As with his entire oeuvre, Nicolas Winding Refn’s newest vision of pain and beauty is more or less redolent, but redolence – like flesh, the film argues – is a currency that can be nastily enticing in the fevered perceptions it affords for, even if you hate yourself in the morning. In this case, he’s taking his latent Dario Argento fetish out of the crawlspace, giving the blood-curdling red overtones a hard corporate sear to create a grotesquely synthetic construct, throwing the mise-en-scene into tangles of negative space and rattling aural alchemy courtesy of Cliff Martinez, and giving audiences either the sanguinarium or the dull ritual they’ve already decided the film represents beforehand. Continue reading
Review: The Neon Demon
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“Indie Darling” is a phrase best approached with caution in an era where the plague of the quasi-naturalist (read: twee) Sundance aesthetic has only claimed more victims with each passing year. Of course, Moonlight is a Telluride darling, a fact that tells us essentially nothing (Telluride is neither as consistently middlebrow as Sundance nor as unilaterally experimental and anarchic as Cannes). And being told nothing for this quiet, starlight wonder is for the best. This project, written and directed by Barry Jenkins, invokes some of the rhythms of a hip, cosmopolitan, aggressively fashionable independent production for which “important subject matter” is considered a fitting replacement for craft or aesthetic. Yet Jenkins’ film, which constantly and wonderfully eludes stable meaning, is – mostly for the better – a more omnivorous, piecemeal production than most “social issue” films, a work of stylistic collision and collusion rather than a monolithic one-size-fits-all aesthetic. 
Seventy-six years on, The Grapes of Wrath’s star has faded noticeably, but it’s hardly been marginalized to the corners of cinematic history, even if the film explores the perverse marginalization of the American populace and the necrotization of an American dream mutilated beyond recognition. One would be surprised if a student of cinema meaningfully preferred this Best Picture winner over director John Ford’s masterful prior film, 1939’s Stagecoach (the best film from what many consider the most important year in American cinema, but that’s a story for another time). Hell, a thoughtful formalist might even prefer Ford’s next film, the frequently marginalized How Green Was My Valley (it’s no Citizen Kane, but what film is?). Still, square as it may be compared to the rebellious upstarts of the ‘70s and the hip young things of the American independent movement in the ‘50s, Ford’s incomparable skill for marshaling the formal principles of cinema for tales of plain-spoken, relatively unromantic Romanticism was usually untouched in the Classical era. If The Grapes of Wrath isn’t actually close to the apex of his career, it’s a sturdy and lyrical, if hardly revelatory, tapestry all the same. 
The Magnificent Seven
Shin Godzilla
Crying foul on director Mikhail Kalatozov’s deliriously unhinged, masterful slice of post-Bay of Pigs agitprop for its unapologetic commitment to ideology would be tantamount to artistic heresy and limpid emphasis on the political over the artistic if the film weren’t such a bold and brazen reclamation of that age-old fact that art is innately political no matter what. Plunging into the revelry of fantastical space as obviously euphoric as Lang’s Metropolis city was demonic, and as bodaciously animated as Lang’s vision to boot, Yo Soy Cuba is an aesthetic vision primarily. But with these aesthetics, the proof is in the proverbial politics to begin with. Separating this far-out vision of a largely fictive representation of Cuban life from its animated muse – its Soviet morality – is at some level impossible: like Eisenstein’s utilization of montage to stage ideas of collective conflict, cinematographer Sergei Urusevsky’s aesthetic revolutions aren’t apolitical. Yo Soy Cuba is a vivacious workout, a Communist high palpably star-struck by the wave of political revolution it presumed (or hoped) was on the horizon, a film bathed in all the passions genuine belief can muster, and a work that marshals an unmediated, even crazed support for Cuban life into a catalyst for unbridled cinematic experimentation positively running wild with screw-loose charisma. 
Simultaneously reaching a near artistic zenith and floundering in middling commercial anonymity with the giddy, off its rocker, positively deranged Bringing Up Baby in 1938, director Howard Hawks had obviously caught an itch that could not be quelled by merely retreating to a new genre (although Hawks was one of the foremost masters of genre-agnosticism in film history). Conscripting the dastardly trio of Charles Lederer, Ben Hecht, and Charles MacArthur to whip up a whirlygust of a screenplay conjured from the bones of the stageplay The Front Page (by the latter two of the trio), Hawks required another at bat for the genre. The progeny of this attempt, His Girl Friday, isn’t inherently the best Hawks film (it isn’t even the best Hawks screwball in my estimation). But as his second-chance screwball, it is the summit of his decade-long experimentation with the disconcerting, rebellious limits and possibilities of film sound. 
An aberration of the soon-to-be-implemented, puritanical Hays Code, Howard Hawks’ twitchy, rough-housed Scarface is a coarse rampage of firebrand cinematic verve, a sojourn into the underworld and death that paradoxically and perversely reflects cinema at its liveliest. Early sound cinema is often (falsely) denied vitality and dismissed as stodgy, but Scarface has a bullet or two to quell those who would deny it. Independently financed by Howard Hughes, Scarface trumpets its independent spirit as an ambivalently trashy social expose that wears its heart and its brain on its pistol. Cinema in the raw, it displays casual mastery of technique but invokes the shambolic one-take sloppiness of a killer Neil Young album. 
In the early golden years of classical Hollywood, Universal Studios somehow always tempted, and summarily avoided, being left hanging in the lurch. Unlike the five major studios, all of which owned their own theaters and thus guaranteed distribution of their films, Universal wasn’t born with a silver spoon in its mouth. The spendthrift glamour of the MGM musical machine was but a cloudy daydream for a studio that, while hardly poverty row, needed to carve out its own niche to go toe to toe with the big boys. Rather than trying to assimilate to the studio heavies with facsimiles of their Dream Factory productions, Universal ensconced itself in the out-of-the-way places, the boondocks of cinema, testing out more unsavory realms befitting their more hardscrabble existence. Unwilling, or unable, to lull the masses with luxuriant A-picture opulence, the company decided not to soothe America to bed but to lower itself into the murk of mutated German Expressionism and raise a shrieking countermelody, the kind of rattling cadence that could wake the dead.
Possibly the most explicitly thematic among the famously un-explicit Terrence Malick oeuvre, The New World’s de facto state of mind is the untamable wonder and bedeviling awe of the unexplored tracts of physical land and the unexplored mental topography of human longing and desire. Beginning with a human marooned in a strange world, the man’s only outlet to reformulate their essence is to couple the corporeal material of the physical world with his spiritual or extra-real essence of self-awareness within nature for the first time. This rigid “physical” and “mental/emotional/spiritual” dichotomy has historically been if not eroded then at least imperiled by non-Western cultures who have often adopted more fluxional conceptions of how physical, mental, and spiritual Western categorizations are instead more dialectical and interweaving, even possibly the same thing (materials are given use value beyond their capitalist physical money value). Malick’s own temperament has for decades obviously occupied a realm at least parallel to this distinctly non-capitalist mental wavelength. His films unstitch the iron-clad demarcations of the physical and the spiritual by basking in the ability of the human, untethered from their normative mental shackles, to approach new mental resplendence, new mental exultancy, by opening up to the capacious confines of the natural world. 
The Long Take 