New in Theaters: ‘Brooklyn Castle’

The fresh new documentary Brooklyn Castle has an unlikely band of protagonists—a record-breaking and mostly minority chess team from an unassuming Brooklyn neighborhood—and a welcome, optimistic take on the modern school. My full review is at Film Journal International:

When documentaries take on schools as a subject, the film is either a lament for a nation’s crumbling educational edifice or a feel-good film about a band of plucky upstarts defying the odds. In either event, the assumption is generally that things are fairly horrendous, school-wise, and that only particularly lucky or unique groups can hope to win out. What makes Katie Dellamaggiore’s Brooklyn Castle so wonderful and fresh-feeling in many ways is how it neatly skirts those preassigned roles for the students, parents and teachers it follows around…

Brooklyn Castle is playing now in very limited release.

You can see the trailer here:

New in Books: ‘What’s the Matter with White People?’

The new book What’s the Matter with White People? falls prey to the desire for clever/provocative titles that don’t necessarily have much to do with the subject matter at hand; it’s not quite the racial jeremiad that one might imagine. My review is up now at PopMatters:

Salon editor-at-large and MSNBC analyst Joan Walsh grew up a working-class Irish Catholic on Long Island in the ‘60s, with plenty of cops and firemen and construction workers in her extended family. It was a good vantage point to study what she terms the “destruction” of that decade. Walsh was perched on the verge of a rapidly imploding city, surrounded by relatives who fled the boroughs’ increasing crime. She uses her relatives as examples of what were once termed “white ethnics”, taking shelter from the societal chaos in the assurance of something that felt more concrete and protecting than the wispy liberalism that they blamed for it all. In other words: Nixon…

What’s the Matter with White People? is now available in finer bookstores everywhere.

New in Theaters: ‘Seven Psychopaths’

The new Martin McDonagh movie, Seven Psychopaths, opened yesterday, with a cast ranging from a murderous Woody Harrelson to a bunny-stroking Tom Waits. You can read my review at PopMatters:

At one of the quieter moments in Seven Psychopaths, Hans (Christopher Walken) tells his friend Marty (Colin Farrell) that the female characters in his screenplays are horrendous. Each gets only a few minutes of terrible dialogue before ending up dead. “It’s a tough world for women,” Marty stammers.

This is a multifaceted joke for Seven Psychopaths’ screenwriter and director, Martin McDonagh, who indeed makes sure that none of his female characters speaks an intelligent line or escapes suffering grievous bodily harm. One could argue that purposeful clichés are only worth citing if they help to unpack some of the prejudices or lazy thinking that gave rise to those clichés. Otherwise, it’s just the same old garbage with a smirk…

Seven Psychopaths is playing everywhere. For all its problems, it’s ultimately worth checking out—unless you haven’t seen McDonagh’s In Bruges, in which case, watch that immediately.

You can watch the trailer here:

New in Theaters: ‘Split’

Just in time for the election comes Split: A Deeper Divide, a documentary about the nation’s partisan divide. My review is running now at Film Journal International:

The nation is hopelessly divided; Washington is broken; people only listen to news pre-slanted to their ideology; there is no room left for even-tempered discourse. We have heard all this before, which doesn’t mean that Split: A Deeper Divide, a film about the state of American political partisanship, doesn’t tackle a worthy subject. (That would be like saying that since we have already been told war is hell, every war film after All Quiet on the Western Front has been a waste of time.) But it also doesn’t mean that this film brings anything new to the topic.

Split: A Deeper Divide is playing now in limited release and will be expanded to other markets later in the month.

You can watch the trailer here:

New in Theaters: ‘Wuthering Heights’

My review of the new film of Wuthering Heights is up now at PopMatters:

From the second that it was announced Andrea Arnold was adapting Emily Bronte’s Wuthering Heights, might have guessed that hers would be no ordinary costume drama. Arnold’s previous features, the bracing Red Road (2006) and unforgettable Fish Tank (2009), both mined a seam of bleak UK council estate angst via raw performances. The new film is similarly tough.

Arnold has not “modernized” the original text or packed it with appeals to the tween set, a la Alfonso Cuaron’s Great Expectations or Baz Luhrman’s Romeo and Juliet. Instead, she deploys her signature dramatic style, casting some unknown and scintillating actors, such that the film has a sandpaperish honesty that is true to Bronte’s messy source novel…

Wuthering Heights is playing now in limited release and should be expanding to several cities over the next few weeks.

