Rock of Ages (Adam Shankman, 2012)

"This man spews out three things: Sex, hateful music, and...sex!"

A rock musical, it sounds too good to be true. Normally I would never be thrilled to watch a film made by the director of Hairspray and Bringing Down the House, but when I saw the trailer a couple of weeks ago I was excited to see this one and I am proud to say this movie is already my guilty pleasure of 2012.

The story is total crap. The small town girl Sherrie (Julianne Hough) comes to the big city to make a career as a singer. She runs into Drew (Diego Boneta, who looks like Matthew McConaughey’s little brother) who works in the Bourbon Room, a famous rock temple about to go bankrupt. Drew of course has his own aspirations as a musician and of course the two of them fall in love. And of course later on when Drew has success in the industry something goes wrong, and in the end...you can guess.

Secondly there are the two owners of the Bourbon Room (Alec Baldwin and Russell Brand) who have tax issues. The major’s wife (Catherina Zeta Jones) is determined to shut the rock temple down and especially has something against rock god Stacee Jaxx (a brilliant role by Tom Cruise).

This synopsis sound lame and cliché and has been done a thousand times before. The filmmakers obviously didn’t take it serious since they use minimal time to tell this story and focus on the strong and funny performances by the supporting actors and last but not least on the great rock music from the eighties. Music from bands like Def Leppard, Journey, Twisted Sister and Whitesnake are integrated into the storyline, or maybe not, I believe that the story was built around the songs, since the corny 80’s lyrics fit perfectly to the story.

And then Tom Cruise as Stacee Jaxx. When I saw the trailer I was afraid that he would only have a cameo appearance but fortunately he has a lot of screentime and clearly enjoys every minute of it. The sheer fun he and actors like Paul Giamatti (his manager) have can be felt perfectly and makes this film ‘Nothin’ but a good time’. The scene between him and the Rolling Stone journalist, going under the brilliant name Constance Sack (Malin Akerman), is priceless. Besides all the fun, Rock of Ages ridicules some of the developments in the music industry. There is a funny development regarding a shift in pop culture (if you like New Kids on the Block it’s likely you disagree) that must be loved by anyone who is into rock music. The film also dares to ridicule the rock culture in a way as well with some gay thematics, hairstyle and the extreme adoration of a rock idol (“When my hamster died, your music got me through it”).

If you plan to regard this movie as a serious one you will be disappointed. If you, just like me, love eighties rock you will find this picture a treat. Enjoy the pleasure the actors are having in their performances and the spoof-factor (which I think is present). Don’t compare it to classics like This is Spinal Tap or Almost Famous, but just sit back and relax.

7.5/10

Cosmopolis (David Cronenberg, 2012)

Cosmopolis, the latest production of David Cronenberg (Videodrome, A History of Violence) resulted in a lot of discussion amongst the critics at this year’s Cannes Festival. After watching this film I can completely understand why. After his (for me) disappointing A Dangerous Method I was curious and even excited to watch this one in which the director supposedly went back to his roots. Personally I wouldn’t agree with this statement but this movie is for sure a typical Cronenberg mixing the ‘old’ and ‘new’ side of the filmmaker.

Eric Packer (Robert Pattinson) is a confident 28-year old billionaire who lives in New York City. He is a brilliant Wall Street prodigy who bet a lot of his capital on the yuan’s exchange rate. We follow him in his limousine on his way for a haircut. While losing most of his capital as the rate is going up Packer calmly discusses his philosophies with co-workers, friends, security guard and his lovers. All of this happens in his limo, he even gets a prostate exam while talking, and in the outside world the riots and threats against his life are getting worse and worse.

The long monologues and dialogue especially in the first hour of the film can easily be qualified as monotone and therefore dull. Even though some of the theories and topics are very interesting (consider we are in the near future) it is hard to keep your attention. Most of this appears to be due to Pattinson’s performance, but as the movie progresses we learn that this is exactly the point, and I think Cronenberg chose the Twilight-star for a very good reason. Not only does he have the right looks for this role, his lack of emotional expressions and somewhat cold manners are exactly what Eric Packer is like.

Of course a parallel could be drawn between Packer and Patrick Bateman, the protagonist in Bret Easton Ellis’ American Psycho, but there are some important differences. First of all the fun is missing in Packer’s monologue, it is not about his favourite bands or how he wants to kill women but about less superficial and more intelligent subjects. The comparison is very strong for the relationships Packer has, especially the one with his newly wed. In a few occasions these scenes had strong similarities in emotional (or lack of ) involvement. Patrick Bateman claimed not to ‘exist’ emotionally. Packer is craving for kicks and emotions, since the spoiled billionaire doesn’t seem to be impressed by all the dangers around him. It’s like nothing can or will hurt him. (Yes, when his favourite rapper dies, the whole world cries, what a future prospect!)

