Review: "The Paperboy"

This article was previously published in my column at Towleroad

Now the very exciting correspondence is in the bottom box. In case you're interested."
-Charlotte Bless

I can't recall how THE PAPERBOY begins exactly though I saw it just a few days ago. Was it a shot of Zac Efron's body gliding through a pool, losing its hard fixed shape through the watery prism. Was it a grisly black and white flashback of a murder? Was it Macy Gray smoking, staring dully just off center of the camera. It doesn't matter though my confusion is telling. Lee Daniel's third movie is a mad undisciplined mix of just these things: eroticized bodies, physical violence and character beats. If the film never settles down, eventually you settle into it. 

Macy Gray helps. Her voice is so evocative she doesn't even need to be singing to send you. Director Lee Daniels, wise to the specific gifts of his actresses (the proof is all over Precious), knows this.

Macy Gray is your guide through this sensationalistic scuzzy story

Continue...

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NYFF: "Bwakaw" is a Film Festival's Best Friend

Seventy year-old Rene (Eddie Garcia) is an elderly gay man who fits quite neatly into the crowded movie trope of "Grumpy Old Man." He doesn't have a lawn but he'd clearly want his neighbors to get off of it if he did. He doesn't seem to love anyone or anything other than his dog Bwakaw.

Eddie Garcia and Princess star in "Bwakaw", an Oscar contender from The Philippines

They say that a dog is a man's best friend but I don't think that it's usually meant quite so literally.  Rene is so grumpy that you aren't always sure he loves his faithful canine shadow. In one stinging heartbreakmidway through the film a veterinarian asks him "don't you ever touch your dog?" and it occurs to you that you've rarely seen him do so.

But Bwakaw isn't a demanding girl. She follows Rene everywhere he goes… except inside his house. She's been banned for making a mess the last time she was there and one imagines that was long ago; Rene doesn't let things go easily. He still sleeps, for example, in his boyhood home and he's still quite attached to all of his mother's things including her devout Catholicism though he isn't religious himself (This dichotomy informs several of the film's sharpest comic beats but that's a topic for a much longer piece.) So each night Bwakaw curls up sadly in the dirt at the bottom of the stairs leading to the sad man's bedroom and waits until morning to see her master again.

It's important to note here that Bwakaw the dog is a sandy girl. She'd be barely perceptible from Bwakaw the movie, with its terminally washed out light, colorless rooms, and graying characters, were it not for her happy trot and zest for life. Her name translates to "Voracious" though she's curiously slim and bony for a dog that likes to eat. 

Initially it's not at all clear why this film, a true gem from director Jun Lana and an absolutely worthy Oscar submission, is titled as it is. Bwakaw is not so much an active participant as a shadow, or a sidekick if you're feeling generous. For a good hour the film is little more than a perceptive character study -- not that those aren't welcome -- of a lonely gay man who's angry that he missed out on a full life.  In many ways Rene is a shadow in his own movie. Most of the colorful subplots, broad comedic bits, and vibrant personalities belong to other members of the cast.  Rene's "friends" (I use the term loosely given that he's consistently at odds with most of them) are two flamboyant gay men, a co-worker planning a trip to Canada, a rough taxi driver, a local priest who hears his confessions, and a woman losing her memory in a nearby old folk's home.

But when Bwakaw becomes ill Rene is finally shaken out of his ornery complacency and gradually begins to feel his life again instead of just planning for his death. The film beautifully and fluidly shifts to compliment his journey, letting more light and color and vibrancy into the images.

Many "feel good" inspirational movies boost the spirit synthetically by glossing over life's darkest moments or wishing them away with tunnel vision on the triumphant stuff. Rene's story, however harsh and lonely in its particulars, contains far richer inspiration at its core. Rene is so focused on mortality that he keeps forgetting to live but there's no point in climbing in the coffin before your time. Embrace whatever tiny happiness comes your way. Live. B+/A-

Related Pages
2012 Foreign Film Oscar Submissions Pt. 1: Albania to Italy
2012 Foreign Film Oscar Submissions Pt. 2: Japan to Vietnam
Foreign Film Finalist Prediction List just a little guesswork 

More NYFF
Lincoln's Noisy "Secret" Debut
The Paperboy & the Power of Nicole Kidman's Crotch 
Frances Ha, Dazzling Brooklyn Snapshot
Barbara Cold War Slow Burn
Our Children's Death March 
Hyde Park on Hudson Historical Fluff 

Review: "Looper"

An abridged version of this review was originally posted in my column at Towleroad 

"Time travel hasn't been invented yet," Joseph Gordon-Levitt warns us from 2042 in LOOPER's voiceover. "But in the future it will be." In 2072 crime lords send their victims back in time to be killed by "loopers"  like Joe since it's the only way to get away with murder. (Apparently infallible forensic science has also been invented in the future!). 

Loopers dispatch their prey unceremoniously with a crude descendant of the shotgun called a  "Blunderbuss" which is useless at long distances but impossible to miss with up close. When each Looper's contract expires, his older self is sent back to his younger self for execution which is called "Closing the Loop". In this case that's Bruce Willis sent back in time to meet his death at the hands of Joseph Gordon-Levitt in Bruce Willis drag. (Joe's makeup effects, though extraordinarily non fake-looking are initially distracting -- JGL doesn't look like that!) 

