Upstream Color (2013) Shane Carruth

Upstream Color (2013) Shane Carruth [1:36]

I enjoy films that make me think, but at times I run across one that straddles the fence between films that requires me to think outside my comfort zone and those that simply frustrate me to no end. I’m not sure exactly where Upstream Color falls along that graph, but I would certainly watch it again (surely a good sign). 

Jeffrey Kauffman at Blu-ray.com calls Upstream Color a sort of “Tree of Life on drugs.” While I understand what he means (director Carruth does channel Terrence Malick’s visual and narrative style in many ways), Kauffman’s label doesn’t really do justice to Carruth’s film.

The film opens with a young woman named Kris (Amy Seimetz) who is accosted, then attacked early on. I don’t want to give too many spoilers, but Kris is being forced via a mind-controlling drug to hand over all her assets to her attacker. All of this is done in a very clever, fascinating way that’s amazingly unique and quite disturbing. (You wonder if this could happen or has, in fact, ever happened....)

What happens next just gets more and more bizarre, but not overwhelming. Carruth keeps you asking “What just happened?” as Kris begins a slow recovery, yet adds layers of weirdness in other characters and situations as the film progresses. New characters are introduced who may or may not have had something to do with Kris’ attack. One of these people is Jeff (played by Carruth), a man Kris meets on a train. Jeff is clearly interested in Kris, but she (and we) wonder about his motives, especially when their initial conversations are sparse, filled with gaps that could mean nearly anything without proper elaboration. 

Pieces of the mystery of Kris’ attack slowly begin to take shape, but other questions arise. When Carruth (the director, not the actor) answers one question, he asks two or three more. Like the drug Kris is forced to ingest early in the film, Upstream Color carries a hallucinogenic quality that draws you in, yet makes it difficult to come away with an awful lot of clarity, at least after only one viewing. I’m not really sure why, but this aspect of Carruth’s earlier film Primer frustrated me. Here, with Upstream Color (a better film), the same aspect fascinates me. It’s too easy to say that Upstream Color is just another case of style over meaning. I think there’s more to it than that. 

I just haven’t figured out what it is yet.... 

4.5/5

Breaking Bad Season Five (TV 2012)

There's some disagreement whether to call the final eight upcoming episodes of Breaking Bad Season Five Part II or Season Six. The current hiatus has been long enough to go ahead and call it Season Six, but it really doesn't matter at this point. What I want to do is focus on the first eight episodes after Season Four.

(SPOILERS FROM SEASONS 1-4)

The first scene from S5:E1 is something of a shock to the system. I won't tell you any more about it, but it's something you'll have to keep in your pocket for
awhile. (I actually had to watch it again after I'd watched all eight episodes.) But make sure you remember it.

What follows has been talked about with equal parts admiration and disappointment. Season Four ended with an explosion (literally) of fireworks that had devastating effects for the entire cast. Gus is dead, but his legacy and influence remain strong in many ways, some of which are explored here for the first time with the character of Lydia, a woman who knows how to get things done, but is potentially deadly to Walt, Jesse, and possibly others.

Skyler is close to a breakdown, wanting everything in her life to be normal, which is never going to happen now; she's in too deep. Yet she still wants to protect her children.

Things have also changed for Jesse. We see some enormous developments in his character that may be surprising, but then again, maybe not. If you've previously thought of Jesse mainly as a punk/thug/loser, think again. This may be Jesse's best season.

And finally we have Walter White, whose descent into darkness ranks up there with some of the greatest dark characters in all of TV, film,and yes, even literature. The writers and producers of Breaking Bad know that the descent into evil doesn't happen all at once; it creeps up incrementally. Walter's goals have gradually changed. He still wants protection for himself and his family, but he also wants more. Much more.

On the surface, you could say that a lot of what happens during Season Five is internal, which accounts for some fans' disappointment. But make no mistake, there's plenty of mayhem going on during these eight episodes, including some impressive showdowns and displays of power. Yet the real power of Season Five comes from the way the characters develop and how their relationships become more intertwined (if not tangled). The potential for repercussions and consequences is ramped up to an almost unbearable level and we won't begin to find out how it's all going to play out until August 11 when the show resumes on AMC.

