Movie Review: A Serious Man

(For the radio version, please click here).

The Coen Brothers have a history of creating enigmatic films. Their first, “Blood Simple”, and later the more illustrative, “Barton Fink”, were odd and beautiful films. The Coen brothers didn’t feel the need to spoon feed plot to viewers. The audience had to pay attention. Without the director and writers spelling out background information or telegraphing the “twist” at the end, these mysterious films were both funny and infuriating. (They also rewarded repeated viewings on VHS and DVD).

“A Serious Man” fits well within this oeuvre. So here is my warning, presented without judgment: there is a thin line between engagingly mysterious and obnoxiously obtuse; there is a thin line between respect for an audience’s intelligence and arrogant disregard for an audience’s need of context.

For now, I am willing to disregard that “A Serious Man” is random and seemingly ends before it really…ends. Sure, I’ll embrace the mystery. The acting is great. The writing is superb. And, above all, it’s a Coen brother’s film, and even a Coen brother misfire (and I’m not saying this film is) is still better than 99% of the movies released today. They are masters of the craft.

In addition to being bizarre, other elements of the film are classic Coen brothers. The film is a Coen brothers comedy, meaning there will be lots of drama. (As opposed to their dramas, which can be pretty darn funny). Also revisited is their habit to follow an everyman who faces increasingly absurd and often dangerous situations. Think William H. Macy’s Jerome Lundegaard in Fargo.

In “A Serious Man” the excellent Michael Stuhlbarg plays Larry Gopnik, a man navigating the disintegration of his familial, professional, and marital life within the Jewish faith and the confines of late 1960s Midwestern suburbia.

Technically the film is interesting and an inside joke. A washed out, purposefully low budget feel metaphorically and literally hangs over the movie. They even purposefully screw up their shots in a specific way. By doing this, the Coen brothers pull you completely into a different time and place as if you were watching a movie made in that time. And they fooled me. Since I was once a projectionist I dismissively "tsked" the projectionist’s performance and actually complained. I was told by the projectionist the “problem” (in quotes) I was complaining about was on purpose. It then dawned on me: you got me Coen brothers, you got me. How infuriating. How funny.

“A Serious Man” plays this weekend at our beloved Gold Town Nickeldeon – the place to go see a mysterious film like this. This is Clint Farr, once again, Alone at the Movies.

The Oughts Decade in Review

In a look back from 2000 to 2009, (the oughts, the noughts, the oh-ohs?), Andy Kline of KXLL (see at www.ktoo.org) interviewed me for my top ten movies of the past decade.

(For the radio version please click here).

Whereas not a transcript of the interview, the following is my top ten and honorable mentions, plus a little synopsis. And please note, I live in Juneau Alaska. There's a ton of films I don't see. Your recommendations and comments are welcome. Thank you to the Gold Town Nickelodeon for bringing smaller foreign and independent films to Juneau.

By the way, do you underline a movie's title or put it in quotations?

“Top Ten Movies of the 2000s”

1. The Royal Tenenbaums (2001)

Old School (2003)

Crouching Tiger Hidden Dragon (2003)

Amelie (2001)

Lost in Translation (2003)

Lars and the Real Girl (2007)

Wall-E (2008)

There Will be Blood (2007)

Juno (2007)

Lord of the Rings Trilogy (2001 – 2003)

Honorable Mention

Forty Year Old Virgin (2005)

High Fidelity (2000)

Collateral (2004)

Memento (2000)

Ratatouille (2007)

Finding Nemo (2003)

Spirited Away (2001)

Shaune of the Dead (2004)

Hero (2002), House of Flying Dragons (2004), Curse of the Golden Flower (2006)

The Lives of Others (2006)

Sexy Beast (2000)

Eternal Sunshine of the Spotless Mind (2004)

Gladiator (2000)

The Departed (2006)

Training Day (2001)

Casino Royale (2006)

Pan’s Labyrinth (2006)

Million Dollar Baby (2004)

Almost Famous (2000)

Traffic (2000)

O’Brother Where Art Thou (2000)

Inglorious Basterds (2009)

Best Alaska Movie – Insomnia (2002)

Thoughts

Royal Tenenbaums

Really one of my favorite films. This third film by Wes Anderson remains his masterpiece despite some enjoyable follow-ups. Wes Anderson can make the quirky and random very specific and detailed. It’s quite a feat. Great performance by Gene Hackman, perhaps his best of the decade. And any movie Gwyneth is tolerable in means the director is excellent.

