Some Philly Fest flicks:
The Good Thief (
out of 5)
I could care less about drug raps or unflattering mug shots; Nick Nolte is a personal hero. Few actors will command my ass in a theater seat like Nolte does, and his latest should prove a huge treat to those who feel the same. Leading man side, here's some more good news: this one's actually a tight and moody little crime thriller, one that should absolutely entertain two parents out on one of those all-too-rare 'babysitter nights'.
There's a long list of "non-A-list, but better" actors; guys like Jeff Bridges, Dennis Quaid and Robert Duvall. Actors you spend your entire life getting to know in various roles, and they're always welcome when they pop onscreen. Nolte's certainly one of these fellas, and the amiable lug's been known to salvage more than one mediocre flick through sheer talent.
Yes, the now-aged and seasonably weathered Nolte is back and fortunately for all involved the guy is involved in a flick worthy of his superlative leading role. Neil Jordan's
The Good Thief, a remake of Jean-Pierre Melville's
Bob le flambeur, is a crafty, seedy and altogether moody crime drama, one overloaded with interesting characters and exotic locales. As a heist flick,
The Good Thief may indeed be nothing new under the sun, but there's always something to be said for retreads that manage to be
quality retreads.
Bob Mantagnet (Nolte) is a aging heroin addict and degenerate gambler who spends whatever life he has left in Nice. Though his old police detective nemesis (Tcheky Karyo) is seemingly always on the lookout, Bob and his few loyal cronies are constantly eying up new scam opportunities. Starting with the arrival of a waifish and naive young streetwalker, Bob and Co. find themselves caught up in a massive plan to steal 24 of the world's most priceless artworks from a Monte Carlo casino.
Needless to say, things go more than a little astray.
Neil Jordan is on-again off-again where my movie tastes are concerned, so it was about halfway through
The Good Thief before I realized how much I was enjoying it. The French landscapes make for a suitably dank and urgent backdrop, Bob's tangle with his needle fixation is presented unpleasantly though briefly (as this isn't really a film
about drug addiction), the screenplay wedges a few solid surprises in between the 'surprises' I kinda saw coming, and the cast is uniformly strong across the board - save for the fragile Nino Kukhanidze (as the potential femme fatale) who seems out of her league playing opposite rascals such as Nolte and Karyo.
Offering a superb supporting role is Said Taghmaoui as Paulo - Bob's partner and apprentice in crime. Best remembered for his fantastic performance as the soldier who jams crude oil down Mark Wahlberg's throat in
Three Kings, Taghmaoui is a young guy to keep an eye on. One can only hope he's not destined for a career full of 'evil terrorist' roles opposite whatever action star happens to come down the pike.
Parts of
The Good Thief are a bit arid and dry, and Jordan has this bizarre obesession with freeze-framing the tail-end of many scenes (a bizarre conceit which adds nothing to the film), but the gripes are minor when compared to Nolte's command performance and the overall desperate intensity of the heist at hand.
This one may be not much more than "Heist Flick Version 5" but it's an entertaining one nonetheless. With a lesser actor in the lead role, the whole thing may have crumbled entirely. Fortunately Nick Nolte IS on hand and his powerful presence is the glue that keeps
The Good Thief from ripping apart at the seams.
Confidence (
out of 5)
I often say that a movie needn't be the pinnacle of originality for it to be fun time. Sure, I often say it late at night alone in my bedroom - so you'll just have to take my word for it. Seemingly inspired by such popular flicks as
Pulp Fiction,
The Sting and anything presented by the word processor of David Mamet,
Confidence is indeed packed to the gills with moments you've probably seen before...yet still the flick entertains in its own right. And wait till you see this CAST!
As any devoted film freak can probably attest, the exploits of cinematic con men can often make for some intriguing screenplays. The life of a con artist is logically full of double-crosses, duplicity, and outright bullshit - the sort of stuff that usually translates into film quite successfully. (An adept filmmaker can often dupe his audience much like his characters dupe their own onscreen victims.)
House of Games,
Traveller,
The Grifters - all films that succeed through crafty filmmaking and the sinfully enjoyable antics of the world's craftiest con-men. Now, James Foley's
Confidence may not fully belong in those storied ranks but it's certainly brisk and entertaining enough to earn your box office bucks.
