The Cracked video below is, as you might expect, tongue and cheek, but it nevertheless illustrates some reasons Pulp Fiction is still one of my all time favorite films. While it can be dismissed as an exercise in violence, vulgarity and all around excess, it has lots of layers that bring up issues such as morality, redemption and, as this video asserts, possibly even parallel realities.
Apparently there is a slight discrepancy in the dialogue between the opening scene (with the bank robbers) and the return to this scene at the end. Was this a blooper or a deliberate device Tarantino snuck in the film. Another mystery -why has no one noticed this in the almost 20 years since its release? Perhaps it has been noticed and commented on -despite having a fledgling movie blog, I’m hardly a movie trivia savant.
Anyway, this is something to watch for the next time you view Pulp Fiction!
Branded (2012)
Directors: Jamie Bradshaw, Aleksandr Dulerayn
This movie is a confused mess, but an interesting and sometimes thought-provoking mess. I actually wanted to like it, as it had some compelling social themes and displayed some real originality. Unfortunately, the lack of focus and editing waters down any message about the role of brands in the modern world.
The story is set in Moscow and is a Russian-American production, though most of the film is in English. The hero is Misha (Ed Stoppard), a marketing wizard who eventually discovers (in a truly bizarre manner) that brands are not merely a manipulative force in the world, but are living, predatory monsters who literally consume people.
Branded is basically a dystopian sci-fi satire that is sort of an updated Brave New World. The main focus is on fast foods, and how large corporations set out to make it fashionable to be fat. Even though the film definitely contains the element of satire, the mood is too often deadly serious. This is part of the problem, as more humor could have made the bizarreness of it all more palatable.
There are two main problems with Branded. The first is that it has a long middle where it drags. There is an extended period when Misha drops out of the ad game, has a strange vision, performs a Biblical style animal sacrifice and learns the weird truth about brands. Even if we are to accept this at face value, this part of the film dragged on longer than necessary and should have been edited.
The other problem is that the concept of the living brands isn’t really coherent. We never learn how these monstrous creatures were created Was it deliberately done by corporations or did it just happen, the way Godzilla was a byproduct of nuclear radiation? The film never tells us. There also seems to be some confusion about what the real nemesis is here. At one point, Misha helps a company create a vegetarian chain of restaurants to dismantle the evil burgers that are making everyone fat. As if there weren’t enough subplots, people are dying from a mysterious disease that may or may not be Mad Cow Disease. This is another potentially interesting and topical point, but it creates more ambiguity as far as the film’s main plot is concerned. Is the problem with beef and unhealthy food or brands per se? Aside from addressing the problems of fast food, there are also stand-ins for Apple and other popular brands that are not food related. The theme so broad that it’s just too difficult to keep it hanging together.
The romance between Misha and Abby (Leelee Sobieski), the niece of Misha’s boss, is sometimes interesting and provides some relief from the dystopian sociology. Yet this too drags out as the two are constantly coming together and breaking up until the very last scene.
Branded is a movie that deals with some important and serious topics. In many scenes it does so in an intelligent and original manner. Yet it is ultimately too muddled to make the kind of impact it should have made.
Note: This review has recently been re-published on Devtome.
Radio Unnameable (2012)
Directors: Paul Lovelace, Jessica Wolfson
This is a documentary about Bob Fass, an underground celebrity not widely known outside of certain circles. I must confess that his name was only vaguely familiar to me prior to seeing the film. This was a good thing in a way, as it allowed me to learn all about the subject from the ground up. Fass is the kind of character who, even if you’ve never heard of him, you have certainly heard of many people and events where he played a central role.
The name Bob Fass will be familiar mainly to New Yorkers who tune their dial to the independent radio station, WBAI, which is owned by Pacifica Foundation. WBAI’s slogan, according to their website, is Free Speech Radio, and they have traditionally featured many controversial and offbeat programs, such a Democracy Now!
Pacifica has had its share of controversy in recent years as it has undergone various changes in leadership and faced financial hardship. Currently, there are rumors that Pacifica is about to sell out (literally!) to corporate radio giant Clear Channel.
Fass, whose program was called Radio Unnameable, was the creator of free form radio. As the name suggests, this meant that his program was a completely open-ended affair where guests and callers could discuss anything under the sun. These often ended up being radical and controversial topics, but they were just as often random and personal stories.
Part of the uniqueness of Radio Unnameable was its time slot -the wee hours from midnight to 5 a.m. This fact alone tended to skew his listener base to the unconventional. There is something about the late night hours that makes people drop their usual filters.
Fass was at the hub of many iconic countercultural events of the 1960s. Arlo Guthrie’s famous Alice’s Restaurant was introduced on Fass’s show in 1967. Other guests included Bob Dylan, Joni Mitchell, Allen Ginsberg, Judy Collins and Abbie Hoffman.
