J.B. Spins

Jazz, film, and improvised culture.

Wednesday, October 26, 2016

Portrait of a Garden: Prune Hard with a Vengeance

You know the expression “like watching the grass grow?” In this case, it is fennel and Japanese wine berry, but it is still unfortunately apt. Admirers will call this Dutch doc meditative but the rest of us philistines will quickly grow restive watching the owner of an old restored fifteenth century “kitchen garden” and his master gardener methodically prune what seems like every blessed branch on the 3.7 acres. Presumably you have to be a dedicated gardener to appreciate the muted charms of Rosie Stapel’s Portrait of a Garden (trailer here), which opens today in New York at Film Forum.

Presumably Daan van der Have is going alright for himself, because maintaining his sprawling garden is quite an undertaking. Rather than flowers, he grows just about every consumable crop you can imagine. Fortunately, he hired Jan Freriks, one of the few remaining master gardeners fully versed in traditional techniques dating back to the gardens of Louis XIV, the Sun King. (No, he wasn’t there when they were first developed. Don’t be mean.) Together, they prune like nobody’s business and occasionally they discuss the weather or maybe pruning.

You could definitely call Portrait an observational documentary, but there really is not a lot to observe. We have been down this road many times with documentaries that quietly watch artists and craftsmen at work, but they usually give us more to engage with. For instance, photography publisher Gerhard Steidl emerges as a surprising passionate and rather witty figure in How to Make a Book with Steidl and Gottfried Helnwein has plenty to say about art and history in Lisa Kirk Colburn’s doc, but with Portrait, you’re largely on your own.

There are maybe some lessons to be learned about sustainable, locally grown produce or maybe just the value of working the soil and investing a little sweat equity in your property, but under Stapel’s approach, all take-aways will have to be absorbed through osmosis. A little context would definitely be helpful, especially with respect to who van der Have is and just how he can afford to put so much time and money into his garden.

Just so everyone understands, there is a lot of pruning in this film. Seriously, a lot. Maybe that works for you, maybe it doesn’t, but either way viewers should be forewarned. As cinema, it is just too slight and sparsely vegetated to recommend. For those who find PBS’s Victory Garden too fast-paced and hectic, Portrait of a Garden opens today (10/26) in New York, at Film Forum.

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Tuesday, October 25, 2016

Schneider vs. Bax: Getting Bloody in the Dutch Wetlands

The Flemish Schneider and the Dutch Bax will fight a real Benelux grudge match, whether they want to or not. Instead of a steel cage, they will fight it out in the Dutch wetlands, using their weapon of choice: rifles with sniper-scopes. They are both hitman contracted by their agent to rub out each other in Alex van Warmerdam’s Schneider vs. Bax (trailer here), which releases today on DVD from Film Movement.

Schneider is a family man, with two adoring young daughters and a lovely wife who thinks he works as a troubleshooting engineer for a filling station company. The crusty booze and narcotics soused Bax is also sort of a family man, but his semi-estranged grown daughter Francesca bitterly resents him for being a chaotic, ineffectual parent. The hung-over Bax forgot Francesca will be visiting his ultra-white Ikea-looking cottage, so he will have to evict his young gothy lover tout suite. It also slipped his fog-encrusted mind that the shadowy Mertens would be luring his target right to his doorstep this very same morning.

Although his head is clear, Schneider is also having a hard morning. Since Martens neglected to tell him the surrounding marshes were protected, the visiting team hitman got spotted by a nature warden. That forces Schneider to return to his storage facility to change his disguise and vehicle. Things get even more complicated when a prostitute breaks in, hoping to hide from her abusive pimp.

Schneider vs. Bax is sort of like the art-house theater version of Mad Magazine’s “Spy vs. Spy,” but van Warmerdam’s conception of slapstick humor truly has existential bite. The Dutch marshland is also wildly cinematic, adding something to S v. B akin to what the East Texas scrubland did for Blood Simple.

Thesp-helmer van Warmerdam is wonderfully cynical and dissolute as the world-weary Bax. In contrast, Tom Dewispelaere is rather rigid and aloof as the detail-oriented Schneider. They clearly have very different approaches to their job. Of course, nobody is really in the right here, but the survivor survives. Frankly, we are not intended to take a rooting interest. Instead, we should really just relax and enjoy as van Warmerdam rains down one-darned-thing-after-another on his morally compromised characters.

