The Hired Hand (1971)

The Hired Hand / Peter Fonda / 1971 / fivestar

Active Ingredients: Cinematography; Theme of friendship; Acting
Side Effects: Some dated psychedelic effects

Throughout the 60s and 70s, American cinema made a pronounced shift from the polished fare of the studio star system to more dangerous and experimental films. Influenced by the French New Wave, these “New Hollywood” directors injected a youthful vigor and realism into films of all genres, like the noir (Chinatown), the road film (Easy Rider) and, in the case of The Hired Hand, the Western. Read more…

The Cable Guy (1996)

The Cable Guy / Ben Stiller / 1996 / threestar

Active Ingredients: Dark tone; Jim Carrey’s physical comedy; Karaoke jam
Side Effects: Romance subplot; Development of tension

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The official record paints The Cable Guy as a total flop, both financially and with critics and audiences. Upon its release, Jim Carrey’s $20 million pricetag was the most discussed element of the film. Today, however, The Cable Guy’s strangeness and darkness shines through its familiar Hollywood facade. Maybe audiences weren’t sure what to make of Carrey’s performance. He flaunts the same vocal and facial tics as he did in Ace Ventura: Pet Detective, but something is different. His character is much harder to pin down, rougher around the edges. He’s still hilarious, but this is not the safe, lovable buffoon audience’s knew from Carrey’s previous films. Read more…

Where to Start With… Werner Herzog

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[Diving into a certain cinematic topic can be daunting. This series seeks to provide some suggestions on where to begin exploring a director’s body of work, a genre, style or theme. The three suggested films serve as a brief introduction; they’re not complete or authoritative, but will in some way be representative of the topic and will hopeful inspire you to watch more, outlined in recommended further viewing.]

Werner Herzog is a German director who has made over 50 documentary and narrative films since the 70s. With his inimitable deadpan voice, Herzog is always a major presence in his films and has over the years developed an outsized persona, known for his adventurous spirit, maddening shoots and fascination with extreme personalities. Herzog is a master of both documentaries and fiction films, though the distinction is often blurred and irrelevant. His narrative films are set in far-flung locations around the globe, and feature local people and organic situations, while his documentaries have included staged events and scripted dialogue. Herzog isn’t interested in the formal distinction, but rather in an “ecstatic truth” that drives all of humanity. He often finds this in the obsessions and follies of his protagonists, particularly in their destructive clashes with the forces of nature. Over the course of these films, pay attention to how Herzog’s characters are undone by the very thing that drives them and makes them human.
Read more…

Interview with Mike Cahill, director of Another Earth

Another Earth is an intimate personal drama enclosed inside a vast, metaphorical science-fiction shell. A mirror image of our planet is located in the sky. Two broken-down people imagine what it would mean for another version of themselves to exist in the universe. What would be different?

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Working with a small budget, writer / director / cinematographer / editor Mike Cahill balances the natural with the otherworldly in this stylish and striking debut. The film has made a splash at Sundance and elsewhere on the festival circuit, including at the Independent Film Festival of Boston, where I had a chance to talk with Cahill. He shares a bit of insight on the power of science-fiction, establishing the film’s visual tone and the creative freedom of the independent filmmaker.
Another Earth opens in limited release next Friday, July 22nd.

Want to hear more about Another Earth? Listen to my podcast about the film here.


Film Capsule: Which came first, the sci-fi premise of the film or the relationship between the main characters, and how did they collide?

