A Trip (Back) To The Movies: Review – “There Will Be Blood” (2007) 8.22.15

This marked my fourth weekend in a row taking a trip out to see yet another in a list of seven films that falls into the complete filmography of American writer/director Paul Thomas Anderson which is being shown as a retrospective at the Portland Art Museum. I love pretty much all of Anderson’s work to date. And as mentioned in a previous review, I would consider both “Boogie Nights” (1997) and “Magnolia” (1999) to both be 2 films that would take a spot in my top 10 favorite films of all time. And Anderson being the only director to have more than one film in my top 10. So with that said, of all of his films this was the one that I was the most interested in revisiting. Mostly because I remember being rather indifferent about it the first time I saw it on the big screen when I first moved to Portland over 8 years ago. Since then, my indifference has only grown. As I have refused to watch it on DVD or anything else other than the theater. And since it’s taken me this long to be able to do so. I have spent many years away from this film thinking of Anderson more in terms of his influence on me from the 2 other films that preceded it mentioned above. It’s almost as if my memory of seeing it that first time, it having been so long ago now, got shrouded and I could only remember certain key images and half scenes. So in walking into it today, with a chance to catch it in 35mm (the original print of how the director intended for you to see it – awfully rare now in the day of digital) I found myself both enthusiastic and also slightly not expecting of what I was going to find, several years later, with a fresh new set of eyes.

I won’t spend time divulging into the film’s plot as like with many of these “trips back to the movies” I’m imagining many people who are going to read this have already seen the film and know what it’s about. But what I will do in the paragraph that follows is give a more fleshed out review. Of what I thought about the film this time around being in that it was my first time seeing it since its 2007 release.

“There Will Be Blood” winds up being an excoriating study of greed, the constructive and destructive powers of competitiveness, and people’s ambition. It’s a vastly cinematic, darkly personal tale of one man seemingly without one single redemptive quality. There’s a vague nuance in the way it’s filmed, which became much more apparent to me when seeing it this time around. Anderson decides to concentrate on long, almost silent-like passages and huge, open panoramic shots (from long time Anderson DP Robert Elswit, who provides some tremendous cinematography (which he got an Oscar win for) ) in both size and scope. It delves to the most painful depths of a man who, by some standards could be looked at as a success or maybe even genius. But Anderson seems to want to probe much deeper and deliver us a story about how this success and genius could lead someone so far down a path, that they wind up being what psychologists would call a sociopath.

But really, all I’ve talked about here so far are merely the great underlying messages and technical achievements that are contained within the film. The true brunt of the film is in Daniel Day Lewis’ methodical performance as an anti-hero oilman Daniel Plainview. A man who is willing to turn all of nature’s vast number of resources and turn them into monetary bounty, regardless of the cost it has on him, or the rest of the world for that matter. Day Lewis’s character becomes the poster boy for what has and still continues to hurt America and the rest of the world: oil. The greed, violence, and aggression that come from it, the religious fervor, the paranoia behind its policies, and the betrayal of our own people because of its Capitalist ideologies. All are brilliantly mirrored through one man, Daniel Plainview, and we as a viewer get to see in first hand account the harsh impact of what all these things can do to a man. Similarly to Al Pacino in Brian DePalma’s “Scarface” (1983) but set around another boom-or-bust era, it looks at things from a different context but exposes the same universal truths. Both of these stories revolve around men who are so hungry, so lusting for wealth and power, that their quest in creating it for themselves makes monsters out of them. Day Lewis here was nothing short of memorizing in an almost “I want to look away but I can’t” scene stealing performance that I can honestly say, even having just seen the film, that it’s a career best one for the undeniably gifted actor. There were several moments throughout while watching it, in taking an intent look at his performance this time around, that allowed me to come to the conclusion that I did above. It’s an incredible feat from a still then young (32 years of age) writer/director in Anderson, who by this point had proven in less than a decade that he is one modern-day America’s true cinematic auteurs, while acting once again as a reminder to the true genius of Daniel Day Lewis, who eschews every frame and marches to the beat of Anderson’s drum in expert fashion. It’s a damn fine film and I can understand why people have and still do consider it to be Anderson’s masterpiece. However, I will take it one step further and call it not only Anderson’s but Daniel Day Lewis’ masterpiece too. Because well, this picture would only be half as great as it turned out being if it didn’t have one without the other.