Old School

Old School shouldn’t have worked for me. Luke Wilson is a mystery to me; why do we care? Will Ferrel is funny but wearing. Vince Vaughn and Jeremy Piven are always engaging but also the same character. Ellen Pompeo is fine but under used. Juliette Lewis is probably the best part of the film in terms of acting and is on screen for no more than five minutes. But somehow, this film is the one that sticks with me, the one we bought on DVD, and the one that makes me laugh even after multiple viewings. Todd Phillips is very good at smart raunchy comedies and is latest, The Hangover, continues his streak.

Crouching Tiger Hidden Dragon

First, it was a delight to watch Chow Yun-Fat and Michelle Yeoh actually act in a taut martial art film. Their subdued, well, suppressed love, maintains as much tension as the stunning fight scenes.

Amelie (and A Very Long Engagement)

Audrey Tautou was a relevation for me this decade. For the first half of the decade she starred in some my favorite and more interesting films, also including Dirty Pretty Things. Outside of the Da Vinci Code, she hasn’t done anything to reach Juneau in the second half of the oughts. I hope to see her soon. Also, Director Jeunet is one of the most visually smart and creative directors working in the world. I recommend any of his movies which include some 90s classics, Delicatessen and City of Lost Children.

Lost in Translation

A pitch perfect film about the trouble boredom can get people into. Bill Murray is at his understated best as a past his prime Hollywood actor shilling for whiskey in Japan. Scarlett explodes from obscurity as the bored wife of a photographer on assignment in Tokyo. From this film, had you any doubts, Bill Murray is a great actor of suppressed weariness, bemusement, and wisdom. Scarlett becomes much, much more than a pretty face and figure, portraying her role as intelligent and curious. Scarlett seared herself into the minds of the nation’s sensitive males with this one.

Lars and the Real Girl

It’s nice to see a movie where everyone behaves. This is a film that, despite a superficially ridiculous premise, reflects the basic decency in people that most of regularly encounter. Most films find their tension through people behaving badly. This film pulls of the trick of finding tension through people behaving kindly. For that, this is one of my best of the decade.

Wall-E

Oddly, the most dystopian view of human kind came through the g-rated eyes of a cute trash compactor. I could almost fill up my top ten of the decade with Pixar films. It’s tough not to. I think because each movie requires up to four years from conception to marketing they have plenty of time to build classic, layered, and nuanced stories. You can watch these films over and over and get something new each time. And when you have small children like I do, that’s a blessing. Pixar leaves the other animators, including Dreamworks Shrek and Madagascar series, in the dust (though I like the Madagascar penguins).

There Will be Blood

In my opinion the performance of the decade was Daniel Day Lewis; oil man in this movie. Under refreshingly restrained direction from Paul Thomas Anderson, this is an amazingly sparse, brutal, and beautiful film.

Juno

Few movies are perfect. Most don’t try and those that do try too hard. For me, Juno is a perfect movie. A well done and moving story that treats it’s teenagers like real and thoughtful human beings – while still being teenagers subject to poor decision making. Love this movie.

Lord of the Rings Trilogy

A storytelling and technical achievement, the movies defined cinema for the decade. Jackson’s ability to develop nuanced characters and a little humor amidst a war between good and evil in a fantasy world will forever stand as one of cinema’s greatest achievements. These films were rightly rewarded with big box office grosses and Oscars. Frankly, some of the best movies ever made. (And the DVD extras are like a film-making school)

Honorable Mention

High Fidelity (2000)- The last great John Cusack role (actor of the 90s)? Discuss.

