jürgen fauth’s muckworld

The Assassination of Jesse James By the Coward Robert Ford
Dullsville and then some. Artfully shot, for sure, but ripping off Malick isn’t as easy as it looks. The voice-over narration, always describing what we already saw, doesn’t create openings but locks the movie down even more than the airless, repetitive scenes between paranoid outlaws. Sam Shepard disappears much too early, and soon thereafter, the drama completely stalls. After thirty minutes, I was begging for Casey Affleck to shoot Brad Pitt in the head already, but there were two more hours to go. Andrew Dominik, 2007. *

3:10 to Yuma
Now, this is how you do a western: engaging, exciting, and steeped in sepia tones. Russell Crowe plays a bandit who has to be brought to justice; Christian Bale is the one-legged stand-up guy to do it. Together with his performances in Rescue Dawn and I’m Not There, Bale is one of my favorite actors this year. James Mangold, 2007. ***

The Bucket List
The trailer for this movie is so hideous, we just had to check it out. Also, we might have been drunk. If Jack Nicholson throwing up in a hospital gown or jumping out of airplanes is your idea of fun, go right ahead. Sanctimonious Morgan Freeman is starting to get on my nerves. Rob Reiner, 2007. *

In Between Days
We had high hopes for this unassuming coming-of-age story about a Korean immigrant. I’m perfectly willing to stomach a slight story, mannered direction, or uncommunicative main characters — but if you heap them on top of each other, I’m probably already asleep. 83% on Rotten Tomatoes. So Yong Kim, 2007. *

The Brave One
Jodie Foster and Terrence Howard have what they call “good chemistry” in this surprisingly gripping tale of New York City revenge. Neil Jordan, 2007. ***

In the Valley of Elah
Worlds better than Crash, but that’s not saying much of anything. Tommy Lee Jones and Charlize Theron try to solve the murder of his son, an AWOL soldier on leave from Iraq. In the process, they discover all sorts of truths about important issues. See Redacted instead. Paul Haggis, 2007. **

Once
Every bit as lovely the second time around. I finally discovered the title in the film, and I have a new favorite line: “Can I bring my mother?” Marcy’s review. John Carney, 2007. ****

No Country for Old Men
Wildly overpraised. Yes, I can see the expert filmmaking here, but all the sumptuous cinematography and vivid attention to detail is lavished on a story full of walking cliches and a lousy third act. On second viewing, the glaring problems with both plot and character — what Marcy called “lack of soul” — are impossible to ignore. Llewelyn’s too foolish to care for, the Coens avert their gaze at the crucial moment, and Bell’s defeatist retread of Marge Gunderson leaves us with a dire moral: “you can’t stop what’s coming.” Oh well then. No Country wastes a lot of hard-boiled effort on a tale that ends with an Old Testament shrug. Joel and Ethan Coen, 2007. **

• Matt Zoller Seitz
• Glenn Kenny
• Jim Emerson
• Jonathan Rosenbaum
• Rotten Tomatoes: 95%

I took a break from the festival today to catch up with reviews. Here’s a quick rundown:

I’m Not There
Todd Haynes’s Dylan picture only truly takes off when a Dylan song is playing, and that should tell you something. Cate Blanchett is great fun, but I liked her even better in tonight’s Elizabeth: The Golden Age. More on that soon — and I’ve got video of the press conference with Haynes, too.

Paranoid Park
I saw this strictly out of professional curiosity, and Gus van Sant did not disappoint: yet another artful bore.

The Man From London
Everybody seems to be digging out their favorite “on drugs” lines for this year’s NYFF, so here goes: The Third Man on Ambien.

Secret Sunshine
Once again, my festival favorite (at least so far) comes from South Korea. No distributor yet, but you can get Lee Chang-dong’s Oasis and Peppermint Candy on DVD.

I’m Not There. Todd Haynes, 2007. ***
Paranoid Park. Gus van Sant, 2007. *
The Man From London. Béla Tarr, 2007. ***
Milyang. Lee Chang-dong, 2007. *****

Ten years ago, Werner Herzog made a documentary called Little Dieter Needs to Fly, about a German-born U.S. Navy pilot who was shot down in Laos during the beginning stages of the Vietnam war. Now, Herzog returns with a fictionalized version of the very same story starring Christian Bale. It’s obvious why the director of Aguirre, Fitzcarraldo, Cobra Verde, and Grizzly Man couldn’t stay away from this material: Dieter Dengler’s jungle ordeal is bursting with themes that have defined Herzog’s career, and it’s one hell of a story.

After his plane is downed during a secret bombing mission on the Ho Chi Minh Trail, Dengler (Bale) is taken prisoner by Pathet Lao soldiers. His captors torture and abuse him in fiendishly innovative ways before marching him through the stunning landscape to a detainment camp. The other captives (played by Steve Zahn and Jeremy Davies) are resigned to their miserable bamboo prison, but Dengler, with German ingenuity, hatches plans for escape. The details of his imprisonment and subsequent flight through the dense Southeast Asian jungle form an encyclopedia of deprivation: hunger, madness, pain, and treacherous flora and fauna all around. And yet, in this version of the quintessential Herzogian battle of man versus nature, man triumphs.

Anybody who has seen Burden of Dreams knows that on extreme location shoots, Herzog doesn’t spare his actors, and stories about Christian Bale’s own ordeal have been making the rounds; scenes involving worms, leeches, and waterfalls appear all too real, with no stunt doubles or CGI in sight. Through it all, Bale’s performance is wonderfully emphatic, always holding on to a stubborn optimism as he turns from fresh-faced fighter pilot to the emaciated, scruffy wreck that emerges from the jungle, his face caked with blood and dirt. In the supporting roles, Steve Zahn takes a welcome break from his recent run of comedies, and Jeremy Davies does a repeat performance of the wigged-out freak from Soderbergh’s Solaris.

Many movies falsely promise what Rescue Dawn delivers: a thrilling, visceral adventure about what marketers and book flap writers like to call “the resilience of the human spirit.” To Herzog’s credit, this most American of his films hits all the marks of the genre splendidly without ever resorting to easy shock tactics or vilification of the so-called enemy. Rescue Dawn is that rarest of beasts, a powerful fiction based on fact that sacrifices neither storytelling nor the truth.

Rescue Dawn. Werner Herzog, 2006. ****

Rescue Dawn opens on July 4. Here’s the trailer:

Pompous & bloated. When was it decided that superhero comics were now to be treated like Shakespearean tragedies? Oh, the agony of being Bruce Wayne, playboy millionaire with a bat complex! The guilt, the fear, the fateful choice between vigilantism and revenge! Even Ang Lee’s Hulk had some jokes (and primary colors.)

Perhaps the thudding seriousness would be acceptable if the movie wouldn’t keep asking us to believe more and more outrageous conceits: first there’s the bat thing, then there’s a secret clan of ninja criminals, a stolen superweapon, a mad doctor who uses bummer hallucinogens to attack a city that only exists in a comic book universe… and most ludicrous of all, we’re supposed to buy that Katie Holmes is a D.A.? Come on. Stiff pseudo noir does not suit a pop hero franchise. Tim Burton’s 1989 version was far superior because it embraced its silliness and had some fun with it. In the immortal words of Joker Jack: “What this town needs is an enema!” So does Nolan’s Batman.

Batman Begins. Christopher Nolan, 2005. *

• Batman Begins on RT: 84%
• Watch the parade from Tim Burton’s Batman (with Prince’s “Trust”) and Jack at the museum (with “Partyman.”)