"Only God Forgives"
Nicolas Winding Refn's “Only God Forgives” is a slow, artistic meditation on justice, vengeance and family that will surely polarize audiences.
The Bangkok–based crime film, which, with its '80s color palette, violent murders, and lead actor (Ryan Gosling), recall Refn's 2011 hit, "Drive," was one of the most stylized yet static films in competition at this year's Cannes Film Festival. The relatively simple story – that of fugitive Julian (Gosling) as he seeks revenge for his brother’s death- is elevated by high-intensity visuals.
Long, still shots flooded with color transform the film into a sequence of thoughtfully composed paintings, while the windowless Bangkok fight club setting feels separated from reality and adds further incongruity to scenes that blend the fantastical with the grotesque.
Nontraditional acting may be the film's biggest turn off. The characters, particularly Julian, are detached and often motionless, like those in the works of Rainer Werner Fassbinder (specifically "Ali: Fear Eats the Soul"). This detachment, although essential to the mood, leaves the audience without a surrogate character and inhibits immersion. Vithaya Pansringarm's mysterious cop Chang is similarly badass but begs for development and a fleshed–out motive. Kristin Scott Thomas stands out as Julian's mother precisely because she is the only character that consistently relays attitude or emotion.
With its unconventional narrative and stylized beauty, "Only God Forgives" is an ideal choice for anyone seeking an artistic alternative to Holywood thrillers. Although the film is violent (though certainly not the most violent film screened at Cannes), viewers used to films like "Oldboy" or "Hostel" will find it relatively tame. Refn has crafted another visually interesting and thoughtful experience, but will undoubtedly disappoint anyone expecting another "Taken"–inspired revenge thriller.
US Release: July 19th, 2013
Grade: B+
-Andrew Scibelli
“La Vie D'Adele - Chapitre 1 & 2 (Blue is the Warmest Color)”
“La Vie D'Adele - Chapitre 1 & 2 (Blue is the Warmest Color),” the Palme D’Or of the 66th Annual Cannes Film Festival, shocks with its authenticity. Based off a French graphic novel, “Adele” tells the simple love story of 15-year old Adele and liberated art student Emma, from their first electric glance to the inevitable cooling of their relationship. It’s a tale as old as time, but director Abdellatif Kechiche achieves an almost impossible naturalism, partly due to the 3-hour running time. Although initially daunting, Kechiche uses the length to let scenes – many, like a small dinner party, that would normally be glossed over in favor of showier moments -- run their natural course.
This includes, of course, the twelve-minute long sex scene. Perhaps the most controversial aspect of the film, the scene is a necessary addition to the film, depicting the full extent and realistic outpouring of their passion – even if it could be cut down by a few minutes. But once again, this set piece proves Kechiche’s unflinching portrayal of a true relationship, one that is helped by the incredible performances of the two leads.
“Adele” is a refreshing take on a homosexual romance, completely devoid of or dismissive of the common tropes that plague the genre. This is not a story of a teen struggling with her sexuality, or facing discrimination and abuse. It’s the story of love between two girls, played out throughout the years in a way that’s so immersive with its humor, sorrow, and passion, that it’s hard not to get sucked in.
France Release October 9th, 2013; US TBDGrade: A
- Faryn Pearl
"As I Lay Dying"
James Franco’s “As I Lay Dying” takes on the near impossible task of adapting the William Faulkner novel with grace and ambition.
Every high schooler knows that reading Faulkner is no walk in the park; his stream of consciousness writing technique, combined with constant narration changes, produces plot lines that are often as elusive as they are comprehensive. As the essence of Faulkner’s Southern Gothic work depends on his writing style, it is an unexpected choice for the silver screen. Yet, the adaptation makes every attempt to display Faulkner’s style in the new medium. The camera is shaky and the coloring is dull, often to the discomfort of the viewer. But Franco’s most striking decision is to use a split-screen for much of the film. Watching two camera angles at once is completely disorienting, but faithfully emulates Faulkner’s modernist approach. The two images displayed side by side often occur at slightly different times, reflecting Faulkner’s vague jumps in time and use of multiple character perspectives.