[A]

Paul Thomas Anderson’s – There Will Be Blood – w/Daniel-Day Lewis and Paul Dano

Saturday, Aug 22, 2015, 4:00 PM

Whitsell Auditorium
1219 SW Park Avenue Portland, OR

2 Portland Film Enthusiasts Went

Another selection as part of The Portland Art Museum’s ongoing career retrospective of one of the greatest American directors in modern day cinema.Synopsis: Anderson’s features, while always sharpening their edges as they go, have never been hard-as-nails as this adaptation of Upton Sinclair’s novel OIL!. Academy Award winner for Best Actor Daniel…

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Midweek Roundup: 2 New-To-DVD/VOD Reviews – “Kumiko, the Treasure Hunter” + “Manglehorn” (7.1.15)

First up in a series of back to back films I watched so far this week, was an independent film starring the Oscar nominated Rinko Kikuchi (2006’s “Babel”), in a film that had one of the more interesting concepts that I had heard about this year. And one that had a long theatrical run here in Portland, at mainly some of our more art house theaters. Coming off strong word-of-mouth and a synopsis built around a young Japanese woman (played by Kikuchi), who goes about her mundane existence somewhat jaded by the life that she’s living in as a secretary to a rather wealthy philanthropist. One day she stumbles across a VHS recording of the Coen Brothers’ Fargo (1996). She grows a certain fascination and obsessiveness with the film, particularly that of the scene where Steve Buscemi’s character buries the suitcase of money he gets from the ransom, and goes about planning a trip to the United States in hoping that she can go back to the exact location in which it was buried, in hopes that she’ll find the money and escape the monotony of her everyday life.

This was just as much of a hidden treasure of a find, much like the hidden gem of the VHS tape its main character finds and pursues as the main story line of the film. Anyone who is a fan of the original film (and I can’t speak for the series, having not seen it) will find this story entertaining as it puts a new spin on a person’s movie-fed obsession where the lines of reality and faux fiction are blurred to whereas someone who’s not familiar with movies (like the Kikucki character) might take something they see in a movie as reality and pick up where the story left off. Kind of like an updated, more contemporary version of the old series of books – “Choose Your Own Adventure”. Besides the original and inventive plot which alone should draw the viewer in. It features a rather strong, stand out performance by the brilliant and under utilized Japanese actress Kikuchi, and plays out like a character study about one woman’s hopefulness and new found sense of self-worth as she makes the trek from Tokyo to the rural icy winter of the North Dakota setting of which the original film was based in. It’s a somber piece, with a lot of it shot in beautiful wintry landscapes in the Dakotas. It allows the viewer to immerse themselves and invest in her “quest” to find the ransom money, and suspend disbelief in the sheer absurdity of her intentions. As well intentioned as they may be. This is for a specific type of target audience. For lovers of both the original “Fargo” and moviegoers looking for something a bit different than what they’re used to. I personally really enjoyed this film and the deft handling of the story, and found myself finding it to be quite enjoyable from beginning to end. This one already landed itself a spot on my list of Honorable Mentions of the films I’ve seen (so far) this year. I can say with some degree of confidence that it should not disappoint, especially for fans and lovers of more modern day, contemporary independent cinema. [strong B]

The second one up was from a director whom I really admire, the very young and talented David Gordon Green. Who’s maybe the most divisive independent filmmaker on the scene but who’s career trajectory draws similarities to that of someone like a Steven Soderbergh. Who, like Soderbergh, seems to have adapted the “one for them, one for me” approach to film-making. I loved his more indie friendly early work that he’s done with films like “George Washington” (2000) and “All The Real Girls” (2003). He then seemed to go in a bit more of a mainstream direction with films like “Pineapple Express” (2008), “Your Highness” (2011), and “The Sitter” (2011), only to seemingly be returning to his more independent roots with his back-to-back films released within the same year – 2013’s “Prince Avalanche” and the understated but brilliant character study “Joe”. So based on mere credibility alone and the shift in which his career has been taking as of late I sought this one out.

