Staff Picks: Movies
Staff-recommended viewing from the KPL catalog.
As rabid a film watcher as I am, time restrictions will forever thwart my capacity to plow through KPL’s stellar movie collection but here is an abbreviated list of some of my favorite films from KPL’s collection, watched over the past year. While we add new releases each week, don’t forget about the diversified depth of our collection. We can’t purchase every movie that is requested or inquired about but we can work toward the goal of having most titles for most of our patrons, most of the time.
Upstream Color: With the exception of the increasingly abstract, fragmented and non-linear narratives of Terrence Malick, there have been few notable American films over the past decade or so that have attempted to remake the kind of Eurocentric, anti-classical/realist/romantic films of the 1960’s and 70’s (think: Godard, Bresson, Tarr, Tarkovsky, Resnais, Warhol, Antonioni). With Upstream Color, a sort of Hiroshima Mon Amour for our contemporary times, one hopes that young filmmakers will continue to take the value of abstraction seriously, reimagining it in new and thoughtful ways.
Hedwig and the Angry Inch: A film that came out (pun intended) way ahead of its time. It’s kind of an absurdist musical that is in-your-face bonkers, but bonkers in the most vital, transgressive and beautifully rebellious way. A postmodern Hair.
Young Adult: Charlize Theron gives a great performance as an unraveled mess of a person that attempts to transition from a life of boredom and narcissism toward a more complete, self-aware state where the adjective ‘young’ can finally wither away.
Sullivan’s Travels: I checked this film out because the great American director Preston Sturges’ name kept popping up in literature on director/writer Wes Anderson (a favorite of mine). This well-written and acted screwball comedy hits the mark and lives up to its acclaim as one of the 1940’s best films.
My Dinner with Andre: A film like few others--this conventions-busting mixture of fiction and nonfiction, storytelling and improvised riffing will either bore you into slumber or thrill you with its originality. We almost forget, due to the strong writing, that the great French autuer Louis Malle was its director.
Insignificance: I’m still not sure I ‘get’ this peculiar film but it was certainly compelling, the way in which a film can unfold as both an irritant and a puzzling enigma.
Hiroshima Mon Amour: Before I saw this Alain Resnais masterpiece about memory, love and loss, I considered Harold and Maude my favorite film. Now it’s number two.
12 Angry Men: Watch this fictional, court room drama and then the documentary The Central Park Five. The very notion of facts, evidence, justice and human objectivity are brilliantly rendered as a hollow collection of outdated concepts with tragic application.
Hunger: Not to be mistaken with Steve McQueen’s first film about the imprisonment of IRA soldiers of the same name but rather the nimble and haunting adaptation of the classic, existential novella by Danish writer Knut Hamsun.
Summer with Monika: Arguably, my favorite film of Bergman’s but nowhere near his best. That distinction belongs to his magnum opus Scenes from a Marriage, a film that should only be approached by the single and the happily married couple.
Rules of the Game: My goal for movie watching this year was to view a handful of those classics considered important to the historical development of the art form according to the Sight and Sound Magazine’s list of 250 Greatest Films; a list created every ten years by an esteemed cadre of critics. Renoir’s masterpiece (rated at No. 4) is there for a reason and its influence can be seen in almost every film made since 1939 that skewers the vacuity of the rich and clueless.
La Jetee/Sans Soleil: Made by maverick film essayist Chris Marker, these two films are quite distinct from one another in both content and style. Both represent the best in avant-garde, envelope-pushing cinema that emerged parallel with the various manifestations of the European New Wave movement.
Picnic at Hanging Rock: This 70’s cult classic by Peter Weir still holds up as a truly original film that tackles the subject of loss, regret and repressed longing, all of which are tied to a mystery that leaves an Australian women’s school in shock and confusion.
Other notable films: L’ Avventura, Stroszek, Bringing Up Baby, Amarcord, The Killing, Neighboring Sounds, Damnation, The Lives of Others, Magnificent Ambersons, Harvey, Pat and Mike, The Third Man, Ali: Fear Eats the Soul, The Searchers, Elevator to the Gallows, As I Lay Dying, Cleo from 5 to 7, Frances Ha, The Silence, Winter Light, Cries and Whispers, Blast of Silence, Through a Glass Darkly, Argo, Shallow Grave, Band of Outsiders, Fanny and Alexander, Mud, Harry and Tonto, Chasing Ice, and Guess Who’s Coming to Dinner.