Collateral (2004) – Certainly Tom Cruise’s best role of the decade. Michael Mann is a very effective director.

Memento (2000) – Part of the brain twisters trend.

Ratatouille (2007) – Keeps getting better, even after the 30th viewing.

Finding Nemo (2003)- A stunning achievement – tough choice between it and Wall-e.

Spirited Away (2001) (and the others by director Hayao Miyazaki like Ponyo and Howl’s Moving Castle.

Shaun of the Dead (2004) – Ridiculous and so much fun, with actual scares and emotional tension.

Hero (2002), House of Flying Daggers (2004), Curse of the Golden Flower (2006) - These are sumptuous adventures available from the singular talent of Mr. Zhange. These films are pure cinema, visually stunning and simply a joy to watch. I highly recommend this director.

The Lives of Others (2006) – A stunning little movie about eastern german spies (over 200,000) and those they monitored. One of the best endings to a movie this decade.

The Forty Year Old Virgin (2004) -The film launched a number of people into stardom and started the Judd Apatow streak of raunchy but kind comedies that made us laugh the last half of the 90s. The film introduced Steve Carrell to the nation beyond The Daily Show. It cast Catherine Keener, one of my favorite actresses because she can, you know, act. It was my first time seeing Romany Malco in a movie, who has since been doing great things on Showtime’s Weeds. Elizabeth Banks is a rare combination of looks and comedic timing who has done well since. And, then there is the incomparable Jane Lynch.

Sexy Beast (2000) - Great performance by Kingsley as British gangster forcing Ray Winston out of his retirement in Spain to return for one more job.

Gladiator (2000) - Russell Crowe’s breakout role after LA Confidential, this is a bloody, well edited, effective film.

The Departed (2006) - This was not the movie of a seasoned director. This was a gritty, angry, scrappy movie from a genius kid just out of film school. Scorcese continues to come up with fresh takes on a tired genre. Keep them coming. Great, great movie.

Training Day (2001) - My favorite Denzel performance of the decade. Ethan Hawke irks me for no good reason but was tolerable. The movie succeeded despite the casting of Tom Berenger, usually a death sentence. It was brutal and uncompromising; one of the meaner films of the decade. Denzel’s corrupt cop, had it not been for Daniel Day Lewis, would have been my performance of the decade.

Casino Royal (2006) - Thoroughly entertaining. I’ve never seen a film re-invent a franchise, certainly one as tired as James Bond, like Casino Royale. By casting a real actor and making it much less comic and more brutal, this film stands on its own. Also, Paul Haggis (Crash) provides his unique talents to a script otherwise penned by writers of previous Bond films The familiar bing-da-ding-ding of the opening credits is just a bonus.

Pan’s Labyrinth (2006) - Child performances are very difficult to pull off and this movie contains one of the best. The creation of an effective alternative universe here is completely unexpected and amazing. Movies should be visually effective, it’s a big screen after all, and this movie fits this bill better than many that were much more expensive. Violent , this movie is not for the kiddies.

Million Dollar Baby (2004) - I can’t say this is a perfect film. When Hilary Swank’s character spits out her pen and glares at her mother from her hospital bed I laughed. I think what sticks with me most was how good Eastwood was in his own film. Historically a limited actor, in Million Dollar Baby, he rips your heart out.

Almost Famous (2000) - Don’t let the nearly 10 years that have passed diminish the greatness of this film. The most heartfelt of Cameron’s films since Say Anything, this amazing little meditation on music remains a monument to the rock and roll dreams of sensitive writer geeks.

Traffic (2000) - Probably Steven Soderbergh’s last great movie. A great mute performance by Benecio Del Toro.

O’ Brother Where Art Thou (2000) - I needed to put at least one Coen Brothe’s film in my decade’s best movies since they had some great films. A bad Coen Brother’s film is still better than most of what is being shown. They are amazing. This film single handedly made US folk music hip again and for a while, teenagers were humming to Gillian Welsh. I believe this is Clooney’s break out role where we all recognized him as an leading to one amazing decade for the actor.

