Logan Lucky, the comeback film of the formerly-but-not-really-retired Steven Soderbergh, is out this month, and the return to cinema of one of the great filmmakers of the past quarter-century is obviously something to celebrate. I’ll do so with a few reviews, the only way I know how.
Nominated for two Best Director Oscars in one year, Steven Soderbergh won for Traffic, arguably his peak harmony of critical and commercial success and among the most piquant Best Director wins ever. Within reason, of course. It’s still an Issue film, so it’s in the Academy’s wheelhouse. (They’d never do the unthinkable and commit heresy by giving it to a genuine work of directorial singularity like, say, Wong Kar-Wai’s, Edward Yang’s, or Bela Tarr’s films from the same year, Stanley Kubrick’s from the year before, Terrence Malick’s from the year before that, or David Lynch’s from the year after Traffic. You get the picture). But for a somewhat safer film, as well as a work where the “experimentalism” is programmatic and pampered enough to be immediately obvious to any viewer, Traffic is a volatile, agitated, uncovered nerve of a movie just waiting to be poked. Continue reading
Grubby, gnawing exploitation vessels chased by commentary on social collapse, George A. Romero’s zombies were less metaphors than poetic embodiments or evocations of walking-shuffle social alienation. Flesh wasn’t the only thing rotting and decomposing in a Romero film.While I have written about his zombie films, his obvious claims to fame, before, I take the occasion of his death to appreciate a trio of his less appreciated ‘70s films. RIP.
Season of the Witch
Romero’s exploitation films wielded a surprisingly dusted-off, casual, analog-refuse quality, as if transforming them into social bric-a-brac found in the dumpster that, like all of society’s “trash”, tells us more about the society’s dreams, desires, and fears than what that society chooses to elevate on a pedestal. In this case, Season of the Witch is a brazenly radical concoction, a cauldron-brew composed of unfulfilled desire, agency-dreams, and two shakes of erotica. The subject is middle-American housewife Joan (Jan White), wife of Jack, as she creeps into the world of witch-dom with skepticism that mutates into feverish elan, cottoning to the sexual quivers and enhanced sense of self that is afforded by finding her own personal world of witchcraft away from the white-washed, relentlessly squared-off frames of quotidian domesticity. Continue reading
Released as Netflix’s first blockbuster – a fact that bears some weight for scholars of the industry of cinema but less for the connoisseurs of films themselves – Okja is significantly more enticing as the new film from South Korean cinemagician Bong Joon-ho, marking his second Korean-American co-language film after 2014’s Snowpiercer. A leftist parable – although less brazenly radical than Snowpiercer – this lightly Miyazaki-esque eco-critique of American capitalistic practices is extremely broad, but like Snowpiercer, it treats its populist-front, excessive sense of caricature as a boon to its political ambitions rather than a restriction on them. Both of these films lack anything resembling the delectably sinuous pitch-black brio of Joon-ho’s two best films, Mother and Memories of Murder, but they do not erase his expert knack for Warner Bros-esque absurdism, nor do they stamp out the truest quality of all his films: the intoxicating commotion of conflicting energies. Continue reading
Among the finest traditional superhero films ever made, or so I’m told, Wonder Woman nonetheless provoked, for me, not out-of-body effervescence, nor rapturous wonder, nor thoughtful introspection, but merely mild contentedness. This year’s other critical-darling superhero flick, Logan, stuck a tripartite claw into certain regulations of the superhero genre. Although it merely dressed other genre-norms up in a thick coating of sinew and muscle, the film had moral meat on its Charcuterie board, all of it rare and bloody. Wonder Woman is a resolutely traditional film by way of comparison, and its minute-to-minute successes and failures have entirely to do with which of two particular traditions it settles into at any given moment. Continue reading
The sequelitis-affronted, relatively lame, stilted title of Kill Zone 2 really does not do Soi Cheang’s inspired storm of a film the justice it deserves. Brandishing an initially worrying surfeit of ephemeral plot, the film actually scurries along with grace and kinetic motion, bucking the overloaded Raid 2 trend of expositing everything to death. Cheang’s film is operatic in scope but limned with B-picture sharpness and a nimble nature worthy of Jet Li if he was actually out for blood. It cannot muster the elegantly streamlined, relentlessly pure giddy alacrity of, say, the epochal The Raid, the golden child for martial arts films in the ‘10s. But, even still, this physical free-for-all threshed with melodrama boasts a bloody, bursting heart and a touch of genuine evil. Continue reading
Decades into Woody Allen’s mirror maze career of inward-looking, self-reflecting gazes and upper-class first-world problems, a “new” thesis from this particular director whose only theater is his own mind is not exactly a prospect anyone is likely to expect any time soon. That Allen only ever repeats himself is, at this point, of less concern than whether his variations on old themes are inspired on their own terms. Without exactly spoiling anything, Café Society is the platonic ideal of Allen hovering around in his middle-brow, middle-tier. Café Society is more or less how you contextualize it, a prism for refracting one’s personal tolerance for the octogenarian who has canonized himself almost as many times as years he’s lived. A slight, pleasurable uptick in his continued slide into irrelevance? Another totem to his conceited brand of self-loathing self-aggrandizement that long ago lost its luster or rabid-dog intelligence? Café Society is all of the above and not much else. Which is to say: your mileage may vary. Continue reading
Update late 2018: Such a wonderfully misunderstood film. It would fit so well into Frederic Jameson’s analysis of post-modernism as the cultural logic of capitalism, where any semblance of truth, social fixity, or totalizing connection between layers of society is totally unmoored, leading to a dangerous relativism that occludes how capitalism reinforces its own social structures and imagines …
Except that JFK’s abiding well of skepticism for classical guarantees of social truth are heavily tied to both a conscious critique of capitalism’s … and a visual, …, and … explosion of perceptual technologies and visual regimes which technologically and stylistically embody modernity and construct reality
decomposing demarcations of …
incontestable position of … over the narrative environs, the story … as inarguable truth rather than …
tied to society’s awarenss of empire …but JFK is inextricably aware of the confines of US media and its hagiographic depiction of imperialism as a US bulwark against not only 20th century totalitarianism but older forms of colonialism, imagined as past …
Twenty-five years later and it would take a flotilla of steamrollers to drive over the knotty indiscretions and lapses in logic that stitch (or don’t) Oliver Stone’s JFK into an argument, leading to the common critique of this much-maligned film that it accomplishes nothing so much as a conspiracy nut’s wet-dream power-point about the JFK assassination. That argument is airtight but misdirected, laboring under the assumption that film should only bear witness and testimony to reality, especially historical reality. As most pro-JFK critics have retorted, this is the part where I would say “it’s only a movie” and wipe the slate clean to judge Stone’s film as mere fiction, thus neutralizing the question of whether it is history in the first place, of what actually happened, and of the film’s relationship to historical investigation. Continue reading