When the film begins the warning label for Getaway with Selena Gomez and Ethan Hawke says Mayhem throughout and indeed there is. Basically Ethan Hawke has to drive Selena Gomez’s armored Shelby GT500 car around town and crash into everything especially police cars. Pretty much there was a crash or explosion every 5 minutes throughout the movie. So who cares what the plot is, cars crash and explosions happened. There is a plot but really it is secondary to crashes, Ethan’s wife is kidnapped and Ethan, an ex race car driver is forced to drive what turns out to be Selena Gomez’s car which is now outfitted with cameras so the bad guy can watch and listen to the occupants. Selena’s dad runs the bank the bad guy is trying to rob. He gets Ethan to cause accidents at strategic points to block traffic and then the bad guy makes his move. You have to let go of logic and just sit back and enjoy but 2 things still bugged me. Ethan is driving an armored car and yet he is scared of bad guys on motor bikes. Just wiggle your car and knock into them, motor bikes are notorious for falling down. The second point was when Selena Gomez “reprograms” the cameras by grabbing one and rotating its lens back and forth and voila it is now a live feed to the police. She is that good. For this movie, turn up your sound especially your bass, turn off your logic and sit back and enjoy.
Usually I am disappointed with Cuba Gooding Jr. movies. Maybe I lowered my expectations or maybe this is a good movie, you watch and decide. The Ticking Clock is about a true crime reporter becoming involved in a murder. When Lewis Hicks (Cuba Gooding Jr.) girlfriend, or maybe better said the woman he is seeing while he is separated from his wife, is murdered. Lewis chases the guy and in a scuffle the murderer drops his journal. When Lewis reads the journal there are entries for more murders to take place in the future. Keech (Neal McDonough) is our murderer and he makes a good one. Lewis is not liked by the police as he has written negative things about them in previous articles so they are not very willing to help him. Everything keeps pointing to a 9 year old boy in an orphanage who is interested in science and time machines. Keech is that grown up boy and is traveling back in time murdering people thinking that he can change things and make his future better. He murders his abusive mother but instead of making things right he is now raised by his aunt and she is worse. Lewis investigates and finds this boy at the orphanage and visits him, takes him to the zoo, is tempted to smother the boy with a pillow and change the future. I think my problem with Cuba Gooding Jr. is his face. He has a face for stern, or mad or thinking and it is the same face. His smiling face is a little different.
Cult film Blast of Silence (1961), which seemingly came out of nowhere in the early nineties after years of existing amidst a fog of cinematic obscurity, is a blast of style, kinetic energy and unsentimental nihilism. It's a low budget but artistically rendered and edited gem of a film that follows the life of an increasingly conflicted, paid hit man trying to get out of the business even as he preps for his next pay day during the holiday season. Frankie ‘Baby Face’ Bono stalks his New York City target with machine-like precision while at the same time becoming emotionally interested in an old friend’s sister. Made on a shoe-string budget, Allen Baron’s taut thriller perfectly encapsulates the look and feel of similar films of that era connected to the independent film movement of the late 50’s and early 1960’s.
Blast of Silence
The less I say about the BBC America thrillerOrphan Black, probably the better. Full of suspense, the show centers around Sarah, a drug-dealing petty criminal who suddenly finds herself in the middle of a mystery when she sees a woman jump in front of a subway train. The thing is, the woman looks like her—and not just a little bit, but exactly like her. Sarah then embarks on a journey to find out who the dead woman is and ends up questioning her own story. The plot is fascinating and always surprising; there are no red herrings here. As details unfold, perspectives change but nothing is thrown in just as a ploy to lead the audience astray (a sign of a good mystery if you ask me). Tatiana Maslany, the star of the show, does an excellent job playing multiple, demanding roles that would not work in the hands of a less talented actress. Orphan Black will definitely make it onto my “best of 2013” list.
At the behest of a friend I began watching the tv series Scandal a couple weeks ago, and was quickly drawn into the world of crisis management firm Olivia Pope and Associates. Pope is a 'fixer'- she and her team get their clients, Washington's elite and well-connected, out of sticky situations in order to protect the clients' public reputations. Most episodes follow a case that Pope and her team must handle, but what I love most about the show are the story arcs involving Pope and her associates: these characters are flawed, and they all have their own secrets to protect. Season two's crazy plot twists will definitely have me tuning in for season three in October!