Eternal Sunshine of the Spotless Mind (2004) - Got to put a Kate Winslet movie in here. This was a fantastic and sad movie.

Inglorious Basterds (2009) - Tarantino’s best since Pulp Fiction.

Best Alaska Themed Movie – Insomnia – 2002 (That's right, better than Into the Wild or Grizzly Man)

Top “Trends” of the 2000s

Animation

Disney Pixar and Japanimation gave audiences plenty of eye candy in the 2000s. But much more important, they gave timeless stories and plenty of nuance to reward repeated viewings.

Mind Benders

"Being Johan Malkovich", "Eternal Sunshine of the Spotless Mind", and many lesser films at least made the attempt to twist traditional narratives and construct original narratives.

Audrey Tautou and Scarlett Johanssen

These were my favorite actresses of the decades. Certainly some like Meryl were in more movies and more successful movies, but these ladies are the ones I dream of. Oh, and Kate Winslet, but she occupies a place beyond mere "best of" lists.

Russell Crowe

My favorite actors are Denzel Washington and Jeff Bridges. But from luck or savvy, Russel Crowe probably had the best run of the 2000s. Okay, definitely an argument can be made for George Clooney, Matt Damon, Phillip Seymour Hoffman, Viggo Mortensen, or even Bill Murray. I’d probably agree, but really, Cameron was in good films that also did well at the box office. Starting in 2000 with Gladiator, he then went on to star in some of the better bigger films of the decade:

State of Play (2009) .... Cal McAffrey

American Gangster (2007) .... Richie Roberts

3:10 to Yuma (2007) .... Ben Wade

Cinderella Man (2005) .... Jim Braddock

Master and Commander: The Far Side of the World (2003) .... Capt. Jack Aubrey

A Beautiful Mind (2001) .... John Nash

Wes Anderson

Wes Anderson ended the 1990s with "Rushmore", a wonderful mature look at the odd-ones of high school. But he began the 2000s with a masterpiece. "The Royal Tenenbaums" was a pitch perfect look at the imperfections associated with genius. Set in New York, but not really, Anderson has an eye for nuance. Each frame is exactly that, framed. His attention to detail is astounding. Quirky, smart, unexpected and able to wrench performances out of actors not normally associated with great acting. He went on to make some of the more original films of the decade: The Life Aquatic with Steve Zissou (2004), The Darjeeling Limited (2007), and Fantastic Mr. Fox (2009).

Peter Jackson

"The Lord of the Rings", "King Kong", and this month’s "The Lovely Bones", and a production credit on the awesome "District 9" belong to Peter Jackson. Nothing of his past films in the 80s and 90s even hinted at the juggernaut he would become. His best pre-LOR was Heavenly Creatures which was magical and odd, but small too (and to Peter’s endearing credit, introduced the world to Kate Winslet, my star-crush, my muse,). Most of his films were brain splattering comic-gore, or Meet the Feebles, the craziest damn thing I’ve ever seen. So you can forgive 99% of the movie-going public when "Fellowship of the Ring" exploded into popular culture when they said, “Peter who?”

Bromance

"Zoolander", "Old School", "Forty Year Old Virgin" and all the Judd Apatow films that followed, perfected a meshing of genres that should be recognized just for the audacity. In the guise of raunchy sex comedies reminiscent of the 80s Porkies knock offs, these films are actually – well – sweet; touching depictions of male bonding. None of them were masterpieces but nearly all of them were worthy distractions and a decent way to spend a few hours, be entertained, and not necessarily insulted.

Use of Good Actors in Action Films

The re-birth of James Bond with something approaching an art-house film was not only the result of writing and directing but casting Daniel Craig as the new Bond. Brooding, buff, and angry, Craig gave a 20-something movie franchise a shot in the arm unlike anything I’ve seen. I so liked "Casino Royale" I thought it should have been nominated for best picture. Never has such a hokey franchise been so successfully re-imagined. Also of note is Matt Damon as Jason Bourne, a series of movies I really enjoyed. Iron Man has Robert Downey Jr., Spiderman has Tobey McGuire, even the hulk was played at turns by Eric Bana and Ed Norton. These are real actors who elevated their films. It’s a real and welcome change from the Stallones and Schwarzeneggers of action movies past.