As soon as you get into the spirit of it, S v. B really is jolly fun. Van Warmerdam pulls off quite a feat of traffic direction, maintaining the almost farcical skulking in and out of bogs, around and under the cottage. The vibe approaches the Marx Brothers’ A Night at the Opera, as reconceived by Quentin Tarantino. Highly recommended for fans of darkly comic capers, Schneider vs. Bax releases today (10/25) on DVD, from Film Movement.

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A Better Place: Your Sins will be Transferred

Jeremy Rollins is like a Biblical Wolverine. He does not merely heal quickly. All the physical damage inflicted upon him will be mysteriously transferred to the person his attacker loves best. Naturally, his [over] protective mother kept him sequestered and home schooled for vague reasons of X-Men style anti-mutant fear and prejudice, but frankly that never really makes sense. Regardless, Rollins will have to face his corrupt small town on his own after her premature demise in Dennis Ho’s A Better Place (trailer here), which releases today on DVD and VOD, from Monarch Home Entertainment.

As one might expect, Rollins is somewhat socially awkward, considering he has hardly had any interaction with anyone besides his mother. Yet somehow, Ned Bower, the boorish Sheriff’s son is just itching to bully him as soon as he steps out of the house. Fortunately, Jess the cute diner waitress intercedes on his behalf. She too has a rotten home life, which gives them something in common to bond over.

When Sheriff Bower is not reining in his son and intimidating Rollins, he does the dirty work of Sam Abram, the town’s banker, who is even more gleeful repossessing homes than Old Man Potter in It’s a Wonderful Life. In fact, he enjoys it so much, he has Bower frame-up vulnerable home-owners to expedite the process. Perhaps they also helped Ms. Rollins along with her heart attack.

There are clear Christian themes sprinkled throughout Better Place, but it is considerably less in-your-face than most Evangelical films. Unfortunately, it all comes out in the off-key, highly unsatisfying climax. For the most part, the cast is also more professional grade, particularly William Knight (the English dub voice of Danzo Shimura in the Naruto franchise) as Abram (so it’s a pity his character is such a cliché).

It is also fun to watch Tonya Kay vamp it up as Abram’s gold-digging trophy fiancée. Cult horror star Maria Olsen lends the film further credibility, but unfortunately she is largely wasted as Jess’s belligerent drunken mother Rita. As for the kids, they are rather a mixed bag. Mary Ann Raemisch shows some poise and presence as Jess, but Stephen Todt’s Rollins mainly just gives us surface awkwardness, with no sense of anything going on inside.

Compared to the average Kirk Cameron movie, Better Place is quite subtle and accomplished, but that is grading on a generous curve. When it comes to the actual viewing experience, the sluggish pacing cannot be ignored. It earns some credit, but it is still hard to recommend A Better Place when it releases today on DVD from Monarch Home Entertainment.

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Killbilles: Hicksploitation in Slovenia

Sure, NATO and EU membership were important milestones for Slovenia, but the production of its first homegrown hillbilly horror film is just as significant, if not more so. If there is one thing that inevitably comes with socio-economic development, it is an embarrassed discomfort at the sight of the country’s backwoods folk and a casual willingness to equate them with inbreeding, sadism, and hard liquor. So congratulations to Slovenia for becoming a fully-fledged member of the community of nations thanks to screenwriter-director Tomaz Gorkic’s Killbillies (trailer here), which releases today on DVD and VOD, from Artsploitation.

Zina is getting too “old” and far too self-aware to continue her modeling career, but she always enjoyed working on aging hipster Blitcz’s shoots, so she takes another fateful assignment with him. They will be shooting in the countryside, so we pretty much know where this is going. Zina definitely looks and sounds like “Final Girl” material, whereas her younger, shallower colleague Mia should be an easy kill. As it happens, the deformed hill people who capture them brew the mysterious moonshine that has become so popular in trendy Ljubljana night clubs. What’s in their potent potable? Ever seen Soylent Green?

Gorkic largely plays the exploitative material straight, which is both a blessing and a curse. At least, the Julian Alps (or whatever mountainous tax-credit extending region it was filmed in) certainly look cinematic and Zina is an appealingly assertive hero. However, we have been down this lonesome country road before—and Gorkic never really adds any distinctly Slovenian flourishes.

