Paprika

Kon Satoshi, Japan, 2006
3.5 out of 4 stars

When a film centers around a device that enables psychotherapists (at least that's what I think they were) to enter into the dreams of their subjects, you expect for there to be a certain amount of trippy, mind-bending imagery, and perhaps even a general abandonment of literal narrative in favor of a more "dreamlike" approach. Of course, we do get plenty of this imagery (parades full of monuents and "Children's Day" dolls, amusement parks, and so on), and it's both exhilitaring and disturbing in a way that no other film I've seen lately has been (nice to see the Japanese still doing something with animation, particularly the mostly-hand-drawn, traditional kind). However, the odd thing about Paprika is that this imagery is contained within an overall plot structure that bears many of the trappings of a straightforward narrative, as the scientists, sometimes with the help of a police detective, try to recover a missing device and deal with the havoc apparently caused by its misuse.

It's only as the film continues that it becomes apparent that the filmmakers are not playing as straight with us as they initially lead us to believe. Most of the characters in this film have unexpected relationships with each other, and these relationships are generally revealed in very awkward, confusing ways, usually after quite a bit of time has elapsed. Some of these are obvious whereas others just seem like they should have been obvious. Yet even though the audience had been left hanging about certain aspects of the plot, the occasional reveals leave us expecting a greater degree of narrative closure than we are ultimately afforded by the film. We are in fact cleverly misled into expecting more of an explanation.

Of course, I don't believe that any of this is accidental, although it did frustrate my friend a lot more than it did me; I suppose I was in the mood for something that didn't entirely want to make sense, and I really do think the trojan horse of the traditional narrative was cleverly implemented. As to what the film is saying philosophically, well, as usual I'm at a bit of a loss as far as that goes. I found the use of what I understand to be stock anime depictions of women (cold-hearted scientist, peppy bright-haired witch-type), not to mention men (stern detective, absent-minded old man) to be both somewhat tiresome and seemingly knowing at the same time (it's interesting that it shows up in what strikes me, perhaps incorrectly, as more of an "art-house" anime). I should also mention that as much as the "dream device" and the amusement park imagery sounds horribly unoriginal when I describe it, much like something that has showed up in one Star Trek or X-Files episode too many, it is in fact much more mindblowing than it sounds. Check it out but be prepared for weirdness and incoherency!

Source: Sony DVD
18 Jan, 9:21 PM

Killer of Sheep

Charles Burnett, USA, 1977
3.5 out of 4 stars

You may or may not have heard of this film; it's was a UCLA film school thesis long ago, never got distribution until last year due to music rights issues (too expensive). It's basically European-style neo-realism applied to a depiction of working-class life in Watts (and if all that sounds like I am cribbing off of introductory remarks by academics from my university, well that's because I am).

I'm afraid that I don't really have much to add to what others have said about this film, but I'll solider on anyway since this may possibly be your introduction to it. I was impressed by the degree to which, as many pointed out, narrative was entirely eschewed throughout. Sometimes I find this frustrating, but it seems both appropriate and effective in this instance. Too many films about oppressed people rely too heavily on grand, impending tragedy, while the Hollywood version usually relies on implausible or unearned, uplift, but Burnett shows us that things are not that simple in this environment. He chooses to focus, to some extent, on the unspoken turmoil of a family man working in a slaughterhouse, drawing obvious but understated parallels between his job and the conditions of living in his neighborhood. People bluster their way through various mundane (and sometimes, grimly hilarious) situations, but are largely unable to articulate their deeper problems. Interspersed throughout are scenes of children playing, roughly, trying to claim their post-industrial spaces as best they can, visually paralleled directly with the sheep. I can't claim that I was able to come to that profound of an understanding of the film on my own, so I will say that I appreciated seeing it in this "academic" context. It's worth a look as long as you know what you are getting into!

Source: New Yorker DVD
17 Jan, 6:26 PM

Reno 911!: Miami

Robert Ben Garant, USA, 2007
1.5 out of 4 stars

This is of course one of those films that defeats criticism, if only in the sense that when you say it’s bad, people who are likely to agree with you say “no duh, why did you watch that anyway?” while people who disagree with you will call you names like “elitist,” or tell you that it’s supposed to be dumb. Admittedly I am not a big fan of stupidity for its own sake, but I have found the show fairly entertaining in small doses – if you’re not familiar with it, it centers around really idiotic and obscene police officers in Reno, sort of a broad Cops parody with a strong basis in improv.

I think it’s pretty clear that there was no real chance of the material being made into a good film, as the people involved just don’t seem to have the discipline for it. One bit that really struck me was an extended sequence in which successive interactions consistently had an awkward dissolve transition as the editor had to skip over the unsuccessful improvisations the actors had probably stumbled through. I could go on about other ways in which this film was poorly thought-out or shoddily made, but the main point is that, for the most part, it was not particularly funny. The best praise I can give is that I didn’t really think that much about how bad or pointless it was until afterwards; I wasn’t really enjoying it, but neither was I angry about how bad it was (and that is saying something, with me)

Source: Charter VOD
10 Jan, 9:13 PM

Persepolis

Marjane Satrapi & Vincent Paronnaud, France / USA, 2007
3.5 out of 4 stars

Ah, it’s nice to see a good movie again. It’s certainly not perfect. I’ve read the first volume as published in the US, and I definitely felt that the second half of the film, adapting the second half, was not as strong. The first half deals with Satrapi’s childhood in Iran and has some really interesting things to say about how children struggle with and process the complex, yet inane, political changes around them in times of extreme strife, such as the Iranian Revolution. We are not robbed of a sophisticated treatment through this perspective, rather we gain new insight on something that most of us probably didn’t have much insight into in the first place!