Female Directors and Screewriters –

Though still a small club, women made gains this last decade in writing and directing great films. "Lost in Translation" and apparently "The Hurt Locker", are great films directed by women. "Lars and the Real Girl" and "Juno" were written by women. By no means complete, a partial list follows:

Director/producer

Kathryn Bigelow – The Hurt Locker

Jane Campion – In the Cut

Nora Ephron – Julie and Julia

Nancy Meyers – It’s Complicated and Somethings Gotta Give

Rebecca Miller – The Ballad of Jack and Rose

Christine Jeffs – Sylvia

Anne Fletcher – The Proposal, 27 Dresses

Mira Nair – Amelia, The Namesake, Vanity Fair, Monsoon Wedding

Karyn Kusama – Jennifer’s Body, Aeon Flux, Girlfight

Lone Scherfig – An Education and a bunch of Swedish Films

Lynn Shelton - Humpday

Drew Barrymore – Whip It; prod – Charlie’s Angels and Donnie Darko

Sofia Coppola – Lost in Translation and Marie Antionette

Tamara Jenkins – The Savages

Sarah Polley – Away from Her

Writer

Fran Walsh – LOR,

Diablo Cody – Jennifer’s Body, Juno

Marjane Satrapi – Persopolis

Tamara Jenkins - "The Savages"

Nancy Oliver -"Lars and the Real Girl" writer.

Sarah Polley "Away From Her"

Kindness

Be it 9/11, the Iraq War, or some inkling feeling the world is in imminent danger of ending (be it from climate change, the rapture, or some combination), I think films have been much kinder over the last decade. Almost all the films I’ve listed, certainly not all, but almost, have undercurrents of kindness and loyalty, family and friendship. Even the crude comedies have been “nice”. Past movies seemed mostly ironic and amoral. In "Lars and the Real Girl", a town pulls together to help a damaged young man make it through a romance with a plastic blow-up doll. Seems crazy, but the people portrayed in this film reflect more the world I live in than any film depicting “gritty realism”. Heck, the most scathing condemnation of mankind was in a G-rated movie about two star-crossed robots. I’ve been all over and am still convinced that most of the time, most people, are mostly decent. I’ve enjoyed seeing that in the movies.

Least Favorite “Good” Movie

Little Miss Sunshine - Like opening up a can of indie filmmaking.

Movie Review: Up in the Air

(For the radio version please click here).

It took a 31 year old to direct one of the most adult and topical films of the year. Jason Reitman, son of Ghostbusters director Ivan, now has three feature films under his belt. “Thank You for Smoking”, a movie about a corporate tobacco public relations specialist, and “Juno”, a movie about a pregnant teen. They were sympathetic takes on marginalized lives. His third film continues the trend of asking us to care about people we are not suppose to care for.

“Up in the Air” follows the life of Ryan Bingham, who is portrayed by George Clooney. Mr. Bingham fires people for a living; a man who fires people because their own bosses are too chicken to do it themselves. And in our economic downturn, Ryan’s business is booming.

Years of firing people and hopping around the country have left Mr. Bingham with emotions of stone. He enjoys the insincere and forced friendliness afforded frequent fliers such as flight attendant greetings and hotel perks. Any interaction with lovers are likely soulless one night trysts in whatever Hilton brand hotel he happens to be in. When Mr. Bingham fires someone, externally, he is warm, sympathetic and hopeful. He is good at his job. But never do you think he gets sad at the destruction of these lives.

At first, the only discernable goal Mr. Bingham strives for is 10 million airline miles, a dedicated phone line to his air carrier, and a ride with the captain. Fortunately, two women crack his shell of impenetrable charm, and all of them change for the better - sort of. See, the unique talent of Mr. Reitman is turn the story of an emotionally cool frequent flying firing philanderer into a poignant commentary on our economy and an affirmation of roots, family, and love.

