Tag: indie film

Screening Room: ‘Coup de Chance’

On By chrisbarsantiIn Film - New, Film-ForeignLeave a comment

Woody Allen is still making movies. And judging by his latest, he hasn’t lost a step. Coup de Chance opens next week in limited release and then should be on digital pretty soon.

My review is at Slant Magazine:

Woody Allen’s Coup de Chance starts appropriately with a random encounter and finishes with an out-of-nowhere intervention. But what lies in between those moments of chance is tightly scripted and purposeful, with barely a scene or line out of place. The film is at once among Allen’s most economical works and one of his most free-spirited…

Here’s the trailer:

Screening Room: ‘Do Not Expect Too Much from the End of the World’

On By chrisbarsantiIn Film - New, Film-ForeignLeave a comment

The new film from Radu Jude (Bad Luck Banging or Loony Porn) is opening in limited release this Friday. Do what you have to do, but find it. Nothing else like it in theaters right now.

My review is at PopMatters:

As the title of Radu Jude’s new film suggests, things end not with a bang but a whimper. In the case of Romania, the country whose legacy of corruption and exploitation has been a favored topic of Jude and other Romanian New Wave filmmakers, it is presented as collapsing with an undignified slide into lethargy, misdirected rage, and social media clowning. Do Not Expect Too Much from the End of the World is an absurdist and occasionally hilarious comedy. It also leaves you with the sensation of witnessing a slow-motion catastrophe where the worst has yet to happen…

Here’s the trailer:

Screening Room: ‘Jodorowsky’s Dune’

On By chrisbarsantiIn Film - Repertory, Film-Documentary1 Comment

With Dune 2 packing them into theaters, it seemed a good time to lok back at the now 10-year-old documentary, Jodorowsky’s Dune for Eyes Wide Open:

This never-dull if not always believable bull session lets cult filmmaker Alejandro Jodorowsky describe at length his absolutely mad idea for an early adaptation of Dune which never happened. Pavich couldn’t be bothered less with how the money came and went; only the creative vision matters. Given what a gonzo undertaking it all appears to have been (Apocalypse Now looks simple in comparison), that’s probably the right approach for one of film history’s great Could Have Been stories…

Here’s the trailer:

Screening Room: ‘Io Capitano’

On By chrisbarsantiIn Film - Awards, Film-ForeignLeave a comment

My review of the Oscar-nominated Io Capitano ran in Slant Magazine:

Given the challenges that many migrants face when traveling to a new land, it makes sense to assume that they’re fleeing harrowingly nightmarish realities. But the scenes that director Matteo Garrone uses to open his heartrending Io Capitano are far from nightmarish. Garrone’s big-dreaming migrant characters aren’t running away from something so much as they’re running toward it. The possibility that their goal is little more than a mirage makes this epic tale’s often horrendous journey even more wrenching…

Io Capitano opens later in February. Here’s the trailer:

Screening Room: Sundance Review of ‘Veni Vidi Vici’

On By chrisbarsantiIn Film - Festivals, Film - NewLeave a comment

My review of the Sundance Film Festival hit Veni Vidi Vici ran at Slant Magazine:

There’s a striking dissonance between the serene and realistic surface of Daniel Hoesel and Julia Niemann’s Veni Vidi Vici and the way it bludgeons its points home using the exaggerated methods of social critiques common to such genre pieces as Snowpiercer or Infinity Pool. How effective this will be depends in part on the viewer. Some will appreciate this class satire’s grim portrait of a venal polo-playing billionaire class who explain away their amoral behavior with self-aggrandizing business-speak. Others may thrill to the dark comedy of a serial killer operating so in the open that he’s practically begging to be caught. Either way, the message of Hoesel’s screenplay is blunt: Everyone not at society’s pinnacle is only prey…

Veni Vidi Vici was picked up for distribution so will be getting released later this year. Check out the trailer:

Screening Room: Sundance Review of ‘Love Me’

On By chrisbarsantiIn Film - FestivalsLeave a comment

The largely animated robot romance Love Me, starring Kristen Stewart and Steven Yeun, had its premiere at Sundance.

I reviewed for Slant Magazine:

A high-concept vehicle about machines falling in love, Sam and Andy Zuchero’s Love Me aims to be a fable about how the detritus left behind by now-extinct humanity could serve as a misleading guide to how romance should be done. The film starts with an impressive animated opening montage showing the history of Earth in a comedically sped-up fashion; what might be a species-annihilating nuclear war is viewed from a distance as just a flicker of sparks across the planet’s surface. It’s a very grandiose presentation of what’s ultimately a thin sliver of an idea about how social media tropes impede rather than help relationships…

Screening Room: Sundance Review of ‘A Real Pain’

On By chrisbarsantiIn Film - FestivalsLeave a comment

Jesse Eisenberg’s second movie as writer/director, A Real Pain, just premiered at Sundance. It was picked up for distribution by Searchlight, and is very worth finding once it gets released.

My review is at Slant Magazine:

There’s enough pain on display in Jesse Eisenberg’s crackling comedy A Real Pain to keep numerous therapists busy for years. It’s a cavalcade of angst and agony, from the familial to the historical, with an occasionally quite bleak assessment of the human condition. Nevertheless, it’s also levitated by a truly joyful sense of humor that puts up a good fight against the story’s darker moments without trying to joke them into irrelevance…

Screening Room: ‘The Crime is Mine’

On By chrisbarsantiIn Adaptations, Film - New, Film-Foreign, UncategorizedLeave a comment
The Crime is Mine (Music Box Films)

Francois Ozon’s absolutely smashing new movie, The Crime is Mine, opens in late December.