The second part of the film, meanwhile, is on her high school experiences as a lone member of the diaspora in Vienna – still strong, but more familiar – and her college years back in Iran, which is a bit stronger. None of this, however, reduced my positive feeling towards the movie too much. The animation, while stylized, is very expressive. Little Marjane is cute but not overly so, and the imaginative universe (in which she talks with God) is effectively juxtaposed against the dark reality of political purges without missing a beat. There are a few awkward transitions between various short episodes, paradoxically moreso in the mostly-stronger first half, but this is mitigated by the surprisingly-high level of humor (when appropriate, that is).

It’s something new, different, and worthwhile as animation is concerned, and as far as “third world memoir” is concerned; there are flaws but they are quite easily overlooked. Go see it, when you can!

Source: Sony subtitled 35mm print
5 Jan, 1:30 PM

Sweeney Todd: The Demon Barber of Fleet Street

Tim Burton, USA / UK, 2007
2.5 out of 4 stars

The sad thing is, I enjoyed most of this movie, particularly its atmosphere (sure it’s the same as the other Burton films, at least aside from the blood, but Burton still does a good job at pulling you in as always) with two major reservations. The first of these was, of course, that the performances of Johnny Depp and Helena Bonham Carter were definitely not good enough to justify their casting in light of their insufficient vocal talents. It’s slightly unfair to lump them together, as Carter, as much as I like her, is significantly worse than Depp. Either way, it’s a shame, as the songs were really awesome and the orchestration in particular does its best to prop up these singers, allowing you to overlook their faults as much as possible.

My second problem with the film was that it seemed to be dragging on a bit, and this was only compounded when it took a turn that I had trouble following. You see, the title character undergoes a pretty complete shift in modus operandi something like three-quarters of the way through the film. I don’t know if this worked better in the musical, but in the film, I really felt like the transition was just unsatisfying and incoherent, and from there on out, I had a lot more trouble “relating” to the action, as it were. Although I might not like the musical any better, I suspect that I’m just not impressed with Burton’s psychology or his social conscience, as he usually operates on the surface and this work asks for a greater insight into Todd’s mentality than Burton can ultimately provide us. Or maybe the premise just doesn’t work for me in the first place.

Source: Paramount 35mm print
3 Jan, 1:50 PM

The Great Debaters

Denzel Washington, USA, 2007
2.5 out of 4 stars

There are a lot of unflattering things I could say about this movie, and believe me, I will say them. Much of it seems over-familiar, such as the love triangle, the pubescent fantasies, and even the general whiff of what some critics call “underdog uplift.” It’s definitely weighed down too heavily with conventionality, something my compatriots and I were quick to blame on the fact that it comes out of Oprah Winfrey’s production company.

So, it’s not entirely a good film, but nonetheless, I found that as it went on, my reservations about the often ham-handed execution were increasingly overridden by my interest in the story itself, because if aspects of it are too familiar, there’s something about the overall thrust that seems worth telling in a sociopolitical sense. That is to say, this movie should have been better, but it still may indeed be good for you, or at least for someone, and it doesn’t entirely lack complexity either.

The subject here is a debate team at a black college in 1930s Texas, coached by a leftist agitator type played by the director. One can’t help but feel that one is being patronized a bit by how their debates transpire – we are given to understand that they do not get to choose the position they will take on an issue, but, mysteriously, they are nonetheless always depicted as taking positions consistent with civil rights and leftist thoughts in general, while their black (at least initially) opponents always sound like Clarence Thomas or worse.

Clearly, the filmmakers aren’t really comfortable with the idea of “debating.” I would assume that if the position is not chosen by the debaters, they must occasionally have had to defend unpalatable positions, but that’s apparently too complex for this film. That said, I couldn’t help but feel after a while that there was something, dare I say it, uplifting about seeing these young people triumphing through showing their verbal prowess and speaking truth-to-power, and of course, uplift is the more important goal for the filmmakers.

Aside from that, I felt that there was some real insight in some of the formulations the film puts across regarding racial injustice at the time, specifically considering the sometimes-contradictory intersections between poverty and race. It also doesn’t shy away from the horrific nature of phenomena such as lynching, something that is in itself valuable for any historically-illiterate young person (this being almost a redundant statement). Finally, I really appreciated how the relationships were put across, as there seemed to be some interesting things being said about black masculinity, specifically regarding how relationships are strained by the pressures of racism, but ultimately preserved out of mutual understanding and the not-uncritical support of women.

Source: MGM 35mm print
2 Jan, 3:40 PM