You can see the trailer here, buckle up:

New in Theaters: ‘Six Million and One’

 

My review of the new documentary Six Million and One is running now at Film Journal International:

Some of the most discomfiting imagery in films about the Holocaust comes not from wartime footage showing the savage effects on the prisoners or even the ghostly sites themselves. What creates the most emotional dissonance is more often the sight of these places of unbelievable butchery now sitting in well-manicured European suburbs, woven fully back into the fabric of everyday life. It begs the question: How does one live in the shadow of the unimaginable? In David Fisher’s emotional and acidic documentary Six Million and One, he digs into this question on a broader level, in effect asking: What is the point of memory? What and whom does it serve?…

Six Million and One is playing now in very limited release.

You can see the trailer here:

 

New in Theaters: ’17 Girls’

My review of the new French film 17 Girls is running now at PopMatters:

Like any good story about an epidemic, 17 Girls starts with a wholly unremarkable incident. High school student Camille (Louise Grinberg, one of the troublemakers in The Class) finds herself in a family way. But instead of hiding in embarrassment or trying to ignore her swelling belly, she flaunts it. Because Camille is the queen bee, her pregnancy begins to look attractive to her buzzing followers. Within months, bellies begin swelling all over town, and the girls are making plans for what they’re going to do with their babies. Among the things they don’t include in their agenda: not smoking or drinking while pregnant, or considering any of the complications that come with being a single teen mother…

17 Girls is playing now in limited release; make sure to check it out.

The trailer is here:

New in Books: ‘American Science Fiction: Nine Classic Novels of The 1950’s’

My review of the nine novels in the Library of America’s new two-set volume American Science Fiction is now up at The Millions:

There was something in the air during the 1950s in America that bred an especially grand strain of science fiction whose like was never witnessed before and hasn’t been since. It was a heady concoction: postwar triumph and trauma, unprecedented technological advances, the true advent of mass media swamping the atmosphere, that pseudo-fascistic hum of nationalistic propaganda and blacklisting, and the incessant reminder that a mushroom cloud could end it all… like that. The new Library of America two-volume collection, American Science Fiction: Nine Classic Novels of the 1950s, edited by Gary K. Wolfe, dusts off nine lesser-known novels that illustrate the breadth and depth of what was happening in science fiction during that decade. With its crisply typeset cloth volumes totaling almost 3,000 pages, the sturdy box is a welcome reminder of past joys for some readers and a striking introduction to fresh futuristic wonders and Cold War chills for others…

You can also read essays on these novels by authors from William Gibson to Neil Gaiman at the Library of America site here.

Reader’s Corner: George Orwell and ‘The Thinginess of Life’

As part of the effort over the past several years by various publishers to ensure the longevity of George Orwell, this past August a collection of some eleven of his diaries was released, with an introduction by Christopher Hitchens. Barry Gewen’s New York Times review doesn’t make it sound like the most engaging of reading, advising readers to take Hitch’s faint praise (notable from such an Orwell fan) to heart. In other words, there are a lot of things in these diaries that many people put in their diaries which aren’t meant to thrill the public (lists of animals spotted, far too much information about chickens).

But the review gives Gewen a chance to consider the many contradictions and attractions of Orwell’s writings, namely, his attention to the quotidian details of the everyday, the “thinginess of life.” This focus on grounded realities—as well as his natural aversion to authority—made Orwell healthily suspicious of abstractions and “isms.” Although a patriot, he despised much of the systems that constituted England: “Insofar as patriotism was equated with God, King and Country or, worse, the preservation of the British Empire, he was against it.” Gewen further notes:

What patriotism meant to Orwell was the ordinary things of his English life — heavy coins, stamp collecting, dart games, an irrational spelling system. In the essay “Notes on Nationalism,” a companion piece to “England Your England,” he said: “By ‘patriotism’ I mean devotion to a particular place and a particular way of life.” It was around this same time that he wrote essays in praise of pubs, cricket, even (outlandishly) English cooking. He would lay down his life not for the grandiose abstractions preached by politicians and the clergy but for gardening and warm beer.

In other words, a patriot for humanity, and not a flag.

 

 

 

DVD Tuesday: ‘The Royal Tenenbaums’

 

It would be too reductive to say that Wes Anderson’s films are about people who don’t fit in. Yes, his characters are on the oddball end of the spectrum. But in Anderson’s better films (like The Royal Tenenbaums), he doesn’t fall prey to the common bugaboo of those artists who celebrate the unique. Namely, he doesn’t even bother creating an outside world to judge them for their curious behavior. There is no island of misfit toys for his characters to retreat to, because the whole that is visible doesn’t seem much different. Everybody doesn’t fit in, together…

The Royal Tenenbaums is available now in a beautiful new Blu-ray transfer from Criterion. Read my full review at PopMatters.