Anna Kendrick plays Natalie Keener, a young go-getter who’s business ideas threaten Mr. Bingham’s high flying ways. For me though, the real relevation is Vera Farmiga who plays a frequent flying female version of Bingham. They like each other enough to share flight schedules and arrange cross-country hook ups. Ms. Farmiga is excellent in a well written role; at turns funny, kind, empathetic, and ferocious. It’s a great role played by a great actress.

I beg you to see this film. My parents were in town over the holidays and looked after the kids. So my wife and I went to dinner and a movie. We chose “Up in the Air” over that other film. That other film, the one breaking all manner of box office records, is a technological marvel about nine foot tall aliens that will appeal to the 12 year old in us all. I can’t wait to see it. But please don’t ignore films like “Up in the Air”. It’s nuanced, topical, cohesive, adult, with great writing and acting, with minimal special effects, but plenty of visual charge. Make these movies successful so the 40 year old in us can have something to enjoy too.

“Up in the Air” is playing this weekend at Gross Alaska Cinema, downtown theater. This is Clint Farr, on a date with his wife (!), at the movies.

Movie Review: The Princess and the Frog

(For the radio version, please click here).

Much has been made, and rightly so, of the fact The Princess and the Frog is the first Disney animated film to feature an African American princess. And I join the rest of the country in saying, “It’s about time.” Yet, my four year old daughter, sitting in my lap, was totally engrossed. She giggled at the Cajun firefly; she guffawed at the horn blowing gator; and she buried her face into my chest when shadowy demons were released into the bayou. My little one was unaware of anything different, or groundbreaking, or political about this film. She just loved it. That too, I think, predicts well for our future.

Beyond the leap forward for society, I have to ask if the movie is any good? Of course it is. It’s a great film. The Princess and the Frog takes place in a specific time and place, New Orleans and Bayou in the 1920s. The film’s heroine, Tiana, dreams to start a fine restaurant and her father’s strong wise words provides her a path to do so. The rest of the film is the journey to discover her and her father’s dream. The fact an amphibious Prince of indeterminate southern European country shows up as a love interest really is beside the point. And I like that.

Of course the movie glosses over the reality of 1920’s Louisiana. We believe an African American woman could really start a fine dining establishment. Disney has Disneyfied reality since Dumbo. It is a fantasy, so there’s nothing here to disappoint.

The film showcases a collection of New Orleans jazz and down and dirty bayou blues played as fuzzy facsimiles. That would be my one criticism I suppose. This movie could be a chance to introduce children to some of the best roots music this country has to offer. Instead we get a phoned in soundtrack from the master of bland, Randy Newman. He’s talented, but his zydeco is a little like Pat Boone playing Metallica.

I know, I know, it’s a kid’s movie. And it truly is a kid’s movie. There is some nuance and unexpected poignancy that will keep adults engaged. But really, it’s about the kids. Even if the music is mediocre, there is plenty of it, and there is enough slapstick and outrageousness to keep the kids hooting. Unlike the Pixar films, like Wall-E or Finding Nemo, the film is animated with traditional hand drawings. This so-called two-dimensional animation is beautiful, harkening back to the Disney films of your youth.

I don’t know if The Princess and the Frog is a two-dimensional classic like the Lion King or the Little Mermaid. It more reminded me of the pleasant experience of watching The Aristocats or 101 Dalmations. Nothing amazing, but very fun, very watch-able, and very worth your money. And as with any Disney animated film, this movie is best appreciated on the big screen with a bunch of little kids giggling and screaming in unison.

The Princess and the Frog plays this weekend at the Gross Alaska Glacier Cinemas. This is Clint Farr, not so alone with my four year old, at the movies.

Movie Review: It Might Get Loud

(For the radio version, please click here).

Air guitar is silly. I know this, yet in private, I shred my air axe. Do you strum your thigh, finger your palm, and weirdly jerk around, to the straining guitar of a good rock song, as if in a seizure? If so, then “It Might Get Loud” is for you.