Jake Vig is a slick and rather self-impressed grifter. He and his loyal crew make a decent living by staying on the move between their elaborate confidence schemes. Things go understandably South when Jake and Co. swindle a suitcase full of cash from a timid accountant - one unfortunately under the employ the dangerous and ambitiously named King.
When Jake approaces King to make amends it begins an uneasy alliance between sleazy club-owner and desperately frustrated con artist. Under King's direction, Jake and his pals are compelled to pull of one massive bear of a con job.
Needless to say, even the craftiest cinematic swindles inevitably go awry...
Scoring most effectively from its astonishingly eclectic cast,
Confidence crackles with rapid-fire (if somewhat familiar) dialogue and a series of predictably unpredictable plot twists before ending with a crowd-pleasingly devious note. Simply put, this is a fun little crime drama (with humor) that may not bowl you over in any way - but it's a tough little flick to actively dislike.
No stranger to massive ensemble pieces (he directed the immortal
Glengarry Glen Ross), Foley's film is overloaded with criminally cool actors and the reliable director gives just about all of 'em something interesting to do.
Ed Burns leads the show in full-on Affleck-lookalike mode, creating a cocky and smug character that the audience can't help but admire. Not sure if this work will usher Burns into Matinee Idol territory, but the guy anchors the flick remarkably well.
Rachel Wiesz is in no danger of needing an Oscar Acceptance Speech any time soon (Sorry Rachel! I still love ya!), and this 'smoldering femme (potentially) fatale' role certainly doesn't bring out the actress' best moments - yet she's certainly beautiful enough to keep your eyes interested in what her mouth has to say.
Dustin Hoffman enjoys an extended cameo playing against type as a weaselly and perverted old crime crony. While it's quite a lot of fun to see Hoffman playing a lecherous weenie, one never realy gets the impression they're seeing an actual 'villain'. More like "Dustin Hoffman mean and screaming" yet that's fairly entertaining in and of itself.
About a dozen other likeable pros fill out the supporting roles, most notably Luis Guzman and Donal Logue as two affably crooked cops; the always-awesome Paul Giamatti as Burns' devoted partner in crime; Andy Garcia as a humorously rumpled government agent; and Robert Forster as the con-men's coolly devious quarry.
Yet if the casting director earns a 5-star rating, it's Doug Jang's intermittently spotty screenplay that drags the flick down just a bit.
Confidence employs all three of the "lazy screenwriting techniques":
1. Massive over-reliance on constant voice-over narration.
2. Extensive affinity for 'storytelling by flashback'.
3. Telegraphed plot twists. Heck, everyone onscreen is a con man...so you just know the most recent scam is never the last one.
Call it a testament to the fantastic cast and/or Foley's seasoned touch behind the camera, but
Confidence succeeds despite the several nitpicky complaints I've cataloged. Like a classic joke re-told by an especially energetic new comedian,
Confidence is proof positive that a film need not be unique to be worthwhile.
Despite a handful of clear missteps and familiarities,
Confidence is still a film I can easily recommend. The con man genre could always use a worthwhile new entry and this one's certainly entertaining enough to warrant a visit.
Spellbound (
out of 5)
This is the sort of documentary film that will turn people into documentary film fans. (I hope.) So simple in concept yet so overloaded with sincere emotion and fascinating subject material; I hate to trot out this old chestnut but: I really didn't want this movie to end.
Eight American kids from across the country are visited by a crew of documentary filmmakers. Why? Because these kids can
spell! Each a former city champion and each on their way (they hope) for a return trip to the National Spelling Bee Championships in Washington D.C., these kids represent two of America's most beloved traits: intelligence and insanity.
Yes insanity. What else would you call it when a 12-year-old girl would rather study her vocabulary lists then spend time with friends mall-hopping? How else to describe the unrelenting tension those kids must feel up on stage - trying to spell something like
recidivism or
obsequious? Since way back in the mid-20's the annual Scipps Howard National Spelling Bee has been quite the small-town obsession.
And you won't believe how much fun it is to watch from the inside.
Documentarian Jeffrey Blitz chose eight youths, each of whom did well in previous Bees, and asked if he could film their 'study processes'. We meet contestants like the sweet and humble Ashley White, the socially-adept-yet-still-very-brainy Angela Arenivar, and the stunningly hyperactive (and therefore howlingly entertaining) Harry Altman.