“Manglehorn” is the second feature film I’ve watched in two weeks starring Al Pacino, who, seems to be in sort of a resurgence phase as he’s been attached to more interesting looking projects like this one and the recently reviewed “Danny Collins”, also released this year. It takes a look at the life a character that seems slightly familiar to others like Bill Murray in last year’s “St. Vincent”. He’s a bigot, unlikable character, full of regrets of how his life could have played out but didn’t. In a series of voice-overs, we learn that he lost the once love of his life because well, he was too selfish to realize that he had much of a good thing going for him. He know lives in solitude as a locksmith. He sees his somewhat regularly, but because of his own failures, doesn’t seem to be able to develop much of a relationship with him. He tries to form a bond with a local banker (played by Holly Hunter) and an ex-drug addict turned massage parlor owner (played by one of the more interesting casting choices in art house director Harmony Korine). It’s through these relationships that he tried to “reconnect” with himself, but ultimately winds up failing at, because, well, he’s an old man set in his ways.

This was a mediocre film by Gordon Green, which has quite a few strong elements, particularly that of Pacino, who proves once again why he is one of the greatest actors of the past half century or so. When given the right kind of role and material, like this one, he’s one of those actors that can make a somewhat familiar, cliche driven script into something much greater than. His performance here is top notch, despite the contrived script and often times poor execution. There are themes here that will resonate with anybody, both young and old, about things like regret, remorse, and one’s ability (or lack thereof) to try and change. It’s somewhat of a mess when looked at an analyzed as a whole. But for Pacino’ performance alone, and a story that at times felt universally human, I can give it a recommendation. Along with another brilliant score by the post-rock band, Explosions in the Sky, it’s certainly not a great film, but is just good enough and worthwhile of a recommendation. [B-]

DVD Midweek Reviews: “Champs” and “Danny Collins” (6.24.15)

“Champs” was my first pick of the week. Coming off the heels of a rather busy weekend of watching just purely feature films, I thought I would switch it up a little bit and watch a Netflix Streaming documentary that’s been out for a little over a month. Sports documentaries almost always fascinate me. Mainly because well, admittedly I don’t watch a whole lot of sports. So when I see documentaries like “Happy Valley” (released earlier this year) about Penn State University assistant coach’s Jerry Sandusky’s arrest on child sex abuse charges, it’s almost as if it’s entirely new news to me. An even better example of this example of this being “totally tuned out” than all of a sudden being “tuned in” months or even sometimes years later after the initial story was released to the public was when I watched famed documentarian Alex Gibney’s “The Armstrong Lie” (2013) last year. I remember thinking to myself – wait what, Armstrong was doping? He eventually admitted it and was banned from the sport along with his titles taken away? This must have been the sports news story of the decade. And yet I hadn’t heard of a single thing about it before watching that documentary. So the point I’m trying to make is I’m so immersed in the world of film that an earthquake could hit San Francisco (I live in Portland, OR) and I probably wouldn’t know about it until they made a documentary about it, or better yet a feature film, well after the time that the event took place.

My point was proven once again here with the sports documentary “Champs”. Which focuses on 3 of the greatest boxers of the last quarter century or so in Mike Tyson, Evander Holyfield, and Bernard Hopkins…wait, who in the hell is Bernard Hopkins? Having been familiar with the other 2 boxers, particularly that of Mike Tyson (the “Tyson” documentary currently stands on my top 10 list of not only sports documentaries of all time but of documentaries in general) I had never even heard of the ex-Lightweight Heavyweight Champion of the World.