The creative team for Breaking Bad is very smart. They knew that they couldn't top the pyrotechnics of Season Four, so they didn't even try. Instead, they allowed the inner turmoil of the characters to rise until the lid is about to blow off. That pressure's got to be released somehow, but again, we won't know how until August 11.

I've been trying to figure out what's going to happen in the next eight episodes and how it's all going to end. I'm thinking about writing my guesses down on paper and sealing it until the end of the show. Or maybe I'll just try not to think about the show until August 11.

Yeah. Wish me luck with that.

Regardless of how it plays out, Breaking Bad is outstanding television. I hope to write further in another post on why I think the show is so good and its significance, place in television history, etc. But for now, I'm simply enjoying it.

Criterion Titles for October

Once again, I’m way behind on my Criterion news... Here are the titles for October 2013 release:

I Married a Witch (1942) René Clair [1:17]

New to the collection

Spine #676

October 8, 2013

(Currently streaming on Hulu Plus)

Few supplements: an uncompressed mono soundtrack (Blu-ray only), an audio interview with director René Clair, a trailer, and a booklet featuring an essay by Guy Maddin and a 1970 interview with Clair

Blu-ray $29.95

DVD $19.95

Eyes Without a Face (1960) Georges Franju [1:30]

Blu-grade

Spine #260

October 15, 2013

(Currently streaming on Hulu Plus)

Several supplements

Blu-ray $39.95

DVD $29.95

John Cassavetes: Five Films

Shadows (1959)

Faces (1968)

A Woman Under the Influence (1974)

The Killing of a Chinese Bookie (1976)

Opening Night (1977)

A Constant Forge - The Life and Art of John Cassavetes (2000) 

Blu-grade

Spine #250

October 22, 2013

(All films except A Constant Forge currently streaming on Hulu Plus)

Loaded with supplements

Blu-ray box set (5 discs) $124.95

DVD box set (8 discs) $124.95

The Uninvited (1944) Lewis Allen [1:39]

New to the collection

Spine #677

October 22, 2013

Few supplements: an uncompressed mono soundtrack (Blu-ray only), a visual essay by filmmaker Michael Almereyda, and a booklet featuring an essay by critic Farran Smith Nehme

Blu-ray $29.95

DVD $19.95

La Notte (1961) Michelangelo Antonioni [2:02]

New to the collection

Spine #678

Not a great number of supplements, but the new interviews look promising.

Blu-ray $39.95

DVD $29.95

************************** 

Of these films, I have seen Eyes Without a Face recently, The Uninvited over 30 years ago, and two of the Cassavetes films. I'd enjoy seeing the supplements from Eyes Without a Face, but I probably wouldn't buy it. The Uninvited, since it's a lower-priced release (especially if you can catch a half-price sale), might be worth a purchase if it holds up to repeated viewings. 

Although I think he's brilliant, and both A Woman Under the Influence and The Killing of a Chinese Bookie are excellent, powerful films, I won't be buying the Cassavetes set. Cassavetes is a "one and done" director for me. I'd certainly like to see the other films in the set, but will probably watch them streaming. So it looks like there are no "must-buy" films for me in October, which is probably a good thing. My wallet will probably still be in recovery mode from the July Barnes & Noble sale. 

Any films you plan on purchasing in October? Any surprises? Disappointments?

Where are All the (Good) Movie Discussion Podcasts?

It's really hard to find good movie news and reviews podcasts. Most of the ones I run across usually consist of two young guys who spend the first 15 minutes (or more; sometimes much more) of each podcast discussing how drunk they got over the weekend, what party/club they went to, or some such shenanigans.

