Hey folks, Harry here with J-Man up at the funtastic Seattle Internnational Film Festival in... umm... Seattle, like the name says. Anyway, this time out he's only seen one film I've seen, that being SPRING SUBWAY (Click Here To Read My Review), which I saw in Beijing when I was there last year. Of the films he reviews, the one I most want to see is THE OTHER SIDE OF THE BED, mainly because that country's movies have a habit of kicking ass, and from the sound of it, this one does too! Here ya go...
Hi, Harry. What a hectic last few days.
I feel like I'm attending a school of some
sort, hustling from one class to another.
When I sat down and worked out a slate
of films to see for this festival, I didn't
realize how little time there would be
in between -- considering you have to
get there an hour prior to screening, or
you don't get a seat. Especially the ones
that have any kind of buzz. Ah.. you live,
you learn. On to the flicks:
NUDITY REQUIRED
A comedy about two guys who work at a bowling alley in
Bremerton, WA. Todd's girlfriend dumped him after
five years to pursue an acting career; Oded only gets
laid every 88 days but would like to more often. They
decide to make a movie. "Success out of spite".
You know, I knew going in there wasn't going to be a
great deal of actual nudity based on the film's
title but none whatsoever? The one
guy keeps saying "it's not porn" like he's defending
the more artistic aspects of the film they're trying
to get made, even though there is some adult content
and he'd just rather that not be the main focus for
potential viewers -- but, there's no adult content..
at all. The other guy keeps talking about nude scenes
to
film and scenes with lesbian sex, but none of it ever
happens. And, I guess that's not supposed to be
frustrating (making fun of the softcore genre, are
we?), but I was frustrated. HOLLYWOOD CHICKS, or what
we see of it, wouldn't even play on -- well, maybe on
Skinemax. At 4 AM, when nobody's up.
Regardless. NUDITY REQUIRED opens strongly, with some
good CLERKS-esque dialogue. But, it runs out of steam
just in time for tedium to set in and I sat
stone-faced for well over an hour. The financing
scenes, a character who thinks INVASION OF THE BODY
SNATCHERS was a documentary, disco bowling night --
none of that stuff works. Then again, the men's
casting session with a girl named Joey (local cutie
Whitney Leigh) all over them is funny, and a chunk of
the dialogue up front has just the right pacing.
DOMINOES
We've seen waaaay too many movies about the dating
scene to put up with this pretentious load. Another
bunch of self-loathing interchangeable
twenty-somethings "over analyze, obsess and freak
out"; noone is happy where they are in life, so
everybody has to sit around getting drunk and talking
about how dissatisfied they are and how much
relationships suck. Please, God, put me out of their
misery.
If nightlife in Seattle were really this dull, I'd
move. The program director for the festival took
stage before the screening and said this was one of
the best produced, most enjoyable film we would see:
Bull. Shit. Longest 90-minutes of the festival yet.
SPRING SUBWAY
Examines a 7 year marriage as it hits the skids, from
the couple sitting and listening to the sound of a
water drip to a wierd scene of them bungee jumping.
He lost his job three months ago and doesn't have the
nerve to tell her; she entertains the advances of
a coffee shop owner who takes a shine to her. There's
also a timid guy who would talk to the photo
processing girl if only he could speak.
But, I'm still not entirely clear what the hell SPRING
SUBWAY was trying to say. When your own relationship
isn't working out, you take solace in ones around you
that are? The narrative is fragmented; we cut from
things that really happen to things that happen
only in the mind. Aggrevating at times, but
admittedly just plain beautiful at others.
The leads are gorgeous, the cinematography lush;
SPRING SUBWAY is a good-looking film. Loved the
score.
We'll leave it at that.
THE OTHER SIDE OF THE BED
THE OTHER SIDE OF THE BED doesn't take chances like
other recent offerings from its homeland -- SEX AND
LUCIA and Y TU MAMA TAMBIEN are both raunchier by
half -- but I swear I felt like dancing. This film is
playful, sexy, infectious fun. Two couples --
Sonia (Paz Vega, _from_ SEX AND LUCIA) and Javier
(Ernesto Alterio), and their best friends Pedro
(Guillermo Toledo) and Paula (the delicious Natalia
Verbeke) -- do a little bed swapping. A lot,
actually. Paula tells Pedro she's in love with
someone else.
He makes out a list of possibilities. Javier, whom
Paula has been having her affair with, plans to tell
Sonia, but doesn't want to rush it even under
pressure;
"let me send my signals". And of course, that's just
the beginning.
I can't tell you how refreshing this movie is after a
slew of amateurish crap and wasted opportunities; just
because you have the funds to put a movie together
doesn't necessarily mean you _should_. But, I
digress. For my money, you can't beat sultry babes
purring out tunes and slinking about in shorts and
tee-shirts. OTHER SIDE OF THE BED has plenty.
Natalia Verbeke singing "Tell Me That You Love Me" is
possibly the sexiest thing I've ever seen. All of
these characters break into song and dance wherever
they happen to be at the time, and you can't help but
smile.
And unlike so many movies stateside, nudity is not an
issue. Which is not to say OTHER SIDE is some
mindless fuck-fest: if Lion's Gate can't get this
movie released
with an R-rating it will be a shame. No cuts are
necessary, and anybody that sees this film is going to
have a terrific time.
The cast is exuberant. Bound to be a sleeper hit.
TO BE AND TO HAVE
For those of us who want to be reminded of what it was
like to be 4, this is the film. TO BE AND TO HAVE
sets its camera in the classroom and in the homes of a
group of children, as they learn to read, write, do
math, and criticize fellow classmates ever so
innocently and try and help out when teacher wants the
answer to a question and you lock up. We've all been
there. Without a doubt this man, Georges Lopez, truly
cares about the well being of everyone under his
tutelage; after twenty years, he maintains the time
and patience required for not only his students but
also their parents, whose job may be even more
difficult.
No real point to this documentary, other than a
reminder of days gone by. But, it'll put a smile on
your face.
-- J-Man (with eye strain)
and here's an earlier misplaced set of reviews from J-Man...
Hi, Harry. Two days + one evening down, and I've
seen some interesting flicks. It's fun not having
to work, and just bunnyhopping from one venue to
the next, waiting in the hour-long lines... ok,
scratch that part... and seeing what's out there.
It's exciting to see movies that may or may not
get an official release (like the one I saw last
night). So anyway, here's a few more reviews
for you:
THE WEATHER UNDERGROUND
Maybe because I haven't seen a documentary in quite
some time, or because it really is that damn good, but
I was completely riveted by THE WEATHER UNDERGROUND.
It fucked me up, royally. And I don't mean that safe
kind of being fucked up, where you say yeah, that was
really something to see, now lets get back into the
comfort zone of our everyday existence. This film
_got_ to me, and even my alcohol binder afterward
couldn't shake it. I don't know how you're supposed
to see a man pulled aside seemingly at random and shot
in the head with blood geysering out of his skull and
not receive a visceral ass kicking. We see
tremendously unsettling footage from the Vietnam War
early on, as WEATHER tracks the rise and eventual fall
of a group called Students for a Democratic Society
(S.D.S.) whose sole purpose for being was to "bring
the war home". As long as there was what most people
collectively describe as a senseless war taking place,
S.D.S. would attack the U.S. Government, with protests
that began peacefully enough but quickly escalated.
Police were a primary target.
THE WEATHER UNDERGROUND determines itself to make that
particular war seem utterly ridiculous. Mass murder
committed by us on them. So the clips we see in the
beginning are a means of explaining, with as much
impact as possible, why this faction came
about and what they were trying to accomplish. Which
was a lot more than just sending a polite message.
It's disheartening to see how much we, the human race,
seem so incredibly willing to harm and kill each
other. I suppose its always been that way, but it's
something I'd rather not fully accept at this early an
age. Still, that's the point the movie is making, and
it makes it; a pleasant picture is not painted.
There is expert interweaving of interviews with former
members of S.D.S. as they are now, and as they were
then, each giving his or her take on what they were
able to change as a whole if anything. These were
people who devoted a significant portion of their
lives to a cause, would have done whatever necessary
to ensure its survival (the occasional bouts with
police brutality). They don't come off as delusional
kids of America with pent-up rage issues on a kamikaze
mission -- even though everyone involved pretty much
knew it was suicide -- but as individuals who believed
vehemently in what they were doing. It wasn't
pointless, or irrelevant (although, as the film points
out, it inevitably became that). And yet, violence
begets violence; there are cold aftermaths, but no end
to the cycle. So, I'm not sure if ultimately S.D.S.
didn't just add to the problem.
I think the film starts to cover just a little too
much information, and as a result, focus blurs toward
the end. But, no stone is left unturned on this
subject matter. And, as a meditation on violence and
the evil that men are capable of when they think that
right is on their side, THE WEATHER UNDERGROUND is
stark and fascinating. Just this side of
sensationalistic, actually. It take an unflinching
look at a certain ugly period of our history, and pins
you to your seat.
OWNING MAHOWNY
Philip Seymour Hoffman as a banker with a gambling
addiction that his luck can't quite support. As
someone in the movie explains, he wants to win so he
can keep losing. His girlfriend (a badly wigged
Minnie Driver) won't leave him, a casino manager (John
Hurt) may have a crush and all Mahowny wants is
"barbeque ribs, no sauce and a coke". How long before
his fraudulent activity at the bank catches up with
him...?
Shoot me, shoot me now.
Camp
There's something funny at just about every turn in
Todd Graff's competent debut as director. About a
summer camp kids go to for acting lessons, CAMP is a
spirited little gem. No real story to speak of, just
a collection of entertaining theatre bits. The film
doesn't venture too far into coming-of-age territory,
thank God; nothing where emotions are concerned makes
any sense at sixteen, and the film makes tolerable
melodrama of that. But, anyone who sees it will not
argue: these kids can sing. Like there's no tomorrow.
They bring it. I got chills during Daniel Latterle's
"Wild Horses" number; another of his songs that plays
over the closing credits will more than likely end up
on the charts. A lot of unknowns in the cast, my
favorite of which has to be Anna Kendrick, as Fritzi,
who has the best line in the movie and I have to quote
it because I'm still grinning: "She's fucked. I'm
ready. And, the goddamn show must go on!" Kendrick's
scene, with Alana Allen as her roommate puking on
stage, is the funniest I've seen in a movie this year.
That, or the blocking scene with three kids in a very
confined space; "Piss in the dumpster! Start from the
beginning!". Anyway. I've said too much.
BUBBA HO-TEP
Strange goings on at an East Texas rest home where
Elvis Presley (Bruce Campbell) and Jack Kennedy (Ossie
Davis; "they dyed me this color") disucss
assassination
attempts and wonder back on lifes spent. Elvis has
loving words for his attending nurse -- "Come on, now.
Why don't you pull on it a little" -- and wonders how
he went from King of Rock to a man with a growth on
his penis.
BUBBA HO-TEP has an intriguing concept: Elvis, who
cares if he's deluded, weighing his former life in the
spotlight as compared to who he has become, his
peaceful existence interrupted when a "soul sucking"
ancient Egyptian mummy starts wreaking havoc on the
home. But, the execution wasn't my cup of tea. I
laughed a few times, even cheered (if nothing more
this is an audience participation movie because only
the right crowds seem to be knowing about it). You
see two old codgers using walker, wheelchair and
bedpan as weapons against the forces of evil, you
crack
up.
Bruce Campbell gives what's sure to be considered an
iconic turn. The film defies categorization, which is
I think why it's confined to the late-nite and
festrival circuits. It's original, but hopelessly
inert.
-- J-Man
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