Still, the novelty of Slovenia’s first native horror film speaks for itself. It also boasts a surprisingly recognizable cast, including Nina Ivanisin (probably best known for A Call Girl) going Ellen Ripley on the inbred freaks and Sebastian Cavazza (Halima’s Path) as the tall, dark, and intense Blitcz, both of whom acquit themselves quite well, all things considered.

It is strangely encouraging to know this exists, but whether you should spend any time with it is a question only you can answer for yourself. Recommended for fans of grisly cannibal exploitation, Killbillies is now available on DVD and VOD platforms (including Vimeo), from Artsploitation.

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Monday, October 24, 2016

The Living and the Dead: BBC America’s Halloween Binge

You don’t have to dig too dig to find the pagan roots in rural England. It might look like All Creatures Great and Small on the surface, but it’s The Wicker Man underneath. At least such is very definitely the case on Nathan Appleby’s ancestral estate. He has just moved back with his second wife Charlotte in hopes of starting a new family, but their plans will be jeopardized by a malevolent force in creator-screenwriter Ashley Pharoah’s six-episode limited series The Living and the Dead (trailer here), which premieres this Thursday on BBC America (who will release all six episodes on their app the following day, for Halloween binge-watching).

Nathan Appleby is a Victorian psychologist, who always believes there is a scientific explanation for all of life’s mysteries—or at least he used to. He has not spent much time on the estate since his son Gabriel’s drowning accident. Appleby never really got over it, nor has he ever pretended otherwise, yet the headstrong Charlotte Appleby married him anyway. Despite their lack of experience, she convinces him to maintain the estate as a working farm. However, this may very well be a costly decision.

As soon as the Appleby power couple takes charge of the farm’s management, a rash of mysterious accidents rocks the tight-knit community. Perhaps most disturbingly, Rev. Matthew Denning’s daughter Harriet starts presenting signs of spiritual possession. Trusting in his science, Appleby starts treating the young woman, but a session of hypnotism is less than reassuring.

There may or may not be several spirits haunting the villages, including that of a notorious unbaptized serial killer and a traditional healer unjustly drowned as a witch. Frankly, the village has no shortage of bad karma, going back to an especially bloody Roundhead atrocity during the English Civil War. The hauntings hit close to home, when Charlotte detects the presence of Gabriel’s own ghost, but his intentions are far from clear. Most maddeningly for her husband, his late son will not materialize in his presence, but he keeps seeing visions of what appears to be a woman from our era holding an iPad.

Despite some weird time-shifting business, L&D is definitely a supernatural drama, with pronounced Gothic inclinations. Thanks to the tight, tense helming of Dr. Who director Alice (no relation to Patrick) Troughton, each instalment delivers a high quotient of chills, with the penultimate fifth episode qualifying as pretty darned terrifying. We definitely get a visceral sense of an infernal power corrupting the land.

Colin Morgan and Charlotte Spencer are well matched as the Applebys. At first they share some rather endearing Thin Man-style chemistry, but it is even more impressive to watch their gradual falling-out, with Morgan rather spectacularly putting the “strange” in estrangement. Nicholas Woodeson and Malcolm Storry also add crusty color and gravitas, as the Rev. Denning and estate steward Gideon Langtree, respectively. Cult cinema fans will also appreciate seeing guest appearances from Steve Oram (Sightseers, The Canal) and Fiona O’Shaughnessy (Nina Forever) as the farm manager and village school teacher, both of whom will be caught up in the sinister business afoot.

L&D is a smart, literate period production (if you are wondering, it is indeed possible that Appleby might have had a “Ouija” branded spirit board, as early as 1894). The evocative atmosphere nicely fuels the suspense, which builds cumulatively both over the course of each episode and throughout the limited series. Highly recommended for fans of British supernatural horror, The Living and the Dead premieres this Thursday (10/27), with all six episodes streaming on the network’s digital platforms starting on Friday (10/28).

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Finding Babel: His Grandson’s Search for the Truth

Isaac Babel was the most prominent Jewish Soviet writer of the 1920s and 1930s. That made him a logical choice to be the face of the Popular Front and a lead-pipe cinch to be subsequently swept up in the Stalinist Purges. Yet, decades later, questions still persist regarding his final years in an NKVD prison and the fate of his large archive of unpublished works. When the great writer’s grandson retraces his footsteps, he finds the new Russia has not changed so very much from Soviet times in David Novack’s Finding Babel (trailer here), which opens this Friday in New York.