All of this and more is captured in this quite thorough documentary, which is sure to appeal to Fass’s fan base as well as those not yet familiar with him. Many of the events portrayed in Radio Unnameable are long forgotten by most people (those who knew about them in the first place). For example, Fass helped to organize a “Yip-in” at Grand Central Terminal which started off like an exuberant party but degenerated into police-instigated violence.
Watching this, we are reminded that in the pre-Internet days, radio played a pivotal role in keeping people informed and connected. Parallels are drawn to Twitter, as several of the events portrayed are analogous to the type of flash mobs that now rely on social media for their momentum.
The amazing thing about this man is that he began broadcasting in 1963 and is still at it today. After being thrown off the air for several years, he was reinstated by WBAI, albeit on a part time basis –the current WBAI schedule lists his show on Friday from 12 to 3 AM.
The young documentarians Lovelace and Wolfson provide a healthy sense of perspective to Fass and his story. While they obviously admire him, they also don’t fall into the trap of relegating all of this to a bygone era. They are aware of how internet activists and the Occupy Movement, for example, use similar tactics. This places Fass in a contemporary context as well as an historic one, which is certainly where he deserves to be.
Note: This review has been re-published on Devtome.
Good For Nothing (2011)
Directed by Mike Wallis
Good For Nothing is an unusual Western -one that veers back and forth between seriousness and deadpan comedy. Judging by some of the reviews on Netflix, the comedy part went right over the heads of many viewers.
I’m not sure how this was possible, as having a tough gunfighter with a case of erectile dysfunction would seem to be a clue that this movie isn’t exactly a straightforward Western. Perhaps it’s true that Americans have no sense of irony?
Good For Nothing was filmed in New Zealand, though many of the scenes looked like they could have been from Colorado or Wyoming. It stars Cohen Holloway as the ruthless, steely eyed outlaw whose name is never mentioned –obviously a reference to Clint Eastwood films such as High Plains Drifter (Holloway does a pretty decent Eastwood impression with his perpetual squint as well).
Inge Rademeyer plays Isabella, a prim and proper Englishwoman who arrives in the wild west to visit an uncle’s ranch. No sooner does she set foot in a saloon than a gunfight erupts and she is abducted by the savage and mostly silent gunfighter.
The rest of the film revisits the usual cliches of Westerns. When the man kills a sheriff, a posse of misfits sets out to kill him. The towns in Good For Nothing are like ones you’ve seen a hundred times before (assuming you’ve seen that many Westerns, that is), only more so. Everyone is staggering around drunk, firing a gun or glaring menacingly around the room.
The unlikely couple never exactly bond, but their relationship turns somewhat symbiotic. At some point, Isabella recognizes that she has nowhere to run, and the posse is out to kill her as well as the outlaw. While on the run, he seeks a cure for his embarrassing condition, first from a Chinese doctor and then from an Indian medicine man with less than stellar results.
Good For Nothing was not created to be a crowd pleaser. It’s too slow paced to satisfy action fans. The humor is extremely dry and subtle — one exception is a scene where two inept gunfighters fire and miss at each other until one is finally killed. It is definitely not, however, Blazing Saddles.
The panoramic scenes of the wide open country and the occasionally graphic violence prevent it from being an out and out comedy. It also isn’t going to win any points for political correctness. The casually brutal way that the man treats his captive for most of the film is likely to offend many viewers, especially since he is portrayed as at least borderline sympathetic by the end.
Overall, Good For Nothing is a well acted, often interesting and offbeat but ultimately not very memorable entry in an ever popular genre.
The Tribeca Film Festival, which began in 2002, is running from April 17-28 in 2013. This year, as usual, there is a wide assortment of offerings, including a few fascinating documentaries.
There are now so many film festivals that it’s hard to keep up with them all, but Tribeca films a definite need. While most film festivals are in small towns that come alive strictly during the film festival, this one is right in the heart of New York City.
So what’s on the agenda this year? Here are just a few of the selections:
The Motivation, a documentary by Adam Bhala Lough on the world of street skating.
Lenny Cooke, directed by Josh and Benny Safdie, is a documentary about a young basketball player who doesn’t make it into the NBA.
Adult World -directed by Scott Coffey, is about a poet who works in a sex shop.
The Acrobat, directed by Gerardo Herrero, is a Spanish documentary that looks at the phenomenon of suicide.
AB, directed by Daniel Klein, is about a man who has an accident in a remote area in the middle of winter.
Lil Bub & Friendz, directed by Juliette Eisner and Andy Capper, is a documentary that focuses on celebrity cats on the internet.
Mistaken For Strangers -directed by Tom Berninger, follows the rock group The National on a big tour.