The dull start of the movie could easily spoil the rest and I can imagine a lot of viewers give up after a while, I have to admit I had a hard time getting involved with any of the characters (again, this is probably what Cronenberg wants) but after a while a dark and depressing mood struck me, this feeling is amplified by the impending soundtrack which reminded me of the director’s 90’s classic Crash.

The strongest part of Cosmopolis is the final scene with a brilliant Paul Giamatti who was a former worker for Packer. The role Giamatti plays shows how much better an actor he is than Pattinson, but again, his lack of talent is not problematic at all, it is functional I would say. Some typical Cronenberg stuff and great dialogue makes a thrilling final. The director takes a risk with this film and balances on a thin line between (functional) dullness and making a philosophical statement about the future. For me it partly worked, but I will probably not watch it again soon….

7/10

TRON (Steven Lisberger, 1982)

So, here is another classic from the science fiction genre, probably the movie genre with the most potential as it comes to creativity and visuals. In my opinion the infinite possibilities for writers have led to some awesome films, for instance Kubrick’s 2001: A Space Odyssey has been and still is in my personal top 10 for years, Ridley Scott’s Blade Runner is coming close. But I feel there are a lot of disappointing ‘classics’ as well. One of the biggest problems I have with some scifi’s is that filmmakers tend to overdo their ‘gimmick’, they sometimes seem to forget how to tell their story properly and put all the effort in action, special effect and visuals. This is exactly my problem with Steven Lisberger’s TRON.

The story in its core sounds interesting. Computer programmer Flynn (Jeff Bridges) lost his job because one of his colleagues Dillinger (David Warner) stole the games he wrote and is now the president of a software engineering firm called ENCOM. This information is stored in the mainframe computer, which he tries to hack. This computer is protected by an artificial intelligence called MCP (Master Control Program, not as creative as HAL, IBM alphabetically 1 letter shifted). When Dillinger finds out this MCP wants to hack and gain control of the Kremlin and Pentagon it blackmails Dillinger to reveal his plagiarism. When Flynn breaks in at ENCOM to hack the MCP he gets sucked in the computer mainframe entering a virtual reality and has to find his way in the digital world to beat Dillinger, who is in control, to get his recognition regarding the popular video games.

As I mentioned earlier, the SF genre has a lot of possibilities in a lot of different fields. Think about time travel, space travel, aliens, future prospects etc. I am generally a big fan of the type of SF where one or a few details have been changed or are different compared to our conventional world and that are told properly in a ‘conventional’ real-world film (Donnie Darko, Primer or Brazil). Films like Star Wars, Star Trek of Serenity are usually too ‘chaotic’ for me, there is simply too much going on or possible to keep me fascinated (I admit that I do like the old Star Wars, especially The Empire Strikes Back). Like I said I have the same problem with TRON, it started off promising but in the second half when we have entered a new virtual world there is so much going on that I lost interest.

Suspense, mystery combined with emotional thrills and involvement are in general some of the key ingredients that keep a good story going. Elements which the great directors master to integrate adequately in their films. In the SF films I qualified earlier as being too chaotic I meant that they are chaotic in the sense that the story doesn’t seem to be the most important element of the film. Especially when characters are having special skills of which I am not aware I can get really annoyed since it often breaks the coherence and puzzle element of a good story.

Director Lisberger clearly focuses on his visual imagery and I guess it is mind-blowing for the early eighties, but at the same time he proves not to be a great storyteller and fails to create a coherent suspenseful story (for me at least). The message he tries to tell us has been done before and much, much better (Kubrick). I will not go as far as to say it is a bad film, therefore it is too unique and visionary in its animated imagery but TRON is definitely not my cup of tea.

5.5/10

Walkabout (Nicolas Roeg, 1971)

When I prepared for my Australia trip 1,5 years ago I stumbled upon a number of movies in the Lonely Planet guide. I am not sure anymore if Nicolas Roeg’s Walkabout was in there, but I would say it is obligatory for anyone who somehow relates to this beautiful country. Many hail this movie as a masterpiece and I can fully understand why. I will get into the cinematic qualities shortly but first I have to say it was a very personal experience for me, having been a guest Down Under for a year I felt somewhat melancholic watching the red hot desert, the kangaroos, the carpet pythons and even listening to the buzzing blowflies made me want to go back. Disregarding my personal attachment this movie is a pearl!