Nothing kills genre films quicker than exposition. When you have to pass out glossaries to the uninitiated or explain the rules over and over again, a story can sputter and die or, at the very least, bore you stupid the second time through. Looper, however, is a wonderfully nimble exception given the size of the learning curve. More...

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NYFF: "Hyde Park On Hudson" Historical Oscar Fluff

Michael C here with my first dispatch from the 50th New York Film Festival. First up is one of the Fall's two big president-starring prestige pictures.

Roger Michell’s Hyde Park on Hudson is a perfect example of that particular type of high-end, finely crafted period piece that hits theaters every autumn on its way to an Oscar nomination for Costume Design. These titles exist to provide awards voters with two hours of comfort food nostalgia wrapped in a thin packaging of historical significance. In recent years this subgenre has provided us with films like Finding Neverland, Mrs. Henderson Presents, and My Week With Marilyn. This year it’s Hyde Park on the Hudson, a film on the low end of this particular style. To call it a dud would be too harsh - kinder to say that it’s a missed opportunity.

The story is narrated by Daisy (Laura Linney), FDR’s devoted mistress as well as his fifth or sixth cousin, depending on how you count. Their courtship leads to the presidential handjob scene that America was undoubtedly clamoring for, (ball’s in your court Lincoln) presented in a montage that verges on the unintentionally hilarious in the extent to which it goes to remain tastefully inoffensive. Think close-ups of wild flowers while the sound of FDR’s limo a-rockin’ is heard off-screen.

The set up: With the threat of World War II looming, King George VI and Queen Elizabeth (Samuel West and Olivia Colman) have embarked on the first ever journey to America by British royalty in the hopes a meeting with Franklin Roosevelt (Bill Murray) at his upstate New York getaway can persuade the Americans to intervene. Other major players in the story include FDR’s busybody mother (Elizabeth Wilson), his stalwart assistant (Elizabeth Marvel) and the brash and outspoken Eleanor Roosevelt (Olivia Williams) who has little patience for the pomp and etiquette of royalty. All her bows are unmistakably sarcastic.

Of course, the main attraction here is Murray...

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Francine

Beautiful "Francine" poster illustrated by Michael GilletteMichael C. here. If I’m going to write about Francine I need to start by admitting that I’m not what one would call an animal person.

I certainly like animals. I appreciate their beauty and marvel at their grace... but from a respectful distance, preferably involving a high fence or some sort of indestructible leash. In close contact animals and I tend to put each other on edge, and from there it is a tension filled waiting game until claws make an appearance. As a result of this I was easily pulled into Brian M Cassidy and Melanie Shatzky’s Francine much the same way my debilitating fear of heights kept me riveted to Man on Wire. At one point during the film the lead character grabs a kitten in each hand and rubs them over her face like a healing talisman. I found the directness of this moment incredibly moving even though I would no sooner attempt it than I would try to hug the guy on the subway carrying on a heated disagreement with Jesus. 

When we meet the title character, played in a nearly silent performance by Melissa Leo, she has just finished lengthy prison sentence for an unspecified crime. She is set free to reenter society like a domesticated animal returned to the wild once all traces of its survival skills have been erased. Francine no longer has the ability - or the interest it seems - to navigate the intricacies of human relationships. She opts instead to seek oblivion at every opportunity, including boozing, headbanging to a local metal band, and anonymous sexual encounters. It’s only when Francine begins taking in pets does she find something approaching peace. Her oasis in the uncomplicated love of the owner/pet relationship is the beating heart of this modest, but effective, character study. 

The story tracks Francine’s metamorphosis into a Crazy Cat Lady. Her tiny house is soon overrun with pets of all species and Francine is dumping dog food directly onto floors covered layers deep with foul newspaper. But unlike those reality shows which hold up shut-ins for our judgment and ridicule, the filmmakers here ask for understanding and empathy, not shock and pity. We root for Francine to find some small measure of happiness even as her unbalanced behavior clearly approaches a tipping point.

It might take a few scenes for fans of Melissa Leo to adjust to her in this role. Her trademark has always been outspoken toughness, but as Francine she is downright mousy. We catch hints of the familiar brash Leo persona peeking through but we sense that if that used to be part of this character it was beaten out of her long ago. Jean DuJardin recently won an Oscar for his wickedly charming riff on silent acting but if you want to experience real silent acting, straight up, check out Leo’s work here. 

I wish I could report that the directing team of Cassidy and Shatzky were up to the level of their star. It’s not that they fail Leo, so much as they fail to completely connect the audience to Leo's performance. They set out to tell the story visually with minimal dialogue, but in that case the images need to carry more weight than they do here. The indifferent shooting style and slack pacing keep the viewer too far removed from the main character. To their credit, the directors do have a sharp eye for observing character detail, and when all is said and done providing Leo with such a solid showcase certainly outweights any shortcomings. Francine is a moving little sleeper of a film.

(Warning: There is a very convincing sequence involving a dog being put down that will surely be excruciating for pet lovers to watch. Rest assured - it's not real.)