Mike Cahill: It started from a simple idea: what would it be like to meet yourself? Would you like that person, dislike that person, what would you say to that person? Then came the other Earth, extrapolating this simple idea so that everyone on the planet could ponder this same question. And then finally came the idea of the down-to-earth drama of John and Rhoda, outsiders who would have compelling issues to take up with their doppelganger counterparts.
Read more…

Kaboom (2011)

Kaboom / Gregg Araki / 2011 / onestar

Active Ingredients: Strong cast; Colorful palette
Side Effects: Irritating characters; Bad comedy; Boring, inconsequential plot

A global conspiracy, a religious cult, something about the end of the world and lots of sex. While these elements may sound like the makings of a good film, director Gregg Araki has instead sabotaged this enticing blend with characters that aren’t believable, relateable, likeable, or, what’s worse, interesting. Despite the undertones of mystery, Kaboom is basically a college sex comedy, featuring a cast of bratty, cheeky teens willing to go to bed with members of either sex. They’re sexual liberated, and we know this because they quip and make puns about being sexual liberated. (“Are you gay?” “I’m more… undeclared.”) Read more…

The Boston French Film Festival

This July, The Museum of Fine Arts hosts its 16th annual Boston French Film Festival, offering a compelling lineup of films from directors both new and old. The shockwaves of the vaunted 60s New Wave are still being felt today, as we’ll see, though the festival also proves that new talent continues to invigorate French cinema. Among the highlights of this year’s program are Film socialisme, the new film from the always-iconoclastic Jean-Luc Godard, an underseen Truffaut gem and the ambitious directorial debut of actor Mathieu Amalric. Continue reading below for my takes on these three films worth the price of admission.
Read more…

Indie Interview: Polypore

On most independent features, a small budget is a source of constant worry. It can stifle a director’s creativity and lead to concession after concession. But Jesse Barack, director of the upcoming Polypore, didn’t even seem to notice his modest funds. The film, which began as an homage to Akira written on bar napkins, has since mushroomed into an epic, globetrotting sci-fi thriller, featuring a cast of more than 80, a potent mystery and even a celebrity cameo. Throughout the process—from casting to filming to marketing—Barack has found creative ways of turning limitations into assets. And, like the nefarious corporate conspiracy at the film’s heart, it seems nothing can stop Polypore, not even a small budget.
Read the interview.>>

Carrie (1976)

Carrie / Brian De Palma / 1976 / fourstar

Active Ingedients: Sissy Spacek; Gradual shifts in tone; Narrative suspense
Side Effects: Slow buildup; Melodramatic moments

Brian De Palma’s Carrie is a striking blend of Hitchcockian suspense and modern horror, freer to imagine more pervasive, abject darkness. De Palma’s deft, even gentle touch throughout the film’s early scenes successfully disguises the famous bloody climax. It’s a tricky bit of deception, but De Palma shows skill and precision with each tone he hits. His patience during Carrie’s gradual transformation and maturation eventually gives way to a more immediate, pulsing pace as the story concludes. Tracing Carrie’s emotional arc filmically roots the audience in the lonely girl’s world and accentuates her feelings of timidity and shame as well as rage and humiliation. Read more…

Film Capsule Podcast #2: Escape from New York and Escape from L.A.

The Film Capsule Podcast returns with a classic action movie double header!

John and Ian discuss two of John Carpenter’s collaborations with his favorite badass, Kurt Russell. Along the way, they consider what makes Carpenter a great genre director and debate whether his style still has a place alongside today’s action films. Will they agree, or will it be a full court basketball game to the death?

Any questions, thoughts or feedback? We’d love to hear from you! Write us at filmcapsuleblog@gmail.com or comment on this post or over at Soundcloud.

Special thanks to Old Men Playing Chess for the music.

Check out the Movie Schmooze podcast.

The Tree of Life (2011)

The Tree of Life / Terrence Malick / 2011 / fivestar

Active Ingredients: Striking, expressive imagery; Philosophical and spiritual pondering
Side Effects: Music; Lost-esque finale; Occasionally too blunt

The Tree of Life is an illusory, fragmented and exhilarating cinematic experience, yet for all its experimentation, it’s not the opaque, impenetrable film it may seem. Rather, it’s a lucid, cogent meditation on the grace and transcendence present in life everywhere, from the planet we live on, to a blade of grass or a beam of light, to the thoughts inside our heads. With his unique eye for small moments of beauty and a decentralized narrative style, Terrence Malick collapses these ideas into one realm of existence, made tangible and real. Read more…