It tells the story of a father (who works in mining, still the main driver of Australia’s flourishing economy) of two children who took them outback and commits a bizarre suicide. The teenage girl (Jenny Agutter) and her younger brother (Luc Roeg, the director’s son) end up in the deserted but beautiful outback and seem doomed until they run into a 16-year old Aborigine boy.

Director Roeg started his career as a cinematographer (Lawrence of Arabia, Fahrenheit 451) and this is visible throughout the entire film. He captures the endless beauty and harmonious nature in a poetic way like for instance Malick can and uses intelligent editing. His obvious message lies in the visual contradictions between nature and (mining) industry (mainly towards the end). The cross-cutting between the Aborigine boy slaying a Kangaroo and the conventional butcher says a lot but there is more. Like Roger Ebert points out in his spot-on review there is also the issue of communication.

There is definitely a sexual attraction or tension developing between the 14-year old girl and the Aborigine boy but since they cannot communicate the black native (who has no problems communicating with the younger brother) has to fall back to his ritual dance which doesn’t have the desired effect. One could interpret this as if the cultural differences get in the way of natural developments in a number of ways as pointed out by Roeg.

A lot of the problems that are going on in Australia with the Aboriginals are left implicit by the director and are visualized by the surroundings and how both cultures are treating animals and especially nature. Roeg does make explicit that 'western' Australians and Aborigines are in two different worlds together with the striking scene with the abandoned car, not very subtle, but effective. On the other hand this film doesn’t explicitly points out the country’s history of genocide (this is what happened!) but leaves room for interpretation. It may not reach every viewer, but instead of making a 'standard' moralizing picture, we got our visual and poetic masterpiece.

I saw the final sequence 4 times and I believe it is one of the most beautiful and at the same time depressing scenes I ever saw. For a film from the early seventies it is scary how it predicts and criticizes developments that have expanded more and more over the years. I believe it is not just criticizing the Australian mining industrialization, Walkabout is a general statement about man's attitude towards nature.

9/10

Hwal (Kim Ki Duk, 2005)

Asia produces a lot of movies that are getting more and more popular in our western filmworld. One of best known movie-countries for us is probably South Korea. Director Kim Ki Duk stole my heart after I saw his Spring, Summer, Fall, Winter…and Spring and Bin-Jip (3-Iron). Of course I want to watch all of his movies (I am a cinephile…) and today it was Hwal or the Bow.

Like many great movies this picture deserves its credit for the feeling and mood it gives you as a viewer (for me this is something where Ki Duk always succeeded so far). The director is not shy of showing us some of his trademarks again which are, in this case, minimal dialogue and a story on a single isolated location.

In Hwal the location is a fishing boat owned by an older man around 60. His only company a 16 year old beautiful girl who he will marry the day she turns 17. The boat serves as a fishing location for visitors, some of them are talking about the rumours that the girl went missing when she was 6 and her parents are still looking for her. The old man, equipped with bow and arrow, is very protective of his fiancée and fires warning shots towards anyone who shows an interest in the young girl. The old man also predicts the future of his guests if they request, he does this with a very odd and dangerous ritual. After this the little girl whispers something in the man’s ear after which he tells his guests their future. Apart from this ritual the two main characters are not talking at all.

When a younger guy visits the boat, the isolated girl fancies him instantly and the two seem to fall in love. Of course he is chased off the boat at first by the old man, resulting in alienation from the girl towards her future husband. But can the love between the two young people be stopped by the old man eventually?

The story about this somewhat unconventional love triangle begs for at least some dialogue from either the old man or his fiancée but Ki Duk manages to tell his story without and this is exactly the strength and talent of this director. The imagery and colouring is beautiful as usual and the director shows again how to tell his story with minimal text but optimal acting performances and directing. The final act of the movie is bizarre on the one hand but I have to admit it gave me goosebumps, merely because of an awesome soundtrack.

Not as good as his earlier mentioned masterpiece Spring, Summer, Fall, Winter…and Spring but again a great film from the Korean master of cinematic poetry. Poëcinema if you wish.