The Comedy, the ironic title to a relentlessly ironic film, may appeal to fans of Borat. Yet this film goes beyond the mockumentary style of that film, asking us to believe that a series of sketches is a depiction of real life. The Comedy is an example of how a movie can be clever and well acted and still be fundamentally lacking in authenticity.
The antihero of the movie is a slacker/hipster named Swanson (Tim Heidecker), a bearded, pot-bellied character whose entire life is devoted to being obnoxious. He lives on a houseboat and cavorts with a group of male friends who share his taste for psychological pranks.
In the opening scene, we are privy to a bacchanal where these guys drunkenly dance around naked and grope at each other simulating sexual acts. Aside from the fact they are all in their mid-30s or older, the scene could have been shot at a frat party.
The rest of the movie follows these decidedly uncharming guys around as they engage in non-violent but not quite harmless pranks at the expense of taxi drivers, gardeners and other hapless victims (at least as they are portrayed here).
The underlying premise of The Comedy, to the extent that it can be said to have one, is that Swanson and his friends are wealthy or at least relatively affluent. They don’t have to work at 9-5 jobs, though Swanson takes on a dishwashing job for no apparent reason (except to harass his co-workers, of course).
The Comedy can be seen as an expose of the excesses of hipster culture. Yet I’m not sure that the subculture depicted here actually exists. They are perhaps meant to be a 21st Century version of the ne’er do well playboys or cads of much older films. Yet those type of characters took great pride in their personal appearance and cultivated a charming, debonaire aura. Even today’s hipsters usually try to look, well, hip. Swanson and his crew flaunt their lack of style and personal hygiene.
These are more like refugees from the 1978 film Animal House -if those characters aged but didn’t mature and had enough disposable income to avoid regular employment. They don’t seem to have the usual hipster fetishes for art openings, gourmet foods, alternative rock or the other activities you might see on Portlandia (if you’re not lucky/unlucky enough to live near real hipsters). They do, however, live in a state of perpetual irony -mocking everything and everyone at all times, including each other.
What I found most annoying about The Comedy is that many of the scenes simply didn’t ring true. At least in a scenario like the show Punk’d (and its predecessor Candid Camera), or Borat, it’s understood that we are watching scenes that are set up for an audience.
As drama or comedy, scenes require a certain sense of truth if they are to be accepted. The Comedy doesn’t really deliver on this count. For example, we watch as Swanson, a soft looking white guy, goes into a bar full of black men and proceeds to fearlessly make racially charged comments to everyone in the room. How likely is this?
Similarly, women seem to find Swanson attractive no matter how unappealingly he behaves. At his dishwashing job, he begins his seduction of a waitress by making blatantly offensive comments to her. This would more likely lead to his immediately losing his job than to her ultimately falling for his (non-existent) charms and eventually sleeping with him.
If The Comedy is saying anything at all (a dubious proposition), it’s that this is what you get when you take hipsterism too far. A bunch of completely unlikable, borderline sociopaths who go through life in a soulless haze of perpetual irony.
Yet it doesn’t even really say this much. It hedges, making Swanson borderline human towards the end -for no apparent reason, except because it’s a rule of cinema (even indie cinema, it seems) that characters are supposed to change over the course of the 90 or so minutes we get to spend with them.
Swanson and his friends are never established as bona fide people with motivations that make sense. Perhaps we could believe that one person, such as Swanson, might have a personality disorder that leads him to act as he does. But a whole cadre of friends who share these characteristics? Who are they and how did they get this way? Who supports their idle lifestyle? Swanson has a wealthy father who is about to die, but the others have no back story whatsoever.
The Comedy is, despite its basic emptiness, funny at times, in a similar way that a mindless action movie can provide moments of excitement. Yet it ultimately leads nowhere. Though, I suppose, that might be the whole point.
Bindlestiffs (2012)
Director/Writer: Andrew Edison
Starring John Karna, Luke Loftin, Andrew Edison
The title of this film comes from an old word meaning hobo. The main distinction of this film is that it was “presented” by Kevin Smith. Other than this, it’s an extremely low budget and rather amateurish indie film that is part comedy, part drama and part random weirdness.
As someone who mainly watches indie films, often obscure ones, I am usually fairly tolerant of offbeat stories without a linear plot. Nor am I a reviewer who is a stickler for political correctness. This one, however, left a bad taste in my mouth, mainly for the way it portrays a homeless person as a faceless, purely symbolic entity who exists solely as a prop in the lives of a group of suburban teens.
Bindlestiffs is about three teenagers (Karna, Loftin and writer/director Edison) who are suspended from high school when they protest the banning of The Catcher in the Rye. This book has long been a symbol of teenage angst and rebellion and, more recently, associated with mass murderers (a fact that becomes relevant to the story).
The three friends embark on a trip to the big city where they intend to experience as much as possible, sex included of course. This is extremely familiar movie territory, but Bindlestiffs is no typical Hollywood teen movie. Unfortunately, it ends up being even more inane and less coherent than the average entry in this genre.