Very roughly, “It Might Get Loud” is about a meeting of three guitar greats, Jack White of the White Stripes, The Edge of U2, and Jimmy Page of Led Zeppelin. They discuss their early days, seminal music influences, and the moment they found themselves as artists over mere guitarists. On this simple framework the filmmakers hang cutaways to concert footage, old news reels, and even animation, to help us visualize their stories.

There is no storyline so much as free flow of anecdotes, air guitar (oh yes, Jimmy Page does awesome air guitar), and impromptu jams. There is not much context. You are not with any one guitarist too long before another narrative begins. It’s a little disconcerting, but covers a lot of territory, and is helpful in keeping the movie clipping along. The movie only settles down when the players stop talking and start playing.

Not much time is spent trying to convince you these guitarists are great. If you are unfamiliar with any of these performers (as I was with Jack White) it’s best, I think, to latch onto the story of the guitarist you are most familiar, and allow them to convince you the other two are worthy.

For me, it’s The Edge. I listened to U2’s the “Joshua Tree” for months and memorized every song. When the film shows U2 concert footage of “Where the Streets Have No Name” it hit me in the gut. If you’re a little older, maybe it’s Page and Zeppelin. And if you’re a little younger, maybe it’s Jack White. All the same, this film is about their, and our, love of authentic music, music that makes us pull over the car and listen, music that changes culture, illuminates our place in the world, and reconnects us to our roots.

Jack White comes across as a 14 year old prodigy who is sullen and resentful because no one appreciates his genius. The fact he is in his 30s and is recognized by millions makes him all the more obnoxious. Mr. White is not a sympathetic character. Yet, his passion is clear and his talent is considerable. And that’s the sign of a good documentary. It does not bathe Mr. White in a golden light. He’s kind of angry. And where I might not have him over for dinner, I will definitely be looking at his stuff on iTunes.

The elder, Jimmy Page, is a delight. There is a scene that depicts the love and respect Jack White and The Edge have for this man. The guitarists jam on some of their famous licks in the film. When it’s Page’s turn, the first riffs from “Whole Lotta Love” begin. Jack White picks up his guitar, reconsiders, sets it down, and just listens. The Edge never even bothered to pick it up. And for a blissful moment, the master plays. Jack White and the Edge beam like little boys.

“It Might Get Loud” plays at our beloved Gold Town Nickelodeon this weekend, Thursday through Sunday. This is Clint Farr, alone at the movies.

Movie Review: Paranormal Activity

(Sorry no audio available yet)

“Paranormal Activity” ought to provide some lessons for Hollywood. You don’t need millions of dollars to craft an engaging film, nor do you need graphic depictions of violence and buckets of blood to horrify audiences. “Paranormal Activity” is minimalist filmmaking at its best; proving our imaginations conger more horror than celluloid. The movie demonstrates no amount of money replaces the fundamentals of cinematic storytelling: an original concept, a good script, better acting, and ruthless editing.

How this 11 thousand dollar movie became a 100 million dollar grossing behemoth is, itself, worthy of a movie that I hope to review some day. As it stands, this little movie is worth your money – depending on your tolerance for low budget filmmaking.

The director and screenwriter, Oren Peli, is smart enough to make the low budget a key plot point. A couple uses a single video camera to document a home’s strange bumps and noises. And that’s it. That’s the movie, a couple filming each other reacting to the strange things going on.

Many are comparing this film to the “Blaire Witch Project”, a jerky little film with a few decent scares. For me though, this film is better compared to the attacking sharks, and super low budget of “Open Water”. “Open Water” and “Paranormal Activity” are about more than just terror of an uncontrolled presence (say sharks or ghosts) but also how a loving couple deals with the pressure. These films depict how the couples support each other, blame each other, contribute and detract from a solution to their predicaments. This focus on the dynamic relationship between two lovers in an impossible situation elevates these films from mere shock-fests to, dare I say it, art.