I want to hear people discussing movies thoughtfully and intelligently, preferably right from the get-go. The best and only podcast I currently listen to on a regular basis is the Criterion Cast. This group usually consists of Ryan Gallagher, James McCormick and Travis George (my favorite trifecta), although other contributors and guests are also quite enjoyable. These folks know an awful lot about films and love discussing them. And we're not talking only about Criterion films, although those are the main focus.

If there are other good movie podcasts out there that are both informative and intelligent, please let me know about them.

The Barnes & Noble Criterion Collection 50% Off Sale

Tomorrow begins one of two huge Criterion Collection DVD and Blu-ray sales held each year at Barnes & Noble stores and online. The sale starts tomorrow, July 9, but I'm not sure when it ends (probably July 30 or 31).

A few of the films I'm most eager to purchase won't be released until after the sale, but here are the main ones I'll consider for this sale:

When I saw Babette's Feast last month, I knew it was a must-buy. The film will be released on July 27, just barely in time to qualify for the sale.

I also loved A Man Escaped, which I have heard has a wealth of supplements, almost an entire "film school in a box" treatment of director Robert Bresson.

I also found myself captivated by Jim Jarmusch's odd, quirky Down By Law. I rented this from Netflix and had time to watch only a few of the supplements, which were outstanding.

Purple Noon is a wonderful film, one I can't wait to see on Blu-ray.

Although the supplements on Yojimbo and Sanjuro aren't exactly packed, these classic Kurosawa films come out to about $17.50 each, which is a bit better than buying them individually.

So.... What's on your list for this sale?

June Movies

 The films I saw in June:

Intermission

During the next few days, I hope to post my thoughts on the 11 films I saw in June, which includes two French films and (count 'em) three Superman movies!

In the meantime, here's the newest Criterion Collection release, the 9+ hour documentary Shoah (1985), which went on sale June 25. As of this writing, the blu-ray review has not appeared at Blu-ray.com, but I feel sure this monumental film will stand as one of Criterion's crowning achievements of 2013. I haven't seen it, so I hope our library purchases at least one copy.

Criterion's next release will be Kenji Mizoguchi's The Life of Oharu (1952), available July 9. The film is currently streaming on Hulu Plus. It also received a "highly recommended" review on Blu-ray.com.

Submitted for Your Approval - Movies and Related Items to Seek Out

I frequently look at what's going on at Blu-ray.com (especially the deals) and noticed a new review of Criterion's new release of Marketa Lazarová. It's not often I see a perfect 5 rating in every category, but that's the case here. I've never seen this famous Czech film from 1967, but this review is very intriguing. 

I'd like to thank my friend, science fiction writer Andy Duncan, who recently told me about an out-of-print book series by Danny Peary called Cult Movies (in three volumes). I found a used copy of the first volume online and recently started reading it. (I know, the cover is to yak for, but I think you can find better covers with later printings.) This first volume includes essays on 100 films in a variety of genres from the silents until the then present time of the early 80s. Peary's writing is intelligent, engaging, and wonderfully informative. If you don't see me for long stretches of time, it's probably because I'm reading this book. 

Criterion Titles for September

Although it’s old news now, the titles for September 2013 were recently announced. Here’s what to look for this fall:

La Cage aux Folles (1978) Edouard Molinaro

New to the collection

Spine #671

The Spy Who Came in from the Cold (1965) Martin Ritt

Blu-grade

Spine #452

Slacker (1991) Richard Linklater

Blu-grade

Spine #247

Autumn Sonata (1978) Ingmar Bergman

Blu-grade

Spine #60

3 Films by Roberto Rossellini Starring Ingrid Bergman 

New to the collection

Spine #672

Set includes:

Stromboli (1950)

Europe ’51 (1952)

Journey to Italy (1954)

I recently saw Slackers and although I enjoyed it, I don’t plan to see it again. I am interested in revisiting The Spy Who Came in from the Cold after 20+ years. I have (sadly) never seen any of the Ingrid Bergman films, so these are my biggest temptations for September. 

So what do you think about the September releases? 

