Goodbye Solo [Bahrani] / Cheri [Frears] / The Brothers Bloom [Johnson]

All '09 theatrical releases.

Goodbye Solo

directed by Ramin Bahrani

[The Immigration Experience Pt. III. I kid, as Bahrani's third feature concerning both poverty and a male, non-white protagonist is actually the most different of these, for better or for worse. More clearly influenced by the brothers Dardenne than his first two, Goodbye Solo starts after the beginning of the story, and we're left to figure out all the pieces of the plot on the run. Bahrani's mix of close-ups and medium shots work well while this is his least narratively experimental picture, it's also his best script--including two layered characters with equally layered performances from Red West & Souleymane Sy Savane. My only major complaint about the picture is its ending, as I still think Bahrani has yet to figure out how to really nail it home. The earned suspense leasing up to its closing seems bound to disappoint, but Bahrani disappoints in an entirely different way, using a lofty flight attendant metaphor that isn't really satisfying. Still, the 75 minutes preceding it are entirely impressive and enjoyable, as Bahrani continues to prove he's one of the five or so (less, maybe?) most important voices in independent cinema.]

7.5

Cheri

directed by Stephen Frears

[Frears, what the fuck? I'm no expert on your oeuvre--I haven't even seen Dangerous Liaisons, embarrassing as it is to admit--but your last film, The Queen, was incredibly controlled and smart...two qualities Cheri does not possess. From its oppressively over-the-top score to the uncommitted accents to its occasionally amateurish editing (it was recut? no way!) to your awkward, practically spontaneous narration, its hard to believe this was directed by the same fellow as The Queen, or even High Fidelity. This is not to mention the sometimes ridiculous situational comedy, which I'd already seen and shrugged off in Dirty Pretty Things (though it worked better there because of Tautou and Ejiofor). Sure, there are some great one liners via Colette, and its both pretty and brisk enough that it's never quite boring, but I can't imagine anyone being moved by its unconvincing coup de theatre. Pfeiffer's really giving her all, which is probably the saddest part. And in the end, its exploration of the psychological effects of aging pales in comparison to that of Synecdoche, NY, despite essentially talking about for 96 minutes. This fall can't be weak enough that this nabs one of the ten Best Pic nods, can it?]

4

The Brothers Bloom

directed by Rian Johnson

[Can't believe I almost let the naysayers who wrote this off as a disappointing quirkfest nearly steer me away from catching it in theaters. Year for year (as opposed to pound for pound, get it?), Rian Johnson is perhaps the most talented young American filmmaker, and The Brothers Bloom lets all of his ambition run rampant. It's hard to say whether he's a greater writer or director, as the shamelessly clever direction (including a great coital visual metaphor, among many others including some I probably missed) are only out-clevered by its metafictional, unabashedly derivative screenplay. This is a mess of a review as the film is a mess of cleverness and raw talent, although only too messy for its own good in the admittedly disappointing final act (although by then I was so hooked that it's climax could have been that it was all a dream and I'd still be happy with the final product). The actors all give fine performances--especially the women (Rachel Weisz and Rinko Kikuchi)--and they seem to be having genuine fun, while not in a way that makes it feel for the audience like being the only sober one in the room. It's nowhere near perfect, but watching such a prodigious filmmaker operate with a large budget and freedom is truly something to behold.]

8.5

Observe & Report [Jody Hill, 2009]

Observe & Report

directed by Jody Hill

starring Seth Rogen, Anna Faris, Ray Liotta & Michael Pena

2009

How this film gained the supportive backing of a number of reputable critics, I'll never understand. Maybe it's because this is just about the most awkward, fucking strange film to get a wide release that I can think of? I described the direction of I Love You, Man to be awkward, containing plenty of dialogue that neither moves the plot forward nor garners laughter, but is kind of just there...as the camera lingers awkwardly. Observe & Report takes this kind of direction to the max, except it's rarely funny and seems to be dark for no better reason than to push the limits of mainstream dark comedy.

Glenn Kenny pretty much stole my review of the film (save for the fact that his is more insightful and better written than anything I'd have done), but I'll reiterate that this is a comedy that turns into a character study that turns into an aimless observation of a truly psychotic human being doing a lot of really stupid things. It rips a number of basic plot elements from Taxi Driver (one of my ten favorite films, ever, I might add), e.g. obsessive longing for a girl, a  disillusioned self-important protagonist, but doesn't have anything to say. Anna Faris isn't used to her potential as usual, and the wonderful man behind the camera, Tim Orr, is reduced to making (on-location) shots of the mall look as claustrophobic as possible. 

There's something going around along the lines of "just wait til the last 10 minutes!," but even the moderately shocking/well-shot ending is merely a minor highlight. This is audacious mainstream cinema, too bad its risks are for risks' sake.

4.0

The Headless Woman [Lucrecia Martel, 2009]

• debuting at Cannes in 2008 to mostly glum reviews, Lucrecia Martel's The Headless Woman has been picking up critical steam since, topping indiewire's "Undistributed 2008 Films" list.
  
• Martel's film is extremely disorienting--it mostly follows bourgeoisie MILF Vero in the aftermath of her running over something(/someone?) while reaching for her cellphone
• one could admire for Martel's dedication to plot dictating form--the viewer is certainly as disconnected with the story as Vero is with reality--but Martel forgot to give us a reason to give a shit about the woman we're constantly following. I spent most of the film wondering how people relate to Vero and why people kept telling her to wash her hair than worrying about Vero--or its apparent class commentary, which shows the stratification but doesn't have much to say.
• thank goodness Martel and D.P. Barabra Alvarez can compose interesting shots, edited very cleanly and rarely overstaying their welcome. in fact, the first few minutes are probably the most interesting as the camera follows three lower class boys and a dog in a friendly chase.
• at only 87 minutes, The Headless Woman isn't so much difficult for a lack of drama, but rather because it refuses to fill us in on its point

4/finely framed, but lacking in any apparent message to justify its form or your time