The plot stays close to the novel’s, following the Bundren family’s quest across Appalacia to bury their deceased mother (who opens the movie post-mortem). However, mimicking Faulkner’s inclination towards ambiguity, the first twenty minutes can leave the viewer grasping for content to hold onto. Luckily, it doesn’t take too long to get acclimated to Franco’s minimalist direction, and he portrays the unlucky clan’s often gruesome journey with unexpected authenticity. The entire ensemble, led by Tim Blake Nelson ("O Brother, Where Art Thou?") is brilliant, with all of the characters completely enveloping their roles, although Franco himself seemed a bit too self-assured.
Without a doubt, this is a difficult film to sit through, but a stimulating and worthwhile view for anyone who has read Faulkner.
US Release TBD
Grade: A-
- Jenny Koff
"The Immigrant"
Competing against artistic films that push boundaries with nontraditional narratives and homosexual relationships, "The Immigrant" is surprisingly regular. This Ellis Island story, dulled by the lens of Hollywood, has been told countless times before, and if it wasn’t screened at the Cannes Film Festival, would hardly be considered artistic at all.
The film offers little that is visually remarkable and drowns in a nauseating yellow filter. Marion Cotillard performs well throughout the predictable plot as Ewa, a Polish immigrant trying to find stability in New York after being abandoned by her family. Ewa is usually sympathetic but often lapses into paranoia and desperation, adding layers to a potentially one–note character.
Unfortunately, Cotillard is pulled down by others' poor performances. Joaquin Phoenix thrives as opportunistic Bruno Weiss during moments of anxiety, but more often he exhibits a stiffness one would not expect from a seasoned actor. Jeremy Renner also disappoints as the one–dimensional Orlando, a competing magician who simply does not have enough screen time for substantial development.
Most of the problems with "The Immigrant" might be solved with visual complexity to enhance the weak characters and familiar story. It's certainly not a bad film, it's just dishearteningly average. Maybe it will fare better against other Hollywood films than it did against the frontier films of Cannes.
US Release: Winter 2013Grade: C-
- Andrew Scibelli
Commencing with shots of the scene of the crime followed by an interrogation sequence and then a cop being demoted, "Big Bad Wolves" appears to be just product of its overdone crime genre. But as "Wolves" progresses, viewers quickly realize the dark, hilarious, and twisted nature of the film.
This Israeli film follows rogue cops trying to find the perpetrator of a string of attacks, rapes, and murders of young girls. The protagonist Miki has just lost his job after a video of him leading a violent interrogation of the prime suspect, a schoolteacher named Dror, surfaces on the Internet. Determined to find answers, Miki follows and captures Dror, while a mysterious man, Gidi, watches from afar. Gidi then manages to take Miki and Dror to his basement, where the majority of "Wolves" occurs. The connection between Gidi and the recent girl abductions spurs his brutal torture of the suspect.
The filmmakers succeed in perpetuating uncertainty throughout the movie. The viewers are continually forced to question if Dror has actually committed the atrocious crimes that he denies, which conflicts with Gidi’s confidence that Dror is in fact the perpetrator. Caught in the middle is Miki, who is torn between interrogating and letting Dror free.
Although the film is a drama, it is uniquely hysterical and gory. Intermittent between extremely graphic and uncomfortable torture lies funny and realistic dialogue and occurrences, including a cake in the oven protecting Dror’s toe nails for a few minutes. Though some characters push the ridiculousness too far, the filmmakers accomplish making the movie both gruesome and lighthearted.
The confusion regarding the suspect’s innocence, along with the violent and humorous nature of the film, are both positive aspects of "Big Bad Wolves." The plot also enjoys a major twist in the waning minutes, bringing audiences to their seats and leaving them with a sour, yet gratifying cliffhanger.
Grade: A-
- William Trieger
"Jeune & Jolie (Young & Beautiful)"Francois Ozon’s latest endeavor, another coming-of-age tale, is a portrait of seventeen-year-old Isabelle’s (Marine Vacth) exploration of her sexual identity. Broken into four chapters, this film embarks during a bourgeois family’s summer vacation, which culminates with the loss of Isabelle’s virginity one night on the beach. In this scene, viewers first discern her delight in the moment, but soon examine her anguish and uncomfortable pain as another figure appears on the beach. Indeed, it is a completely emotionless Isabelle, who has detached herself from the experience and is carefully surveying this rite of passage. She later returns home to her eagerly awaiting younger brother Victor (Fantin Ravat), whom she’s confided in for relationship and beauty advice, and mutters, “It’s done," while ushering him out of her bedroom. Soon, this apathetic attitude distances everyone from understanding Isabelle, and propels us into a potentially dangerous depiction of her sexual maturity.