These kids could not possibly be more different - except that they're among the finest young spellers in the entire country. Each of the eight kids are given a 5 to 7-minute backstory/intro, while the film's second half is comprised of footage from the 1999 Spelling Bee Championship, complete with parental reactions and nearly unbearable tension.
And it's tense because Blitz and Company present their subjects in such a matter-of-fact, warts-and-all way that we can't help but root for every single one of 'em. The easy way to make for some entertaining footage would be to poke fun at the down-home country folk or mock the more affluent participants for having lots of money to spend on myriad spelling tutors. But poking fun is not what
Spellbound is about. (Well, OK, maybe a little...)
It's a testament to how powerful the brain is, particularly a young one. I consider myself a pretty damn good speller and I was blown AWAY by some of the obscure multi-syllabic words these kids manged to spell.
And after meeting all eight kids, there's no
way you'll want to miss the competition!
Spellbound absolutely breezes by, offering many moments of humor and familial weirdness before winding up in D.C. where things get even funnier, more intense and even rather sad. Rare to find a doco that covers this much emotional terrain but I guess that's what you get when you film one small and fascinating segment of real life.
Yes, the prospect of watching a documentary about Spelling Bee Participants did not exactly sound like the most thrilling way to spend 90 minutes. Sometimes I guess we just need to be pushed into seeing a movie. That's why we have film festivals. And movie critics.
In July. (
out of 5)
Were
Im Juli. (a.k.a.
In July.) an American film it would inevitably come pre-packaged with a Ben Affleck-type and a Sandra Bullock-type, 10 or 12 soundtrack-worthy and annoying pop tunes, and a plastic/generic veneer that screams 'product' instead of 'movie'. Fortunately,
In July. is not an American film. It comes from a country not exactly well-known for its light rom-com: Germany! Whoda thunk it?
Best described as an old-fashioned modernization/pastiche of screwball comedy, road trip and romance,
In July. is not noteworthy for its startling originality - but for somehow breathing new life into such a potentially stale old vehicle. The plot synopsis for this flick won't do it justice but here goes anyway.
Daniel is a good-natured student teacher, a likeable young guy who clearly lacks a certain slickness with the ladies. During one fateful trip to a local bazaar Daniel buys a ring from lovely brunette July. (Yes, like the month - but the Germans still pronounce it 'Julie'.) July explains that the ring (emblazoned with the sun) will lead Daniel to his one true love - a woman who will also be sporting a similar solar symbol. She then invites the stammering bachelor to attend a party later that night.
Actively on the lookout for some romance, Daniel stops by the party and promptly falls for a lovely Turkish gal named Melek. The pair share an evening together (though they don't SPEND the evening together nudge nudge) and July is crestfallen when she sees the pair leaving the party together. (It's at this point no secret that July has the hots for Daniel; her dress sports a massive sun print on it, poor cutie.) Turns out that Melek must return to Istanbul, so the desperately smitten Daniel opts to meet drive through 7 countries to meet up with her again.
Meanwhile not very far away, July is hugging her best friend goodbye and plans to hitchhike herself into a 'mystery vacation'.
Guess who's driving the first car that stops to pick July up? Daniel's on his way to Istanbul but July climbs aboard anyway and thus begins a series of charmingly sweet adventures.
As a matter of fact, 'charming' and 'sweet' are two adjectives that fit this film quite succinctly. As played by the criminally adorable Christiane Paul, July is independent, intelligent and all-around cool. (I'd share a car with her to IRAQ if I had to!) Moritz Bleibtreu (best known from
Run Lola Run) is pitch-perfect as the horribly smitten Daniel and it's a testament to the actor's performance that we actually BUY it when he initially rebuffs July's subtle advances. This guy wants the Turkish girl!
As in any worthwhile road movie, we're offered handfuls of colorful characters every few miles. As the pair journey across Germany, Bulgaria, Romania (and a few others) they must contend with a deviously well-intentioned trucker, border patrols as unyielding as they are stingy, deceptively sexy con artists, and (in the film's surprisingly effective wrap-around story) a guy with a corpse in his trunk.
Ignore that 'foreign film stigma' most people won't admit they have. Forget that you'll be forced to "read along" with the onscreen action.
In July. is a very funny and very sweet little confection from a film industry generally not known for its soft touch. I don't care what country a movie comes from: something this colorful and disarming simply deserves to be seen.