“Paranormal Activity” is not a perfect film. There are a couple of scenes that drag and there are a couple of “frights” that are silly more than scary. There is a lot of hand held camera action, which can be a little jerky. If you are susceptible to car sickness, you may find yourself looking at your hands occasionally during the first thirty minutes. Once the tension begins to ratchet up though, I stopped noticing the camera work and started freaking out.

I love that there is little blood or graphic violence. The camera does not give us a surgical view of the bloodletting like some of the higher budget torture porn popular these days. This may have been a choice necessitated by the lack of a budget. But having your mind fill in the blanks is much more terrifying than what any cheap special effect could have produced. The lack of budget, the lack of blood, forces the filmmaker to use their imaginations to encourage us, in turn, to use our imaginations. Combine that with a wham-bang ending, and you’ve got yourself an effective little horror movie.

With decent acting and some choice bits of comedy to contrast and heighten the horror, I like this movie. My old creaky house is all the more freaky thanks to this film. Yeah, next time I check on that loud bang in the basement holding a bat and expired bear spray, I’ll be thinking, “Thanks Oren Peli. Thanks a lot”. Paranormal Activity plays this weekend a the Gross Alaska Glacier Cinemas. This is Clint Farr, alone, and freaked out, at the movies.

Movie Review: The Horse Boy

(For the radio version, please click here).

In The Horse Boy, we are introduced to Rowan straight away: a screaming child with bandaids over his eyelids from where he’s clawed himself, and soiled pants from an inability to be potty trained. We learn he is autistic.

We then meet the parents, Rupert Isaacson and Kristin Neff. Kristin teaches college psychology and Rupert writes books on traditional cultures, including traditional healing. They are people of means, with land, goats, and horses. They also exhibit an unanchored spirituality that allows them to approach their son’s illness from outside the strictures of western medicine and science.

That said, the film allows national autism experts to weigh in. We learn there is no single definition of autism. Rather, autism is a spectrum of behaviors from merely anti-social all the way to self-destructive, say from the Ph.D. physicist to the institutionalized. Autistics are united by an overriding ability to focus to the exclusion of all else. In Rowan’s case, the obsession is horses, all else includes self-inflicted pain and soiled pants.

Fortunately for Rowan, animals seem to like the boy. The only time he relaxes is on the back of a big, kind mare. Horses, then, are the needed gateway to a calmer child. Through his knowledge of traditional healers, Rupert discovers the shamans of Mongolia who use horses in their healing. And just like that, the family and a film crew are off to Mongolia.

Rupert is an exceedingly strong personality. He clearly loves his son. He desperately wants to do the right thing for his son. Yet, he’s just as desperately neds to be acknowledged for doing the right thing for his son. My gosh, he took a film crew to Mongolia. I couldn’t help but feel a mix of admiration and exasperation with this guy.

And in Kristin, you see her own mix of admiration and exasperation for the guy. All she really wants is for her son to be potty trained, so much so that she’s willing to horseback across Mongolia. Yet, she maintains a needed skepticism of the whole enterprise. Her tempered expectations and emotions contrast to Rupert’s whose moods ranged from soaring highs on Rowan’s good days to self-pitying lows on the bad days. It’s funny, the shamans suggest Rowan’s problems derive from Kristin’s mentally ill grandmother, but as I watched Rupert I thought: bipolar?

But I left this film not thinnking about mental illness, or Rowan, his mom, or even Rupert. By movie’s end I realized the film is about the unknowable, the mysterious. What do we know about the healing power of a parent’s love? For that matter, what do we know of the healing power of a horse, or a shaman? So whether from the mare, the parents, or the twitching fingers of a Mongolian reindeer herding shaman, all we know is by film’s end a child changes and the parents smile.

Of course, not to be too cynical, the child better change or all that money for the film crew and travel would’ve been wasted. So see, this film really is mysterious.

The Horse Boy plays this weekend, starting Thursday night, at our beloved Gold Town Nickelodeon. Frankly, I was fascinated. This is Clint Farr, Alone at the Movies.