During his own lifetime, Babel was internationally acclaimed for Odessa Tales and Red Cavalry, but the latter’s often brutal depiction of the Red forces earned him suspicion within the Party’s upper echelon. However, he was “useful” for a while, which is why he was allowed to function as a sort of literary ambassador for the USSR in Paris. However, the radically honest criticisms of post-revolutionary Soviet society in his play Maria probably sealed his fate.

Andrei Malaev-Babel’s pilgrimage in search of his grandfather’s legacy stops in Paris, where the actor-drama teacher advises a new production of Maria. He also takes us to Ukraine, where the Odessa-born Babel is celebrated by average citizens and high ranking government officials alike as a national hero. This might be a good time to point out Putin’s propaganda machine is trying to make this nation synonymous with anti-Semitic nationalism. Eventually, Malaev-Babel visits the Russian artist colony where his grandfather was arrested. Although he has a pleasant visit with family friend Yevgeny Yevtushenko, the trip turns sour when Malaev-Babel tries to visit the site of his grandfather’s arrest. It seems that historic site now lies beyond the steel gates of a shadowy compound, the owner of which has no reluctance to unleash his thugs on Maleav-Babel and the film crew.

We very definitely get that sinking feeling of “the more things change . . .” throughout Finding Babel, especially when the grandson makes a formal request to see his grandfather’s KGB/NKVD files. Fortunately, investigative journalist Vitaly Shentalinsky gives him a good idea of what to expect and strategies to circumvent obstructions. Frankly, Shentalinsky could probably be a fascinating subject of his own documentary. The same is probably true of Brother Victor. Unlike so many in the Church hierarchy, the free-thinking monk openly equates the new regime with that of the Communist era. Of course, he has a unique vantage point at St. Catherine’s Monastery, the former site of Sukhanovo Prison, where Babel was tortured.

Throughout Finding Babel, Liev Schrieber reads excerpts of Babel’s writings in his best PBS voice. He brings out the poetry of Babel’s prose, which definitely helps put him in literary perspective. Novack adds further color with vintage black-and-white film clips of Yuri Shumsky playing Benya Krik, the Jewish gangster anti-hero of Odessa Tales in Vladimir Vilner’s 1926 Russian film.

Clearly, Novack (who also produced N.C. Heikin’s outstanding Kimjongilia) is aware how the evil legacy of Soviet Communism continues to reverberate in modern day Russia and Ukraine. He tries not to beat us over the head with parallels, but sometimes the Russians will do it for him. Yet, he never neglects Babel’s place in cultural, socio-political, and family history. It is a film of great sensitivity and rather unfortunately, significant modern relevancy. Highly recommended for anyone interested Ukrainian and Russian history and literature, Finding Babel opens this Friday (10/28) in New York, at the Cinema Village.

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Sunday, October 23, 2016

Tomu Uchida at MoMA: Bloody Spear at Mount Fuji

Class distinctions could be profoundly unfair during the Edo era, but sometimes they cut both ways. Cut is indeed the correct operative word in this socially conscious samurai film. A poor but honorable samurai and his faithful servants become increasingly aware of the injustices of the world as the make their way to the capitol in Tomu Uchida’s slightly misleadingly titled Bloody Spear at Mount Fuji, which screens as part of MoMA’s revelatory retrospective of the major Japanese auteur, who remains bizarrely under-screened in the West.

Sakawa Kojūrō is a good man and a good samurai, but not when he drinks. Therefore, his servants, Genpachi the lancer and Genta the more conventional manservant are under strict orders to keep him away from the sake. As they travel to Edo to offer tribute to their lord, they fall in with an itinerant shamisen player and her young daughter. The orphaned Jirō also takes a shine to Genpachi. In fact, the first two acts have a vibe weirdly reminiscent of The Canterbury Tales, as Kojūrō and his servants re-encounter many of the same fellow travelers (to use an unfortunate term) at every inn along their route.

In this case, familiarity largely breeds respect and affection, especially from the samurai, who will bitterly reproach himself for his inability to aid them in times of tribulation. However, his own egalitarian conduct with his servants will attract the wrong sort of attention from his fellow samurai.