My review for Slant Magazine is here:

François Ozon’s fizzy comedy The Crime Is Mine, a loose adaptation of Georges Berr and Louis Verneuil’s 1934 play Mon crime, begins with murder, poverty, and a suicide threat. But the film delivers this material with such a bubbly optimism that it wouldn’t be a surprise if the cast broke into a choreographed number from Gold Diggers of 1933…

Here’s the trailer:

Screening Room: ‘The Taste of Things’

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Delectable, delicious, all the adjectives that spring to mind with the great food films, The Taste of Things opens later this year in limited release.

My review is at Slant Magazine:

Tran Anh Hung’s The Taste of Things is almost halfway done before it even hints that there’s something going on within its fin-de-siècle setting besides the creation and consumption of beautiful meals. The film’s first half hour is in fact just that, with Eugénie (Juliette Binoche), a veteran cook in the manor home of Dodin (Benoît Magimel), the epicure for whom she’s been working for over 20 years, making an extravagant, multi-course meal for him and his friends. The men eat the food, then compliment Eugénie on her cooking…

Here’s the trailer:

Screening Room: ‘Radical Wolfe’

On By chrisbarsantiIn Film - New, Film-DocumentaryLeave a comment

My review of the new documentary Radical Wolfe ran at The Playlist:

You wouldn’t want a documentary about Tom Wolfe to mimic his style. That could be challenging (just imagine all the on-screen exclamation marks!!!!!!!, idioSYNcratic CAPITALIZATION, and onomatopoeic spelling) not to mention possibly embarrassing. But it would have been gratifying to see Richard Dewey’s ‘Radical Wolfe’ show a dash of its subject’s moxie, damn-the-torpedoes bravery, and cynicism-stung wit…

Here’s the trailer:

Screening Room: ‘The Lesson’

On By chrisbarsantiIn Film - NewLeave a comment

My review of the surprisingly good (for being in many ways so unsurprising in its twists and mysteries) The Lesson is at Slant:

Every moment in The Lesson’s early going seemingly exists to illustrate pulp novelist Jim Thompson’s famous saying: “There is only one plot—things are not what they seem.” We see eminent novelist J.M. Sinclair (Richard E. Grant) languidly remarking to an interviewer that “average writers attempt originality…the great writers steal.” Then up-and-coming writer Liam Sommers (Daryl McCormack) is seen studying videos of J.M. with a mysterious intensity before he then shows up at J.M.’s luxurious home to tutor the man’s son, Bertie (Stephen McMillan). Throughout, the close-ups of the algae-covered pond behind the home make it seem as if a better name for the film would have been What Lies Beneath…

Here’s the trailer:

Screening Room: ‘The League’

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I reviewed The League, the new documentary from Sam Pollard (MLK/FBI) for Slant:

The story of the Negro baseball leagues has the hallmarks of a feel-good story: determination, inventiveness, and relentless optimism in the face of unyielding hatred. But while Sam Pollard’s mostly straightforward and celebratory documentary The League doesn’t skimp on those elements, he also introduces knottier emotions that allow the film, which is executive produced by Ahmir “Questlove” Thompson, to escape two-dimensionality…

Here’s the trailer:

Screening Room: ‘Against All Enemies’

On By chrisbarsantiIn Film - Festivals, Film - New, Film-DocumentaryLeave a comment

The frightening new documentary Against All Enemies premiered at the Tribeca Film Festival last night.

My review is at The Playlist:

The MAGA mob that stormed the U.S. Capitol on January 6, 2021 shared many surface similarities with the ideologically opposed mobs that fought against police in American cities over the past few years: improvised weaponry; social media fixation; an emphasis on combat tactics over strategic objectives. But there’s also a crucial exception: the January 6 mob included many U.S. military veterans. In the thundering, anxiety-inducing documentary “Against All Enemies,” Charlie Sadoff asks why it’s so easy for some veterans, who make up over ten percent of those charged with the January 6 attack, to betray their oaths and attack their government?…

Screening Room: ‘Lynch/Oz’

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My review of the new documentary Lynch/Oz is at Slant:

Is  that an Oz narrative?” asks director Rodney Ascher in the second chapter of Alexandre O. Philippe’s trippy, tricky, and obsessive cine-essay Lynch/Oz. Ascher is clearly being a touch dishonest with the question because he’s at that moment referring to Beverly Hills Cop. He follows up that query by wondering in tongue-in-cheek fashion, “Is everything?” …

Here is the trailer:

Screening Room: ‘Master Gardener’

On By chrisbarsantiIn Film - NewLeave a comment

After making the festival rounds, Paul Schrader’s Master Gardener opens next week in limited release.

I reviewed for PopMatters:

Everything in Paul Schrader’s Master Gardener exists at roughly a forty-five-degree angle to reality. The film has one foot planted in a mostly recognizable world but the other in a dreamland of the writer/director’s invention. It makes for a schizoid presentation that delivers moments of gutsy idiosyncrasy but few characters whose problems and reactions feel connected to familiar human emotions…

Here’s the trailer: