In his first feature film, director Tze Chun weaves a powerful, understated tale about a small Chinese family’s struggles to survive and prosper in suburban Boston. With a keen photographic eye, a provocative script, and a gentle directorial touch, Children of Invention flows effortlessly from hilarious to heartbreaking, and packs a subtle political message about the American Dream that will linger long after its 86 minutes have flown by.
Archive for See It Now
Circumstances are limiting me to short sentences. Moon is great. It is directed by David Bowie’s son, but deserves attention based on its own merits. Sam Rockwell isn’t even annoying as Sam Bell, the isolated astronaut spending 3 years supervising the collection of solar energy by robots on the moon. It asks big, cosmic questions.
As horrific as most post-apocalyptic movie settings are, they can represent a peculiar escapism for the viewer. Sure, in the future, you may have to battle mohawked bandits and dress like a hobo, but the problems of today have been replaced by the problems of an existential samurai. Continue reading
Crudeis the new documentary be relative big-shot Joe Berlinger. The film is eco-themed, dealing with the lawsuit of 30, 000 Ecuadorians against Chevron over contamination to Amazonian land and rivers. But dont hold that against it.* Continue reading
Taking its name from the 1992 Abel Ferrara film Bad Lieutenant, Werner Herzog’s new film bears almost no resemblance to the original, grungy cop drama. Do not confuse them; where Harvey Keitel plays a gunslinging cop laden with guilt and remorse, in Nick Cage’s hands, the character becomes a self-conscious amalgam of genre-busting policemen, assembled from bits of everything from Police Academy to Miami Vice to Lethal Weapon, with a bit of Bad Boys-parody thrown in for good measure; where Keitel pursued a nun’s rapist, Cage tracks down the murderer of a Senegalese family; where the original was a straightforward crime drama about a drug-addicted “bad cop,” Bad Lieutenant: Port of Call New Orleans is equal parts a lighthearted reworking of the 90’s police caper, a reflection on the mania of our overstimulated society, and a meditation on coping with catastrophe, that embeds the texture of addiction into every character and point of view. Continue reading
So… I’ve seen a lot of great films in Telluride thus far. Up in the Air (Jason Reitman), A Prophet (Audiard), The Road (w. Viggo) and Bad Lieutenant POC:NO (Herzog) definitely spring to mind first as the cream of the crop. I have a lot to say about them, and I will in the upcoming days. BUT, i just had a “wow i have to go write about this even though its 1AM and I’m covered in sticky coke and popcorn waste” moment after seeing an amazing documentary by little-known director/star George Gittoes. The 2-man, 2-camera team traveled to Pakistan, deep into the heart of Taliban controlled territory, to bring us one of the zaniest, raunchiest, most profound, massively disturbing documentaries I’ve ever seen. Given the director’s looseness with intercutting “factual” with staged, ad-libbed, and processed footage, and scenes from a film-within-a-film, I’m honestly not even sure it can be called a documentary, it’s that — yes, I’m going there — postmodern.