And did I mention how cute the leading lady is?
Gotta love the film festivals. Were it not for this sort of venue, I doubt I'd have ever seen this movie. If you're the sort who used to enjoy romantic comedies before they became doddering and formulaic chick flicks, take some steps and search this one out.
Beyond Re-Animator (
out of 5)
To say that the original
Re-Animator was an influential movie in my life is like saying that the original
Re-Animator is a mildly gory film. The first sequel (
Bride of Re-Animator), while certainly not a BAD horror movie (particularly for a Part 2), didn't enthuse me like the original did. (Loved the gore, but the sheer ingenuity of the first entry was sorely missed.) Now from the brains of Brian Yuzna and Jeffrey Combs comes the long-awaited
Beyond Re-Animator - and damn if this flick's not a blood-spattered hoot.
First the bad news: Flick drags a bit in the mid-section. Truth.
OK, now that that's out of the way I can inform my fellow horror hounds that the third entry in the beloved
Re-Animator series is absolutely a helluva good time; a flick that doesn't acheive the lofty greatness of the first film but does manage to improve upon Part 2's minor oversights.
And all three together will make for one bloody good triple feature. How many other modern horror trilogies can accurately make that claim? I'll save you the head-scratching: very few can, and I've seen 'em all.
Beyond Re-Animator picks up a lucky thirteen years after Dr. West's infamous zombie orgies, and our beloved anti-hero is firmly incarcerated in a maximum security prison. His mundane existence (you know: kidnapping his fellow inmate's pet rat and committing simply horrible acts upon it...that kind of thing) is interrupted by the arrival of a new prison doctor.
Howard Philips, young doc and brother of a girl murdered (in a roundabout way) by Dr. West thirteen years earlier, knows all about the glowing yellow formula that all
Re-Animator freaks know and love - and this doctor is obsessed with advancing West's reagent. The ever-cool and certainly insane Dr. West accepts this news as any self-respecting mad scientist would:
To the lab!
This begins another gore-strewn and adorably icky chapter in the adventures of Dr. West, his inconveniently naive young protege, a love interest who's ill-fated in the most goopy way imaginable, a stunningly evil warden, and a few colorful inmates/eventual corpses for the Doc to monkey around with.
Clearly the
Re-Animator formula isn't shaken up too severely. And I mean that in a good way.
Since anyone familiar with the earlier movies has to be wondering why an intelligent (albeit maniacal) physician would opt to use a reagent that clearly has horrific side effects, Yuzna and his fellow screenwriters have devised a clever conceit:
Not only does West still adore his gleaming yellow goo, but now his experiments have yielded a technique that allows him to remove a person's 'nanoplasma' (a.k.a. soul) and inject it into the newly dead/hopefully soon-to-be-alive meat puppet currently lying on the slab.
So we've upped the ante here; the howling resurrected can potentially become 'fully normal' with a jolt of West's new gizmo.
Needless to say, things go a little amiss.
And by 'amiss' I mean dozens of dead and bloody quivering bodies hung from the prison rafters, an undead mutant who springs oddly spider-shaped legs, prison-yard bullies abbreviated into half-man/half dangling intestines, and a life form that can best be described as a dismembered...member. (And boy is that little weiner
pissed!)
Sure, a lot of this stuff is little more than a clever and colorful rehash of what was first presented in Stuart Gordon's cult classic - yet it's wonderfully clear that Yuzna and Combs (delivering yet another brilliantly cool performance as the haunted doctor) have a real devotion toward this series. This is not the case of an actor and director hoping to score a few quick bucks on name recognition - but a situation where a few filmmakers, asked to deliver a sure moneymaker, have tried to craft a follow-up that pays homage to its lineage while marking a little new territory of its own.
My guess is that my Gorehound brethren will applaud their efforts. In a genre overloaded with garbage like
Children of the Corn 11: Corny Bullshit and
Leprechaun 8: Leprechauner!, a sequel that actually REFERS to its forefathers is due some hearty praise.
Following the screening there was a cool Q & A discussion with Yuzna and Combs. When I asked the pair what (original director) Stuart Gordon thought of the sequels they both responded that he enjoyed them both quite a lot. That alone speaks volumes about the quality of
Beyond Re-Animator. Bottom line: horror fans should have a great time here; others already know to stay away. Sissies.
• The Squid And The Whale 
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