Showing posts with label Tribeca FF. Show all posts
Showing posts with label Tribeca FF. Show all posts

Apr 24, 2015

Dispatches From Another Blog



Darling readers!
Last week, my beloved and loyal reader Joel complained that I was not writing in this space anymore. Alas!
I have been writing lots about movies, but now I do double duty at the estimable Manero.com, where they entrust me to write about films, many with a strong Latino bent, and, what's more, they pay me to do it.
I shall never abandon you, but while I recover  from a Tribeca Film Festival marathon in the warmth of Mexico City, here are some of the nuggets I've been posting on Manero lately:

• Where I propose that Disney's Cinderella is really about losing one's virginity.

• Manos Sucias, a powerful film about the drug trade, featuring zero narco bling, for a change.

• Latinos have biopics too.

And from your girl in Tribeca:

• Three movies coming soon to a theater near you.

• Three movies by Latina filmmakers, sadly, none of which blew me away.

• Three documentaries that will creep you out.



Jan 14, 2013

Golden Globes 2013 Post Mortem


Tina Fey and Amy Poehler ruled. They were funny and charming and we love them. They were totally awesome and better than any male host in a loooooong time. Seth McFarlane may be toast.
The best gag of the night was the channeling of show biz cluelessness by Kirsten Wiig and Will Ferrell when reading the supporting actress category. That was hysterical.
Jessica Chastain wore the bed sheets of the Beverly Hilton. She almost did a Sally Field there with her speech about how hard she has worked. Spare me. Then she talked about defying convention when what she did in that movie is the most conventional stuff: I'm the relentless hero who will stop at nothing to get Osama Bin Laden. Get over yourself. There was nothing original about your character nor the way you played her.
Which reminds me, very few actors (these ceremonies just go to show the kind of narcissistic nutjobs most of them are) know how to be gracious when giving a speech. Hence, best acceptance speech of the night, Daniel Day Lewis, using metaphors about bringing mice to his wife, being faux humble (but believable) towards his fellow nominees, smartly avoiding politics and generally campaigning to get the Oscar by dint of sheer classiness. What he said about Tony Kushner's words was so eloquent....
Ben Affleck too, sweet, smart, mentioning the troops. He should run for office.
Adele was the best. Natural, funny, sincere and delightful.
Everybody else reeked. I'm talkin' to you, Anne Hathaway, trying to pull off a Meryl Streep, in adoration of your fellow female thespians, but I ain't buying it. Like I do not buy that poor Zooey Deschanel was an inspiration in any way, shape or form to Lena Dunham ever. It was gracious, if totally fake of Dunham to include her. Dunham, who looked like a giant Hershey's kiss, should wear comfy shoes next time. I like that she has not yet hired a personal trainer.
At this moment I must interject that I do not give a rat's ass about any of the TV shows. I know it is gauche, and considered totally unhip for me not to be obsessing about television with the rest of you, and I still don't give a fuck. I'll let you gasp, to paraphrase Christoph Waltz: I don't have cable. I only like 30 Rock.
Now, Anne Hathaway at least gets props for articulation, for rehearsing her little speech, committing it to memory and nailing it, something that Jodie Foster, WHO KNEW MONTHS IN ADVANCE she was going to have to stand there and not be cut off by music, could not muster.
What the hell was that? This is my biggest beef with her "coming out/not coming out in front of y'all" extravaganza. She is an actress. She is used to learning lines. She knew she was getting this trophy. It would have had more impact (in the right way), would have been much more dignified and meaningful, if she had decided not to wing it. I have always thought of Foster as an intelligent actress, but she was inordinately aggressive, full of herself and gynormously obnoxious. Obviously, she is still very conflicted about this topic, which she has every right to be. But she had an opportunity to impart some classy words of wisdom and instead she sounded like someone's batty aunt on coke. With all due respect, it was a little bit like Clint Eastwood talking to the chair. And Mel Gibson's bewildered punim... the face that launched a thousand gifs.
As I have said before, anybody who gives any sort of prize to the catastrophe that is Les Miserables, must be deaf and blind. Someone is drinking some very potent kool-aid with this attempt at alternate reality. This movie is absolutely dreadful. I want to understand why it is being celebrated. It's based on an old, dreary musical, based on an even older novel about a revolution that no one cared about. What is going on?
Argo as best film was an interesting upset. I think Lincoln is still going to sweep the Oscars. Which made me wonder about the mysterious, inscrutable ways of the HFPA. Maybe Lincoln is too "hurray for the USA" for the aliens that run that racket. Maybe they just love George Clooney (producer) too much. Who knows. But that was interesting. And in defense of this show: it is more fun than the Oscars, but less involuntarily hilarious. And it sometimes recognizes the work of people that the Oscars don't. Like Jack Black or Ewan McGregor or Marion Cotillard, or other people who were ignored by the Academy. There are no musical numbers and no songs, thank God, and it feels less bloated and self-important. Plus everyone in it is, at the very least, tipsy.





Apr 23, 2011

A Quiet Life


A disappointing Italian noirish thriller with the great Toni Servillo as a man who has escaped a former criminal life and his past comes back to haunt him. This movie could be an American remake, and in more competent hands it could actually be an improvement over the original, because the story is pretty good. Yet there are several enormous holes of logic in the plot that makes it hard to believe.
The movie is interesting as a family story and as the opportunity to see someone who has had a chance to restart a completely new life and what happens when his old life comes back to him in spades: the classic, "you can't run away from your past" idea. It's about blood ties and children repeating their parents' mistakes. Servillo is fine but underused as Rosario, an Italian innkeeper living in Germany, leading a quiet life. His German wife, played by Juliane Kohler, (A Woman in Berlin, Eva Braun in Downfall), is inexplicably unlikeable and underwritten. And the other main characters, two young Italian hoods that come to pay Rosario a visit, although good actors, are not very interesting characters. Matter of factness is an element of style in noir, but character and motivation need to be strongly established. The hardboiled cannot be confused with undercooked material. The direction and the writing are rather blunt and uninspired. There are many missed opportunities to make the relationships between the characters much more resonant. And for a movie that is firmly rooted in the reality of Europe and Italy today, then there are some very silly plot points. A frustrating film.