”

Douglas, whose mug alone made him one of Hollywood’s most masculine leading men, plays a cowboy born a half century too late in the move that only now is heading to DVD (July 7).

The film opens with Douglas on horseback trying to navigate a busy New Mexico highway. It’s the perfect setup for what’s to come.

Douglas stars as Jack, an itinerant cowboy looking to reunite with an old pal. But his friend is in jail for trying to help some illegal immigrants cross into the country. So Jack gets himself thrown in jail just to see him.

That impulsive act seals Jack’s fate and sets up a wildly inventive chase picture.

It’s dizzying to tally up all of “Brave’s” cinematic pleasures. Let’s start with the rambunctious fistfight between Jack and the surly one-armed man. But what about Jack’s sexually charged scenes with his pal’s loyal wife (Gena Rowlands)? Or Walter Matthau’s turn as the lawman assigned to bring Jack in, even though he sees something noble in the outlaw?

“Brave” comes from screenwriter Dalton Trumbo, he of the Hollywood Ten fame, and one can see some of his ideological leanings in certain sequences.

But the film’s story never suffers for it - it’s a tale of an American kind of individualism that simply cannot be squelched.

‘Go’ gets rare indie push

cftoto — Tue, 30 Jun 2009 14:12:44 +0000

The folks behind “Away We Go” think they have another “Juno” on their hands.

“Away,” which stars Maya Rudolph and John Krasinski as soon-to-be parents, is getting the kind of media push too few indie films receive. Suddenly, TV spots for the film are cropping up all over, and the movie ads in the local paper just keep getting bigger - and more packed with critical raves.

Repeating the “Juno” success story won’t be that easy, even if the extra advertising nudged “Away” into the top 10 over the weekend.

The movie’s alarmingly high levels of quirk, from the soundtrack to the wackier than wacky characters, makes it look rather “Juno”-esque. But the movie can’t replicate the charm or the humanity of Diablo Cody’s Oscar winning tale.

You can see the gears grinding behind every convoluted situation and character. Few audience members will embrace Burt and Verona like they did young Juno and Paulie.

It’s great to see a studio throw its weight behind an independent film, especially during the brutal summer months. But “Away We Go” isn’t the right choice for such a promotional barrage.

‘The Graduates’ - More filling ‘Pie’

cftoto — Mon, 29 Jun 2009 18:49:42 +0000

The first 20 minutes of the micro-indie film “The Graduates” feels like the first draft of an “American Pie”-style sex comedy - the draft before the bawdy jokes and appealing characters took shape.

Be patient.

“The Graduates” slowly shakes free from its clumsy opening to tell a wry tale reminding us there’s more than one way to recall that tumultuous time in our early 20s.

The film, now available via streaming at Amazon and iTunes, follows four high school graduates out for the standard hormonal fun during Senior Week. That means sex, drinking … and more sex.

At least that’s what the pals tell each other. But each has his own awkward relationship with sexuality. One has a steady girlfriend but is taking things slowly. Very slowly.

The group punk - Nickie (Mike Pennacchio) - is all about sex and fighting, but beneath that boorish facade lies a pretty wounded soul.

They often turn to their older pals for guidance, but it’s unclear they know any more about relationships than they do.

“The Graduates” doesn’t follow the big set piece brand of humor. The jokes are smaller, quieter, but they register all the same - save a vomit gag that feels stripped from an R-rated big budget film.

Writer/director Ryan Gielen maximizes the Ocean City setting without steering his story toward pandering conclusions. The dialogue almost feels too real at times, particulary during the party sequences. Viewers would be better off not overhearing the back and forth blather between teens on the make, but it does add another layer of authenticity to the tale.

“The Graduates” is a modest but valuable addition to a genre too often treated like an excuse to trot out the latest brand of sexually suggestive hijinks.

Hollywood wants it both ways

cftoto — Mon, 29 Jun 2009 17:17:01 +0000

Any child can buy a ticket to see PG:13 rated movies like “Year One,” “Land of the Lost” or “Transformers: Revenge of the Fallen.”

It doesn’t matter how many sexual or excretory jokes they’ll see and hear once they settle into their seats.

The folks who defend the current rating system say the descriptors accompanying these films tell parents most of what they need to know. My latest feature in The Washington Times revisits the battle over PG:13 movies.

Tell that to “Transformers” director Michael Bay.

The critically maligned auteur specifically targeted younger audiences with his latest film, a movie which features plenty of coarse gags more appropriate for R-rated fare. Some of the worst material comes from two robots who some say represent ugly racial stereotypes:

“I purely did it for kids,” the director said. “Young kids love these robots, because it makes it more accessible to them.”

That doesn’t even include the “Transformers” fast food tie-ins at Burger King.

It’s disingenuous for Hollywood to claim the ratings system exists to protect children when the industry’s kingmakers specifically target young minds to fill their coffers.

(Photo: “Transformers: Revenge of the Fallen” is aimed at young viewers but features material not suitable for impressionable minds.)