Things get really weird when one of the kids has a sexual encounter with a homeless woman, who then apparently dies. The three drag her body around but before they can dispose of it, she comes back to life. Yet she has no lines, and we never see her face -only a tangled mess of gray hair. For the rest of the film, they carry and drive her around as though she was a mannequin. Even if you do find this amusing, the joke would start to wear thin after an hour or so of this.
There are other scenes involving a hooker and one of the teens smoking crack. Yet none of it seems real. It’s more like a series of disjointed fantasy sequences, dreamed up by a group of sheltered teens with little experience beyond the suburbs.
Another ill formed character is the high school security guard, who plays the stereotype gung ho military type. He is actually funny at first, but gradually devolves into a silly parody. He comes up with a paranoid idea that the kids are planning a school shooting. This could have led to some dark humor, but this is a thread that gets forgotten as the film reaches its pointless conclusion.
I seldom actively dislike low budget indie films, but this one really annoyed me for a few reasons. The dehumanizing of the “hobo” was one factor, and then there were the constant references to The Catcher in the Rye -as if merely mentioning this book could somehow prop up the film and give it depth and meaning.
If you want lightweight teenage rebellion, stick with Ferris Bueller’s Day Off, which may not be profound but is at least entertaining.
Note: an edited version of this review has recently been published on Devtome.
Safety Not Guaranteed (2012)
Director: Colin Trevorrow
Writer: Derek Connolly
Starring: Aubrey Plaza, Mark Duplass, Jake Johnson, Karan Soni
Safety Not Guaranteed is the latest in a series of highly original and entertaining indie films by producers Jay and Mark Duplass (the latter also stars in this one). Some of their previous efforts include The Puffy Chair and Jeff Who Lives at Home.
All of these are unmistakably indie films, unlike many contemporary movies (say, by Quentin Tarantino or the more recent Steven Soderbergh movies) that lurk on the increasingly murky line that divides indie from mainstream. No one could confuse Safety Not Guaranteed, for instance, with a Hollywood romantic comedy, even though it has some of the same elements.
This is what makes a film like this such a pleasure to see. If you’ve watched enough movies over the years, your mind has become so accustomed to movie cliches that you have certain expectations. In a film such as this, however, cliches are not so much turned on their heads as gently transmuted into something less definable yet infinitely more satisfying.
The hero (or perhaps antihero) of Safety Not Guaranteed is Kevin (Duplass), a possibly delusional inventor who claims to have discovered the secret to time travel. Kevin, who lives in a small town in Washington, places an unusual ad in the classifieds -he’s looking for a time travel partner whose “safety is not guaranteed.”
He is pursued by a team of journalists desperate for an offbeat and funny story. When one of them, a young intern named Darius (Plaza) becomes at first fascinated and then attracted to Kevin, things get quite complicated. A pair of government types are also following him around.
Despite the interesting story, this is primarily a character driven film. In a conventional movie (or novel, for that matter), it’s a rule that the leading characters must develop or evolve in some way. This usually results in some hackneyed event where a lesson is dutifully learnt. Here, the characters don’t develop as much as reveal increasing layers of complexity.
Is Kevin a delusional loser with paranoid tendencies? You might be tempted to conclude this, but then you also see that he’s sensitive, sincere and brilliant. Is Darius’ boss (Johnson) a superficial and cynical manipulator? Yes, but he also reveals a whole different side.
Safety Not Guaranteed does have a geeky, sci fi side to it, but that is secondary to the characters, dialogue and relationships. Yet the time travel element remains significant throughout, so the film has some appeal for fans of this genre -as long as you’re not expecting aliens, spaceships or laser shootouts.
To recite the plot of Safety Not Guaranteed would make it sound like a typical cute, quirky indie film. Like the characters I just described, this film does fall loosely into that category, but it also transcends it by being truly moving and original.
About Fifty covers familiar cinematic territory -middle-aged guys having a midlife crisis and trying to recapture their youth. In this case, the pair are recently separated Adam (Martin Grey) and longtime bachelor Jon (Drew Pillsbury).
Although this film is categorized as a comedy on Netflix (it received little attention elsewhere), it is more of a drama. In fact, a lot of it is quite depressing. It is also full of cliches of this genre. The men deal with prostate exams, senile parents, fight off desperate cougar-type women in a bar, obsess about golf scores and experience career and marriage malaise.
For About Fifty to have really worked, it would have had to go in one of two directions. Either a goofy comedy or a drama that breaks new ground. Instead it waffles between mild comedy and cliched melodrama.
I should also confess having a prejudice against movies where golf takes up more than a few seconds of screen time. In About Fifty, this incredibly dull sport dominates at least three scenes.