Purple Noon (1960) René Clément

Purple Noon (1960) René Clément  [1:57]

Criterion Collection Blu-ray and DVD

Spine #637

Purple Noon is a film that suffers only from it’s Americanized title. The French title, Plein Soleil (In Broad Sunlight) is more fitting. You just can’t help feeling a little exotic as you watch three carefree, beautiful people sailing a yacht along the Mediterranean underneath a sun that exposes the underlying evils and passions of human nature, the darkness and deceit that lie hidden, waiting for just the right moment to emerge. 

But I get ahead of myself. Purple Noon is an adaptation of Patricia Highsmith’s famous 1955 suspense novel The Talented Mr. Ripley. Most people are probably familiar with the more recent film version from 1999, The Talented Mr. Ripley, directed by Anthony Minghella, starring Matt Damon, Jude Law, Philip Seymour Hoffman and Gwyneth Paltrow. The 1999 version is a good film, but far less subtle in its handling of Highsmith’s material. Alain Delon (in only his third film) as Tom Ripley is mostly quiet, calculating, and unhesitatingly cold-blooded. And good-looking. Handsome has never been so dangerous. 

Ripley is in Italy, trying to persuade his friend Philippe Greenleaf (Maurice Ronet) to return to San Francisco where he can take over the family business. Philippe has no intention of doing so. Why should he, when he can sail the Mediterranean with his girlfriend Marge (Marie Laforêt) on his yacht? Ripley begins to grow envious of Philippe and plots how he could possibly steal Philippe’s money, woman, and lifestyle.

In his excellent essay from The Criterion Collection, Geoffrey O’Brien points out that Clément’s version is stylistically about as far away from film noir as you can get. Everything is bright, exposed and out in the open, laid out before the glaring sunlight, which makes Ripley’s crimes even more chilling. There’s no (or very little) effort to hide the darker desires of human nature as they emerge in Ripley. Ripley is slick, holding no regard for laws, rules, or even society’s conventions of right and wrong. Obviously he doesn’t want to get caught, but the fact that he flaunts his evils in the midst of such a well-illuminated, beautifully atmospheric landscape makes his brazen transgressions practically in-your-face. 

Purple Noon works as a character study, a thriller, an utterly fascinating examination of coveting, and as an example of gorgeous cinematography. This is an extraordinarily beautiful film, and I say that having only seen it streaming on my computer. (I can only imagine what the blu-ray must look like. Maybe I'm coveting it? Hmmm....) The film also proves that Alain Delon is far more than just a pretty face, giving a performance of Tom Ripley that’s filled with subtlety, depth, and of course, charisma. This is a must-see if not a must-own. 

(In French with English subtitles)

4.5/5

A Late Quartet (2012) Yaron Zilberman

A Late Quartet (2012) Yaron Zilberman [1:45]

When you’ve got a cast as talented as this one (Philip Seymour Hoffman, Christopher Walken, Catherine Keener, and Mark Ivanir), you’d better make sure you’ve given them a script that allows their talents to soar. Unfortunately, the script of A Late Quartet does not do this. 

On the eve of the 25th anniversary of a world-renowned string quartet, its cellist (Walken) begins showing signs of Parkinson’s Disease. Wanting to do what’s best for the ensemble, he announces his retirement so that the group can find a replacement. We have the makings of a better-than-average (although somewhat formulaic) drama here. You’ve got classical musicians, you’ve got egos, you’ve got an obstacle to overcome, and you’ve got New York. All is well.

Then the shenanigans ensue. Jealousy, bitterness, lust, betrayal, family issues, musical issues, you name it. Not that these things wouldn’t happen in the real world with real musicians; they would. But after a time, the level of ridiculousness reached in A Late Quartet becomes just too much to ask an audience to accept. 

Well-produced drama is great. I can even handle melodrama when it’s done right. What I can’t handle is waste and wasted opportunities. A Late Quartet sets up an interesting premise with outstanding actors and works reasonably well for about 3/4 of a hour before taking the easy way out, descending into the realm of soap opera. These actors do their best with the material, but you’re asking them to provide depth to what are largely surface characters. The least recognizable name here, Mark Ivanir, provides what is probably the best written character of the bunch. There’s little more disheartening at the movies than seeing great actors trying to overcome weak material. Unfortunately, that’s the case here.