8/10

Kárhozat (Béla Tarr, 1988)

Opening take: A bleak industrial landscape with the background noise of a coal power plant. The camera slowly zooms out and we see how some guy is witnessing the daily industrial process from his room. It’s a take of a couple of minutes where basically nothing happens but it sets the tone if it comes to the mood of the movie and the environment we are in.

With this scene I started watching my first Bèla Tarr movie called Kárhozat or Damnation. It is black and white, has long takes with an extremely slowly panning camera, no establishing shots, making the images fascinating and even though it may look empty at first, there is so much to see. I wouldn’t call it beauty, the movie is not an advertisement for Hungary, but the cinematography is awesome!

The plot is absolutely not important but I will try to summarize it. We see a somewhat depressed recluse in his local bar Titanik. He falls in love with a blonde singer. The owner asks him to participate in a smuggling scheme. He asks the husband of the singer to do the job so he has his hands free with her. We see how the protagonist is trying to get to her, sometimes subtle, sometimes violently, sharing his deep and philosophical insights with her and the viewer.

Again, this plot is just a means for the director to give us an impression of the bleak circumstances of a country in the last years of a Communistic regime. The movie puts its viewer in a depressive mood with ease and hypnotises with beautiful images and camerawork. Tarr chooses to repeatingly focus on rain (in both dialogue and visually), stray dogs and sad surroundings. I believe that he deliberately chose for a black and white movie to make it as bleak as possible.

Kárhozat was the first Tarr movie I watched and it was exactly what I was expecting. It is not digested lightly and the images contain so much sadness in every detail that I will wait a while before I’ll watch another one. The director does not use establishing shots but positions his camera close to the objects or characters he is observing resulting in some surprises when he slowly pans to a different corner (for instance the off-screen diegetic music, there always seems to be a musician in every corner). This unconventional trademark technique makes every take interesting and creates an undefinable suspense.

This filmmaker got my attention and I will try to watch more (his next one Sátántangó has a runtime of 450 minutes, so I may have to schedule….) but I will make sure to be in the right mood and circumstances. Definitely not your conventional popcorn film!

8/10

Angst Essen Seele Auf (Rainer Werner Fassbinder, 1974)

Rainer Werner Fassbinder, another well-known director on my watchlist. And why not start with his most acclaimed work Angst Essen Seele Auf ? When I read the synopsis I was afraid it might be a somewhat judgmental and politically polarizing picture. And even though the director portrays a one-sided ignorant human species at first, I think he ended up with a picture from a pretty nuanced point of view.

On a rainy day Emmi (Brigitte Mira), an elderly German cleaning lady, finds shelter in a bar frequented by mainly Arabic workers. One of them, the sympathic but somewhat simple Ali (El Hedi ben Salem), asks her to dance and one thing leads to another. He ends up in her apartment, witnessed by the narrow minded neighbours who joke that she may be buying a new carpet. Emmi falls in love with the Moroccan and she decides to marry him so he can live with her. The response of her community is flat out horrible. Her children freak out when she brings them her news and claim never to talk to her again. Her colleagues start ignoring her and even when the odd couple is having a drink, the bar owners are constantly staring at them (deliberately overdone by Fassbinder). Emmi is slowly losing it but Ali keeps pointing out that they are not the ones who are bad.

So far it seems that the director wants to give his audience a black and white view on the problematic situation but slowly things are turning a little bit, giving the movie a nuance boost and making it a great picture. Of course a fresh relationship between an elderly woman and a much younger foreigner creates friction and their marriage is tested in a lot of ways. It also turns out that Emmi her environment appreciates and needs her more than she thought at first (even the racist grocery store owner is missing his regular customer).

Fassbinder clearly marks out the good and the bad ‘Germans’ that are involved in this racial question. Every supporting role has a well-defined function, there is the landlord who assumes Ali is a lodger at first and points out that Emmi is not allowed to have a lodger. When he finds out the two are a couple, he is not resisting. The same holds for the police. When they are called out by some concerned neighbours who claim to be bothered by the Arabic music playing in Emmi and Ali’s apartment their reaction is neutral. The director makes silly judges out of the ordinary people who are in Emmi her world, not the whole world.

I am very content with the film style of Fassbinder. He is often framing the couple in a box or is secluding them from their environment. Surely he is overdoing some of the situations but it strengthens the point he wants to make. The best example of the overdone ignorance is maybe the character played by himself, as the male chauvinist son-in-law of Emmi.

All in all a great picture, not only because of its sharp message in interesting times (the maker is even hinting once or twice to WW II), but surely also because of a smart film style, good acting performances and an overall realistic script.

8/10