It’s a fairly straight-forward telling of each individual’s upbringing (mostly poor) and each of their plights in becoming some of the best, most recognized, fighters in the sport of boxing, of the past quarter century or so. About half of the documentary focuses on Tyson’s story, which for someone like myself, whose seen the “Tyson” documentary about a half dozen times or so, really brought nothing new to the table. What interested me most about this particular documentary was learning about both Holyfield (who I only knew about in relation to his 2 Tyson fights), and especially Hopkins, who did a lengthy prison sentence that allowed him to realize the impact he could have on the sport. And once released, he became the Lightweight Champion of the World. It also features a bevy of interviews with some rather well known and respected celebrities who have had ties to the boxing world. People like Mark Whalberg, Denzel Washington, Ron Howard, Spike Lee, Mary J. Blige, 50 Cent, etc, share their views in candid interviews where they try to explain how significant of a role each of these 3 fighters had on the world of boxing. The Tyson portion is mostly a rehash of clips and archival footage from the 2009 documentary of the same name. While the other 2 boxers are given almost equal treatment in the telling of the adversities they had to face both in and outside of the ring, which I thought was the documentary’s greatest strength. Omitting Tyson would have been an atrocity, but to rehash everything we’ve already been told, shown, and know about the infamous boxer yet once again, can’t help me but to think how much better of a documentary this could have been had the focus been more on Holyfield and Hopkins. [B-]

The second movie of the week was a film that was just released on DVD/VOD platforms this week called “Danny Collins”. I had been a bit conflicted about this film when it was released in theaters as to whether or not I really wanted to see it. However, despite its mediocre to moderate reviews, and virtually knowing next to nothing about it, I decided to give it a whirl when it came out on DVD.

Danny Collins (aka Steve Tilson), played by Al Pacino (in his best late Pacino performance thus far) plays a sort of a fictitious, modern-day, broken down musician, who can still draw in arena size audiences but whose personal life is on the fritz. Collins is a selfish man, more immersed in fame, fortune, booze, and cocaine than he is almost anything else. He’s estranged from his family, he believes his much younger wife is cheating on him, and he’s grown tired of going out night-to-night only to deliver songs that he became famous for several years earlier. Through an act of epiphany and self introspection, he decides to go on a quest to become reacquainted with his son (played by the likeable Bobby Cannavale), his wife (played by Jennifer Garner), and his granddaughter. With the help of his long term/best friend/tour manager (played by maybe the greatest 80+ actor alive, Christopher Plummer), along with a personal letter from the John Lennon, that he receives 40 years after he wrote it, and a new found muse that he finds in a hotel manager played by Annette Bening, he goes on sort of self-fulfilling prophecy to make amends with his estranged family while also trying to find inspiration to revitalize his career.

This wound up being a very entertaining film despite its contrivances and predictable story. Pacino reminds us here once again why he’s one of the best actors of the last 40+ years, putting in a knock out performance as the aging famous musician who has a self revelation about his life and everything that he has been missing up to this point. It’s one hell of a bravura performance and one of the greater roles I’ve seen in recent memory that’s been given to an actor of yesteryear (the only comparison I can think of is Michael Douglas as Liberace in “Behind The Candelabra”) (2013). The supporting players mentioned above are all play their best in what often times feels like a cliche script. But really that’s besides the point, because it’s so good to see Pacino back in top form, in a late career role which reminds us of the undeniable depth of his talent. If you’re looking for something more on the lighter side where the acting winds up superseding that of the actual story, and liked last year’s “Begin Again” (a movie I drew quite a few comparisons to) then this is something worth checking out. As long as you’re prepared enough that you will be delving into familiar Hollywood territory which can be overlooked for its universally identifiable story about the willingness of one man’s aspirations to reconnect with a former piece of his life and formal self. [soft B]