Over the course of the next three chapters, we glimpse into her life as a prostitute. Each chapter has its own individual story that provides setbacks and advancements for Isabelle’s ambiguous motives. We follow the inherently beautiful Isabelle through subways, hotel rooms, and Internet sites, engrossed in a character we know everything yet nothing about. Although Ozon delicately paces the chapters, “Young & Beautiful’s” closing installment can seem a bit far-fetched and unfitting. Nevertheless, it still illustrates Isabelle’s command of her femininity and testing of limits through countless sexual encounters.
Even Ozon’s shots, originating with a voyeuristic point of view glimpse of the topless sunbathing Isabelle from Victor’s binoculars, offer a limited perspective on our main character. Simply, they parallel everyone’s disconnection from Isabelle. Additionally, many of the film’s longer shots, such as her ascension from the subway or the slow stroll through a friend’s party, subtly signify her lonely journey. As her family struggles to embrace her unexplained lifestyle, the film gracefully categorizes her plunder as an adolescent experiment in discovering oneself. After ninety minutes, viewers will itch for a firmer grasp on Ozon’s work, but French actress and model Vacth’s resplendent performance will leave most content.
Grade: A-
- Michael Shostek
"The Great Beauty"
Set in contemporary Rome, “The Great Beauty” portrays the lifestyle of society’s elite. It is through the eyes of protagonist Jep Gambardella (Toni Servillo) that the audience bears witness to the decadence of a circle of aging socialites. The group’s members seemingly have no engagements other than nightly get-togethers on magnificent terraces that overlook the Rome’s finest sights. While everything is beautiful on the surface, from the alluring people to the wild parties to the stunning settings, a closer look reveals that the images are nothing more than a façade that masks a hollow reality.
Italian director Paolo Sorrentino brilliantly captures the feeling of emptiness that characterizes this jaded crowd. It is disclosed that the characters recognize the aimlessness and unhappiness that pervades their lives. However, they are too set in their ways and devoid of hope and inspiration to rediscover their passions or search for personal fulfillment. While Gambardella’s world is replete with money and glamour, his life lacks the powerful relationships, spiritual truth and youthful wonder that he yearns for over the course of the film.
“Beauty” only has two drawbacks. With a runtime of one hundred and forty two minutes, it begins to drag after the first hour and a half. Additionally, the film is a bit heavy handed with its themes, though not enough to detract from its aura. “The Great Beauty” is one of those rare films that demand reflection not only on its content but also on its real world application. The soundtrack is fantastic, the cinematography is beautiful and the message is first-class.
Grade: A-
- Rachel Marc
"Nebraska"
"Will Forte's in it? Count me in," stated my fellow moviegoer on the final day at Cannes. Without reading the synopsis of Alexander Payne's newest film, I decided to see it anyways, and I couldn't be happier with my last Cannes film choice. "Nebraska" follows the story of an old man, Woody Grant (Bruce Dern), who repeatedly attempts to flee Montana in order to claim a sweepstakes prize he believes he has won in Lincoln, Nebraska. Forte stars as Woody's son who after failing to convince his father that the sweepstakes is a scam decides to accompany him on a roadtrip to prove it.
Shot in black and white, this unconventional comedy explores the importance of knowing your family's past. This element also works well in the film since it evokes nostalgia for the past that is important to the narrative. Even though viewers may check out this film for Forte, they'll stay for Bruce Dern and June Squibb who steal their show in their roles as Woody and Kate Grant. Woody's a lovable character, not just for his determination in the face of early dementia but also for his capacity to care for others. Dern even picked up the Best Actor Award among the competition films for his role in Payne's comedy. Squibb as Kate will have viewers simultaneously laughing and empathizing as she commits herself to protecting her family.
Overall, the main issue with "Nebraska" is its slow start, which may cause some nod offs and doubts, but it's definitely a film that in its second act triumphs through its exploration of the strength of familial relationships. Arriving later this year in the United States, it's undoubtedly one of the must see films before Oscar season.
Grade: A
- Royce Reeves-Darby
