Film Essent Archive for January, 2013

Sundance Review: Prince Avalanche

David Gordon Green is back in arthouse form with the lovely and effervescent Prince Avalanche, a methodically paced, gorgeously shot buddy/road trip/ghost story loosely adapted from the Icelandic film Either Way. Alvin (Paul Rudd) and Lance (Emile Hirsch) are stuck out in the middle of nowhere, living out of their tent and highway maintenance truck as they wend their way slowly down an endless ribbon of stagnant highway, methodically painting yellow line after yellow line in a hypnotic rhythm, interspersed with a staccato bang, bang, bang as they hammer metal poles with reflectors alongside the highway, marking their path as they go.

They make an odd couple. Alvin, who fancies himself to be smarter and therefore better than the rather dense Lance, studies German on audiotapes, blaring his lessons from an giant boombox as they work, while Lance complains that it’s putting him to sleep. Alvin’s self-righteously set on self-improvement and study; he’s a bookish, reclusive sort of guy, and he’s using this job at least in part, it seems, as a justified way of having space and solitude from his stagnant relationship with his girlfriend, Lance’s sister. Lance, on the other hand, aspires to neither big thoughts nor big dreams, and finds the endless stretches of quiet and loneliness, with no one but Alvin for company, to be excruciatingly dull. Lance’s tastes are simple: he likes beer, comic books, loud music, hot chicks, and “getting the little man squeezed.” He only has this job because Alvin is doing his girlfriend a favor – and perhaps because it makes Alvin feel important to be able to impart his own brand of knowledge and wisdom onto this guy he perceives to be beneath himself. With Lance, Alvin can play the role of mentor — a role, one suspects, that he otherwise has few opportunities to play.
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Sundance Review: When I Walk

I’m not always a big fan self-exploratory, therapeutic docs in which the filmmaker explores some aspect of their lives through cinema, but When I Walk, director Jason DaSilva’s wrenchingly autobiographic journey through the hell of his rapid physical deterioration after a diagnosis of multiple sclerosis is an exception to that rule.

DaSilva was filming a vacation trip with his family in 2006 when he collapsed to the ground and found himself unable to get up again; from that moment on his previous life of traveling the world to make documentary films would never be the same. As part of coming to terms with the new and ever-shifting “normal” that would be the rest of his life, DaSilva followed his instinct, picked up his camera, and turned it on himself. This project could have devolved into the maudlin and self-absorbed; instead DaSilva’s strength and resilience, his determination to stay positive – bolstered in part by his relentlessly positive mother, who’s prone to calling him out on any over-privileged American kid whining and reminding him constantly that we only have one life to live, and have to make the most of it – is what shines through every frame of his story.
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Quote Unquotesee all »

“Most of these women were in their early twenties. Most of them refused to go any further with him, but a few went to dinner, or to some sort of casting situation, or to someplace private… if the stories were just about some crazed sex addict who approaches thousands of women on the street trying to get laid, I wouldn’t be posting this now. I don’t want to be attacking every Hollywood douchebag who hits on countless women. That type of behavior isn’t cool, but I think it’s important to separate douchebaggery from any kind of sexual coercion. But the women I talked to who DID go someplace private with Toback, told stories that were worse than the women only accosted on the street… So I did what I could do in my impotent state – for over twenty years now, I’ve been bringing up James Toback every chance I could in groups of people. I couldn’t stop him, but I could warn people about him… I’ve been hoping the Weinstein/O’Reilly stuff would bring this vampire into the light (him and a couple others, frankly). So I was happy today to wake up to this story in the L. A. Times.”
~ James Gunn

“BATTLE OF THE SEXES: Politics and queerness as spectacle/spectacle as politics and queerness. Pretty delightful, lovely, erotic. A-

“Not since EASY A and CABARET have I seen Emma Stone give a real sense of her range. Here, she has pathos and interiority and desire. I love the cinematography and the ways in which the images of the tennis icons are refracted and manipulated via various surfaces/mediators. Also, wild how a haircut is one of the most erotic scenes in cinema this year. Spine tinglingly tactile that feels refreshing. Proof that *cough* you don’t need to be ~graphic/explicit~ to be erotic *cough*. Also, it made me want to get into tennis. Watching it, at least.

“There are interesting touches and intimations as to the cinematic nature of sports, & unpacking the formal approach of broadcasting sports.Also, I was here for Sarah Silverman smoking. And also, hi Mickey Sumner!! It’s a really interesting film about the ways in which public spectacle is never apolitical, and how spectacle is prone to assignation.

“There’s this one other scene from BATTLE OF THE SEXES that I love, and it’s the one in the bar. You see Billie looking after Marilyn as she dances. Through a crowd. There’s a paradoxical closeness and distance between them. In the purple light, and the kitschy decor, everything is distorted. But Billie catches a glance and you can feel the nervous swell inside.”
~ Kyle Turner