A Trip To The Movies – Review: “A Most Violent Year” 3.29.15

I can think of at least three people I know, that had seen this film prior to my seeing it, and all three had the same thing to say about it – “I really liked it, but I think it would be something that you would love“. I didn’t quite know what to make of the comments other than mostly everyone I know knows that I have somewhat of a particular eye for film, and that my tastes seem to be a bit more aligned with independent or what some consider to be art-house films. So I interpreted this comment to mean that maybe it fell a bit on the artsy side of the film spectrum. Though people also know that I’m a big Oscar Isaac fan and consider him to be amongst the very best in the crop of young actors currently working in the film industry (the only two actors out there right now within his age bracket who are as good as him are probably Joaquin Phoenix and Jake Gyllenhaal). What I don’t think a lot of people know is how much of a fan I am of writer/director J.C. Chandor. Who’s maybe one of, if not the most promising up and coming young directors, who also happens to be pretty brand new to the film industry but whose two feature films prior to this one I really enjoyed. In 2011 he released “Margin Call”, a mostly overlooked and underappreciated film about one long night revolving around a group of business men and woman the night prior to the economic collapse of 2008. I was almost as equally impressed with his last film – 2013’s “All Is Lost” about a shipwrecked man played by Robert Redford (which deservedly garnered him a Golden Globe nomination for Best Actor). Then I saw the trailer for his latest film, this one, and started to think this guy might be one of the next true auteurs, because not only does he write and direct, but I began to start to realize that he may be the next true “genre” director as all of his films seemed to be entirely different then the one previous to it. Which is incredibly rare these days inside the studio system because a lot of directors (and there are several exceptions mind you) seem to make a hit film and then make subsequent films that don’t really deviate or stray away from the formula that originally worked for them. Chandor, like Bennett Miller (“Capote”, “Moneyball, “Foxcatcher”) seems to not really care about anything other than making high quality genre pictures. So when I heard that his newest film was a crime drama taking place in New York City in the early eighties to say my interest was piqued would be an understatement. Especially considering the number of people who said it was a very specific type of film for a very particular audience, that being someone like myself, my anticipation for it grew quite considerably.

“A Most Violent Year” centers around an immigrant, Abel Morales (played by Oscar Isaac), who lives in New York City circa 1981. Which we’re soon told was one of the most violent years for crime in the city’s history. Abel is a hard-working man who owns an oil business and who seemingly is trying to make a name for himself. At the beginning of the film one of Abel’s oil drivers is beaten down after an interstate hijacking. Abel’s wife, Anna (played by the ever so reliable Jessica Chastain), also his bookkeeper/accountant, comes from a Mob-like mentality family, as does the local teamster’s union reps, pressure Abel to fight violence with violence. Which puts him at a sort of inner conflict because he wants to be a business man and not a gangster. To top off his precarious situation with his business, he’s also informed by the local District Attorney (played by “Selma”‘s David Oyelowo) that he is being investigated for a number of different illegal activities that they think he is somehow involved with. Abel seeks council from his lawyer (Albert Brooks – great to see him back in tbe first role I’ve seen him in since “Drive”) in an upcoming deal he has lined up with a Hasidic owner of a local fuel oil terminal, which is the kind of deal that he’s been waiting an entire lifetime for. This deal is the major plot device that drives the story. But can he close it under the pressure of the number of oil competitors, a loving but seemingly untrustworthy wife, unreliable employees, teamsters union, and the District Attorney. Who with the exception of his loving wife, seem to be willing to do just about everything possible to stand in his way to try to make sure the deal doesn’t go through.

