If the snowy weather’s got you down and you want to watch people who are colder than you are, or if you’re in the mood to wallow in mankind’s devastating effect on global temperatures—or if you just like a good sci-fi action movie—check out the recent South Korean (but mostly English language) release Snowpiercer. Based off the French graphic novel Le Transperceneige and co-written and directed by Bong Joon-ho, best known for the rollickingly great rampaging monster flick The Host, Snowpiercer is set in a dystopian future where mankind’s attempts to reverse global warming have expedited a new Ice Age that has killed off most life on the planet. The few humans that remain live on the Snowpiercer, a massive train that continuously circumnavigates the globe. Within the train, people are divided into social classes, with the poor living in squalor in the rearmost cars, cruelly lorded over by the wealthiest passengers from the front cars. But a revolution is brewing, as man-with-a-past Curtis (Captain America’s Chris Evans) leads the impoverished on a car-by-car battle towards the engine, with hopes of overthrowing the Snowpiercer’s creator and authoritarian leader, played by Ed Harris.
Shot with cinematic grandeur, Snowpiecer succeeds on many levels: as suspenseful fight-laden actioner; as a dystopian fable; as a commentary on our environmental malfeasance; and, as an acting showcase—Tilda Swinton’s gonzo portrayal of a ministerial henchwoman is worth the proverbial price of admission alone. So check it out—the icy backdrop and chilly social undertones may just be the belly-warming tonic you need to make it through these first few frozen weeks of the season.
Stephen King’s Sleepwalkers starts out by having Charles Brady played by Brian Krause get up in front of his class in school and read his paper about Sleepwalkers; a mother and her son and how they have to run from town to town never settling down, how the men would always come to hunt them and thus they give you the whole back story in a nut shell. Just prior to that they had a scene where Charles’ mother is telling him she is so hungry and that he has to find a virgin and bring her home so she can feed. So we know from the get go that they are these are vampire like creatures. Side note: Brian Krause was Leo on Charmed and played an angel. In this role he is the antithesis of an angel. The movie is entertaining and has cameos with Stephen King and Clive Barker which almost makes it worth watching right there. One meant to be over the top humorous scene is when Charles severs the hand of his teacher and says “People should really learn to keep their hands to themselves. Here’s yours” and he tosses the severed hand back to him. I like the way Charles and his mother change into a sleepwalker appearance. It reminded me of the television show Buffy or Angel. Their faces morph into this vampire dog like look. This isn’t the scariest movie, no big suspense build up but it is enjoyable, I especially liked the cameos and the bit overdone humor. This movie is memorable. I was talking with my friend Carlos and he saw it in Spanish. It came out in 1992, he was in the 7th grade at the time and he remembered this movie especially the murdered dead cats and that the Sleepwalkers were scared of cats. For a 7th grader this is a frightening movie.
An unreliable narrator is a narrator, whether in literature, film, or theater, whose trustworthiness has been seriously questioned. Film audiences should be wary of gleaning truths from the narrator’s account of the movie's unfolding and plot details. Here are some films that have employed the unreliable narrator approach to storytelling to great effect.
Last Year at Marienbad
The Usual Suspects
The Great Gatsby
Before falling into obscurity, the slice of life documentary Cousin Jules was well-received by critics in the early 1970's. Restored and released again, this wonderful film takes viewers into a world that to contemporary eyes appears primitive and exotic in view of our high-speed, high- tech, consumer society. Back in the 1960’s, those who lived off of the land in provincial France led slow, ordinary lives connected to the earth and to long-established practices. They made their own tools, harvested their own food and wine, ground their own coffee without electricity, accessed water from a well, and in general, lived off the land with a kind of raw independence and austerity that is almost unheard of in today’s postmodern society, one defined by ease, speed and consumerism. The film features Jules, a blacksmith who is short on conversation but whose mundane tasks are mesmerizing as they are without pretense or excess. The viewer is taken inside the routine rituals of everyday life, slowly, tenderly and without artifice or without a structured plot and yet the film feels fresh, a kind of poetic meditation on the nobility of craftsmanship and the humdrum ways of life that have been largely automated.
Throughout the history of cinema, many filmmakers have attempted to examine the nature of identity and the notion of the ‘self’ but few have made a film as visually rich and haunting as director Ingmar Bergman’s masterful Persona—a tour de force of a movie that when released in 1966 expanded the poetry of film and solidified Bergman as one of the great artists of the medium. For some critics, the film has been viewed as a hypnotic culmination of many of his themes and obsessions. For others, Persona was a confusing, unintelligible and pretentious mess. Time has been very friendly to this influential precursor to films like Mulholland Drive, 3 Women, Black Swan, Fight Club and other psychodramas that portray identity and self as an unfixed, transferable construct that modulates between states of being rather than as a permanent characteristic of the human psyche. This classic is now on Blu-ray as well as DVD.
This year’s Cannes Film Festival winners included Winter Sleep (Best Film), Bennett Miller (Best Director), Julianne Moore (Best Actress) and Timothy Spall (Best Actor). Here’s a look back at some of the films that have previously been awarded the prestigious Palme d’or.
Taste of Cherry—1997
The White Ribbon—2009
From the folks at The Criterion Collection, explore road trip-themed movies over the summer months--many of which can be found in the KPL Catalog.
Jim Jarmusch’s films are not for everyone. They are, however, incredibly influential and important in the history of American cinema. Slowly paced with quirky characters, his droll, often minimalist films explore the ironic and humanistic with equal attention. His films feel very American (the America on the margins that is) while at the same time, they are populated with Italian cabdrivers (Night on Earth), teenage Japanese tourists obsessed with early rock and roll (Mystery Train), and Hungarian immigrants (Stranger Than Paradise). His most accessible and mainstream movie to date is Broken Flowers, due in large part because of Bill Murray’s great performance as a romantically failed, wealthy introvert who wears retro sweat suits while sitting in the dark (during the day), watching television. It’s only when he receives a mysterious letter from one of his ex-girlfriends, suggesting that he has a son he never knew about, does he set out on a personal journey toward…well, maybe nothing and maybe everything. The moments within a journey are what fascinate Jarmusch about the human condition rather than a tightly sewn conclusion to a story. His cult classics Down by Law and Stranger Than Paradise cemented his reputation as an indie sweetheart with a wry sensibility and skill for reimagining genre and form by the early 1990’s. The release of his newest film (Only Lovers Left Alive) will once again shine the light on one of America’s most idiosyncratic, independent filmmakers.
Writer Patricia Highsmith’s novels have been adapted for the big screen on more than one occasion. Clearly, directors from varied backgrounds have felt something motivating in her twisting tales of deception and murder. Her ominous story (The Talented Mr. Ripley) of a young American sent to Italy to return an expatriate, school chum to his father in San Francisco was the inspiration for French director Rene Clement’s (Forbidden Games) Purple Noon. This stylish, Hitchcockian adaptation was the coming out party for 1960’s French heartthrob Alain Delon as Tom Ripley, the cold and calculating con man who wants more than just a courier fee for the return of the glib, rich boy. German director Wim Wenders (Wings of Desire) took Highsmith’s Ripley’s Game and transformed it into The American Friend (1977), a beautifully shot thriller that burns slowly as a psychological portrait of desperation into one of unleashed madness, if not comically so. The late British director Anthony Minghella (The English Patient) made a patchy version of The Talented Mr. Ripley starring Jude Law, Phillip Seymour Hoffman and Matt Damon in 1999.