sundance09 Tagged Articles at Cinematical

By Scott Weinberg. Reprinted from Sundance Film Festival, 2009

Raw, blistering, harsh and compelling in the way that only a really good "prison film" can be, Nicolas Wining Refn's Bronson is a rather rough experience. Fortunately it's also very smart, dark, intelligent and disturbing, supported by a force-of-nature lead performance and a screenplay that focuses more on the "character study" angle and less on the "wow, prison sure is disgusting" perspective.

Based (apparently very closely) on actual events, Bronson is about a British thug named Michael Peterson, a rough, gruff, and muscle-bound troublemaker who somehow earned the title of Britian's most violent prisoner. Incarcerated for a stupid (but non-violent) post office robbery, Peterson adopts the moniker of American film star Charles Bronson and begins a long and rather unpleasant life behind bars. Although he's more of a angry man than an outright evil one, poor Bronson has a serious problem keeping his temper in check. Stuck in a cell with little to do besides build muscles and pace around nervously, Bronson snatches every opportunity to dole out some raw-knuckled fisticuffs whenever the "screws" invade his cell.

You hear it in lots of (usually sad) movies, and I'd say it's probably one of the truest things ever spoken: "There's nothing more tragic than having to bury your own child." But, just for the sake of argument, let's pretend -- for just a second -- that (in one specific case) it wouldn't be the end of the world. As a matter of fact, let's further pretend that the death of a child could somehow lead to several wonderful and life-changing results.

Sick, I know, but that's one of the ideas that runs through the twisted-yet-amusing dark comedy World's Greatest Dad. Written and directed by the consistently unpredictable Bob Goldthwait (he also gave us the similarly strange Shakes the Clown and Stay), and anchored by an unexpectedly strong Robin Williams performance, World's Greatest Dad is indeed about a high school poetry teacher who finds his life blossoming after his son accidentally commits suicide.

By Scott Weinberg. Reprinted from Sundance Film Festival, January 2009

Raw, blistering, harsh and compelling in the way that only a really good "prison film" can be, Nicolas Wining Refn's Bronson is a rather rough experience. Fortunately it's also very smart, dark, intelligent and disturbing, supported by a force-of-nature lead performance and a screenplay that focuses more on the "character study" angle and less on the "wow, prison sure is disgusting" perspective.

Based (apparently very closely) on actual events, Bronson is about a British thug named Michael Peterson, a rough, gruff, and muscle-bound troublemaker who somehow earned the title of Britian's most violent prisoner. Incarcerated for a stupid (but non-violent) post office robbery, Peterson adopts the moniker of American film star Charles Bronson and begins a long and rather unpleasant life behind bars. Although he's more of a angry man than an outright evil one, poor Bronson has a serious problem keeping his temper in check. Stuck in a cell with little to do besides build muscles and pace around nervously, Bronson snatches every opportunity to dole out some raw-knuckled fisticuffs whenever the "screws" invade his cell.

Raw, blistering, harsh and compelling in the way that only a really good "prison film" can be, Nicolas Wining Refn's Bronson is a rather rough experience. Fortunately it's also very smart, dark, intelligent and disturbing, supported by a force-of-nature lead performance and a screenplay that focuses more on the "character study" angle and less on the "wow, prison sure is disgusting" perspective.

Based (apparently very closely) on actual events, Bronson is about a British thug named Michael Peterson, a rough, gruff, and muscle-bound troublemaker who somehow earned the title of Britian's most violent prisoner. Incarcerated for a stupid (but non-violent) post office robbery, Peterson adopts the moniker of American film star Charles Bronson and begins a long and rather unpleasant life behind bars. Although he's more of a angry man than an outright evil one, poor Bronson has a serious problem keeping his temper in check. Stuck in a cell with little to do besides build muscles and pace around nervously, Bronson snatches every opportunity to dole out some raw-knuckled fisticuffs whenever the "screws" invade his cell.

I'd heard a few unpleasant rumblings regarding the Sundance title Brief Interviews with Hideous Men, in addition to numerous opinions on how the source material (a collection of stories by the late David Foster Wallace) had been labeled more or less "unfilmable." But that's pretty much the same stuff I heard about a Sundance title from last year called Choke ... and I ended up really liking that flick. Plus, Brief Interviews with Hideous Men marks the directorial debut of the very likable John Krasinski (yep, good ol' lovable Jim from The Office), AND it boasts a very colorful cast, a scant running time, and a premise that sounds pretty interesting.

But ... unfortunately I'm going to side with the "unfilmable" naysayers this time out, because, despite a few (early) sections that deliver some chuckles alongside some slight-yet-interesting insights into the male psyche, much of Mr. Krasinski's first feature is an aimless, pretentious mess. Well-intentioned? Sure. Intermittently entertaining? I suppose. But a full-bore movie movie? I'd say no.

The latest film from Downfall director Oliver Hirschbiegel is a simple, straightforward, and very sincere story that covers some rather fascinating issues: The cyclical nature of violence, the difficulties inherent in forgiveness, and the importance of being able to defeat tragedy and go on to live a happy life. If it sounds like a dark and slightly depressing story to hear, well that's the good news. For all its stark honesty and confrontational emotions, the messages found in Five Minutes of Heaven are refreshingly humane and hopeful.

We open in mid-'70s Belfast, and a very young Alistair Little is about to commit a heinous act. Fueled by streetwise fury and a need to prove himself, Alistair assassinates another young man, leaving his little brother as the horrified witness to the act. Poor Joe Griffen has just began a cycle of tragedy that would defeat most people: Dead brother, accusing mother, heartbroken father ... one act of horrible violence leads to a ripple effect that virtually destroys Joe's life.

Maybe it's those massive blue eyes, maybe it's just her willowy and feminine ways, or maybe it's because her dad is one of the greatest cinematographers of all time, but I just loves me some Zooey Deschanel. Even in flicks that aren't all that stellar, Zoeey D. always manages to be just sweet / quirky / charming / earthy enough to keep me interested. And seriously, those big blue eyes are practically hypnotic. If Zooey Deschanel and Elijah Wood ever stared directly into each others' eyes, I suspect that the whole world would turn blue for 300 years.

Anyway, NO, this report is not about how I saw Zooey Deschanel at some swanky party and she waved at someone behind me, but for a second I thought she was waving at me, thereby making me faint on the spot. No, I just wanted to share my thoughts on Ms. Deschanel's newest film, the absolutely excellent anti-rom-com known as 500 Days of Summer.

Mr. Erik Davis has already logged his (very enthusiastic) review, but I just had to chime in and offer the following pair of cents: This is one of the smartest, funniest, and most insightful movies I've ever seen about the practical side of modern romance. I'm tempted to call it the perfect "romantic" comedy for guys -- but I guarantee that the ladies will love this movie too. Oh, and that Joseph Gordon-Levitt guy ... drop-dead pitch-perfect performance. It's a Cusack-ian role that JGL nails on every possible level.

As far as I can tell, 500 Days of Summer is the first "big break" movie for its director and two screenwriters, and frankly I'd like to avoid the analytical stuff you find in most movie reviews, and simply thank these three fellas for making such a great little film. The only apt comparison I can think of is the legendary Annie Hall, and while I realize that that's some really high praise, I actually think it fits. So there.

You guys won't get to see the flick until July (sorry!), but it'll be worth the wait.