This was a brilliantly well made and executed film that defied my preconceived notions and wound up exceeding my expectations and then some. This is writer/director J.C. Chandor paying homage to the classic Hollywood gangster/crime family drama. Incorporating just about every element we’ve come to expect from the genre. The acting is also outstanding. Particularly from its two lead performances, in what felt like it should have been an Academy Award nominated turn by Oscar Isaac who is nothing short of exemplary, as well as Chastain, who wound up receiving a Golden Globe nomination for Best Actress for her fine work here. Chandor does a masterful job at recreating the look of early 1980’s New York City, filmed in a brown/yellowish color palette (what I call “cigarette stain”) where everything looks broken down, dilapidated, and decaying. A look that I thought was perfect given the context of the film. In terms of feel it felt like some of the seminal films of the genre like Francis Ford Coppola’s first two “Godfather” films (complete with Isaac putting on his very best Al Pacino/Don Corleone impression), Brian DePalma’s “Scarface” (in terms of its underlying theme of an immigrant trying to become an opportunist in the pursuit of the American Dream), as well as some of the crime films of Martin Scorsese (though much more subtle). At times it felt like it shared more of a direct influence with David Michod’s “Animal Kingdom”, which also took a rather stark and bleak look at the decimation of a crime family. The major difference here is that unlike the Michod film, Abel is not a criminal in the same sense as the characters in that film were but rather becomes one as a mere byproduct of the turbulent times he lives in. I was also thoroughly impressed with its deft storytelling which had me thoroughly engaged from the opening credits through its final frame. Not once did I look down at my watch the entire time (which admittedly I’m sometimes guilty of doing even in other good films just to see how far along we are in the story). There was a tense underlying feeling of unease that permeated as the events that unfold give the film an almost paranoiac feel. Last but not least, don’t believe anything you hear about it being a bit of a slow-moving story with little to no actual violence leading some people I’ve heard go so far as to say they have a hard time even considering it being labeled an actual “crime” film. Well let me be the one to dispel those myths. It is very much a crime film, containing almost all, if not every component contained within the genre. Also, if by “slow” people mean a potboiler/nailbiter that takes its time telling its story than I’m sorry. You just may not have gotten the director’s intentions behind delivering the story in the way that he did. The violence may be sparse yes, but when it comes boy does it pack a wallop. I can’t even count on two hands how many times both my myself and the people around me gasped at some of the film’s more shocking moments (and there were plenty of them). This is writer/director J.C. Chandor’s best work to date, as was the case with its star, Oscar Isaac. It’s an old school, classic, crime drama, that if been given a proper release date of last year like it did almost everywhere else, it would have most likely wound up earning itself a spot on my list of the best films of the year. In a year where we saw a slew of director’s making their masterpieces, here is yet another one that deserved way more attention than it got, marking J.C. Chandor as the new poster boy of genre filmmaking.

[strong B+]

Review: ‘Stranger By The Lake’ 5.14.14

 

Already in contention for my top 10 films of the year. Certainly my favorite foreign film so far. I had known about this one during its short theatrical release at one of the art house cinemas in town, and had my radar on it beacuse I knew a couple of things – one, that it was a murder mystery & two, that it garnered some of the better reviews from every source around. So my expectations were that it was going to be something special. And boy did it live up to the hype. I also remember it being described in one review as “Hitchcockian”, but that’s such a loose term when talking about film I can only take it with a grain of salt. That being said, it reminded me a lot of the Hitchcock films I’ve seen, particularly the ones that emphasize evoking a sense of dread and paranoia. But almost as if it were by way of a Pedro Almodovar film (who incorporates a lot of Hitch’s ideas interwoven with themes of his own throughout his films). Without giving away plot details it takes place in one setting (a lake, hence the title) where men go around “cruising” (a nod to the Pacino film of the same name). There are 4-5 key players that make up the primary players, and a murder unfolds (done in a very observant way where he allows you the viewer in on the mystery unfolding while also questioning what you’ve seen). The rest of the film has you guessing character motivations, done masterfully might I add, as if you’re trying to solve the case yourself. Add in some exquisite cinematography, along with a very engaging and involving murder mystery, and you have most, if not all, of the elements a person could look for in a film of this genre. Highly worth seeking out.

Grade: strong B+

To Note: This film was nominated in almost every category at this year’s Cesar Awards, France’s equivalent of the Academy.