 

New in Theaters: ‘The Master’

The Master makes what should have been long obvious now utterly clear: Paul Thomas Anderson can lay claim to being one of the era’s few American writer/directors afflicted with greatness. It is hard to think of another home-grown filmmaker who so consistently brings such psychologically astute scripting, and ability to coax nakedly revelatory performances from actors—that classically trained eye for widescreen framing—to each film he makes. The Master may not match the level of artistry or thematic intensity seen in There Will Be Blood, but it is Anderson’s most approachable film in years, not to mention his most vividly realized characters to date. There won’t be much else like it on screens this year…

The Master opens Friday in limited release and expands wider over the next few weeks. My full review is at Film Journal International.

The trailer is here:

Dept. of Literary Oddsmaking: The Man Booker Shortlist

The panel of judges in charge of determining what was truly awesome in literature this year and then awarding it the 2012 Man Booker Prize have announced the six novels that are making the shortlist. They are:

  • The Garden of Evening Mists, by Tan Twan Eng
  • Swimming Home, by Deborah Levy
  • Bring up the Bodies, by Hilary Mantel
  • The Lighthouse, by Alison Moore
  • Umbrella, by Will Self
  • Narcopolis, by Jeet Thayil

Last year’s winner was Julian Barnes’s The Sense of an Ending, a particularly well-sculpted piece of fiction that was nevertheless several times too anemic in presentation for its own good.

The current bookies’ favorite—since people will, it seems, bet on absolutely anything—to take home the prize is Hilary Mantel’s bloody exciting and really close to perfect Bring Up the Bodies. That might not be entirely fair, since Mantel already took home the prize in 2009 for Wolf Hall, the precursor to Bodies. But nobody ever said literature was anything but a blood sport; albeit one waged in genteel, passive-aggressive fashion.

DVD Tuesday: ‘Where Do We Go Now?’

 

Filmmakers run all kinds of risks when they try to update the classics; for all the universality of some of the great dramas, they can fail miserably when downloaded into new and sometimes incompatible formats (witness what happens when studios try to dress up Austen and Shakespeare as candy-colored high school comedies). Nadine Labaki’s zesty Where Do We Go Now? has to navigate two minefields: updating Aristophanes’s Lysistrata and setting this comedy amidst modern Lebanon’s murderous religious strife. The result isn’t a new classic, but stands nevertheless as a potent and lively satire about how the violence of men tears societies down and the lengths to which women go to staunch the bleeding…

The Oscar-nominated Where Do We Go Now? comes out today on DVD. My full review is at AMC Movie Database.

 

Trailer Park: ‘Oz: the Great and Powerful’

Strangely, given both the rather towering presence that the film The Wizard of Oz holds in world cultural consciousness and the current mania for sequels and films based on proven properties, it’s been decades since anybody has tried to make another film based on the L. Frank Baum series. There’s over a dozen books there, filled with strange worlds and CGI-worthy beasties to turn into multiplex 3D and IMAX gold. The sour memory of Walter Murch’s then-failed but now 1985 cult classic Return to Oz  holds a powerful sway over studio heads, it seems.

But next spring, Disney (which holds film rights to the entire series) is getting back into the Oz business. Sam Raimi is at the helm of Oz: the Great and Powerful, with James Franco (who he directed in the Spider-man series) starring as the young Wizard, who gets swept away to Oz in a balloon years before young Dorothy is even born. There is some great potential here for a sweeping new kind of fantasy filmmaking, but also for an imagination-starved Tim Burton-esque detour into design and animation for its own sake.

Either way, the trailer is up now and shows that at least Raimi is borrowing the trick of using color stock for Oz and black-and-white for Kansas:

New in Theaters: ‘Detropia’

“We are here at a critical time!” shouts a tent-revival preacher somewhere in the gloom of a rapidly downsizing Detroit. His is one of the many frightened, brave, saddened, still-fighting voices that Heidi Ewing and Rachel Grady include as a chorus of the forgotten in their tragedy-tinted but clear-eyed look at what happens when a city’s reason for being up and leaves. Unfortunately, though the city is inarguably at a crisis point—in 1930, Detroit was the fastest-growing city in the world, and it’s shrunk by over 25 percent in the last decade alone—Detropia doesn’t show any evidence of a consensus on the solution…

Detropia opens this week in limited release and goes wider around the country over the next few weeks. My full review is at Film Journal International.