2/5

A Man Escaped (1956) Robert Bresson

A Man Escaped (1956) Robert Bresson [1:39]

Criterion Collection Blu-ray and DVD

Spine #650

Anyone approaching Robert Bresson’s A Man Escaped with any thoughts of films like The Shawshank Redemption, The Great Escape, Cool Hand Luke, The Defiant Ones, or just about any other famous prison film will be sorely disappointed. It’s not really our fault. We’ve been fed so many prison escape flicks over the past century or so that we’ve come to expect big stars, excitement, sensationalism and seconds-from-being-caught heroics. 

By contrast, A Man Escaped contains no-name actors. (They really weren’t even actors, just people Bresson thought were genuine for their roles.) The majority of the film takes place in one jail cell. Most of the dialogue consists of voice-overs. And almost all of the violence takes place off-screen. 

What kind of a prison-break flick is that?

May Movies

My apologies for Arts of Darkness being pretty much silent for the past few weeks. My school work is almost finished for this quarter, so look for more frequent posts for the next few weeks. In the meantime, here are the films I saw last month. Not a lot of commentary, but some of these I’d love to re-watch and talk about in greater depth.  

Holy Motors (2012) Leos Carax [1:54]

You may love it or hate it (and I have friends on both sides), but Holy Motors is hard to ignore. Very French, very experimental, very polarizing. I hope to see this one again and delve deeper into it, but for now I’ll just have to tell you that I’m in the “love it” camp. 

4.5/5

The Most Dangerous Game (1932) Irving Pichel, Ernest B. Schoedsack [1:03]

I’ve known of this film for years and was reminded of it while watching David Fincher’s Zodiac not long ago. This 1932 film still holds up quite well - the creepy factor is high, the adventure and suspense good, and the villain superb. I’m hoping Criterion will give this one a blu-ray upgrade in the near future. 

4/5

Sky Captain and the World of Tomorrow (2004) Kerry Conran [1:46] 

An absolute mess. A very pretty absolute mess, but still a mess.

2/5

The Lives of Others (2006) Florian Henckel von Donnersmarch [2:17]

Winner of the Best Foreign Film Oscar in 2007, The Lives of Others is an exceptional look at surveillance in the early 80s in the former East Germany. Although I thought one of the major plot points developed a bit too easily, that doesn’t stop me from highly recommending the film. 

4.5/5

Waitress (2007) Adrienne Shelly [1:48]

A film I’d never heard of, loaned to me by my friend Juan. Waitress is a quirky, odd little comedy that works most of the time, thanks to good performances by everyone involved. If you watch the film on DVD and enjoy it, make it a point to watch the extras, although be forewarned that parts of them are heartbreaking....

4/5

Silver Linings Playbook (2012) David O. Russell [2:02]

Due to all the hype, I really didn’t expect to like this one, but I did. The performances are quite good, but despite that, Jennifer Lawrence did not (IMO) deserve the Best Actress Oscar. (Her performance in Winter’s Bone was more Oscar-worthy.) Silver Linings is all over the place and there’s a lot going on, but somehow it works. Yet from what I’ve heard, those who loved the book hate the movie. I don’t know about the book, but I’d certainly see the movie again.

4/5

Star Trek Into Darkness (2013) J.J. Abrams [2:12]

Previously discussed

3.5/5

Zero Dark Thirty (2012) Kathryn Bigelow [2:37]

If Jennifer Lawrence didn’t deserve the Best Actress Oscar for 2012, here’s who did: Jessica Chastain. Wow. Of course the hunt for bin Laden is a gripping tale all by itself, but it’s Chastain’s portrayal of Maya, a young CIA operative just learning the ropes after 9/11, that’s simply incredible.  

4/5