Bloody Spear represented Uchida’s return to the Japanese studio system after spending over a decade making movies in Manchuria, so he had to call in favors with one-time contemporaries Yasujiro Ozu and Hiroshi Shimizu to act as production advisors. In fact, there is an intimacy and a sensitivity to Bloody Spear not unlike that of their domestic dramas. Of course, that spear will eventually get bloody—and when it does, the film gets massively heavy.

Resembling today’s Kôji Yakusho, Chiezō Kataoka is all kinds of hardnosed middle-aged steeliness as Genpachi. He has the gravitas and the hack-and-slash chops, but he also develops rather sweetly tender chemistry with Chizuru Kitagawa as the shamisen player and Motoharu Ueki’s Jirō. Daisuke Katō quite effectively counterbalances Kataoka as Genta, who initially seems to be the typical Falstaffian servant but slowly reveals himself to be a considerably deeper, more complex figure. Plus, Ryunsuke Tsukigata really kicks viewers’ legs out from under them as the mysterious Tōzaburō, whose secret really elevates Bloody Spear to the level of high tragedy.

Bloody Spear is just a terrific film that combines the sort of outrage at injustice that marked Reginald Rose’s early work with an affectionate needling of the common folks’ foibles, all within the Jidaigeki format. There is a lot of life happening on the road to Edo—and Uchida takes in quite a bit of it. Very highly recommended for fans of classic cinema of any variety, Bloody Spear at Mount Fuji screens again Thursday (11/3) as part of the Tomu Uchida retrospective now underway at MoMA.

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Saturday, October 22, 2016

KAFFNY ’16: Retriever (short)

This year, the Federal government nearly reinstituted funding for horse beef inspections, but opponents prevailed in the eleventh hour. As a result, the lucrative Canadian and Mexican horse slaughtering concerns will carry on without American competition. Everyone likes Mr. Ed, but the horse beef for human consumption does not hit most Americans on the same visceral level as dog meat. Many Koreans feel the same way, but there is still a tradition of dog cuisine that some in the older generation still cling to. Obviously, opinion is mixed, but nobody is more conflicted on the issue than Lee Kwang, the homeless protagonist of Kim Joo-hwan’s short film Retriever, which screens during the 2016 Third Culture Korean American Film Festival New York (Brooklyn).

Lee is a despised and marginalized Chosonjok immigrant, an ethnic Korean from China. You could say he eats thanks to dog meat cuisine, but he does not partake himself. Every few months, Lee snatch-and-grabs a rescued stray from a provincial pound to sell to a back-alley dog butcher. He assumes a big golden retriever like Bori will fetch a nice price, but when his regular buyer lowballs him, Lee keeps him out of spite. Much to his surprise, Leee quickly bonds with Bori. He even works off the cost of vet bills when the dog gets sick through his own negligence. However, parents and dog lovers should be strongly cautioned—viewers should absolutely not get too attached to Bori.

Let’s just say Retriever is not The Lady and the Tramp or Lassie—think more along the lines of Old Yeller, but even darker. We will see how dodgy-borderline legal dog butchers go about their business and it is even more brutal than halal slaughter. This is definitely a film that stakes out a clear position in Korea’s ongoing dog meat debate. Yet, it has just as much or more to say about man’s inhumanity to his fellow man.

Moon Sun-yong is pretty darn devastating as the desperate and degraded Lee, forcing the empathy out of even the most guarded viewers. Of course, it is really and truly Max and Joon, appearing in tandem as Bori, who lower the emotional boom, just like W.C. Fields could have told you. The melancholy vibe is even further enhanced by the classically moody cinematography of Nils Clauss and Jung Jin-ho’s pensive light-chamber music score.

Retriever wears its heart conspicuously on its sleeve without shame or reservations. However, it is also an undeniably accomplished film. The quality on-screen is plainly evident to see, but it is still apt to ruin a lot of viewers’ days. If you like your films bittersweet with an emphasis on bitter than you will love Retriever when it screens this afternoon (10/22) with the feature Empty Space, at the Wythe Hotel in Brooklyn—and remember you can get 15% off tickets with the “jbpins” promo code.

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Friday, October 21, 2016

Zombies: The Title Says It All

Arguably, a prison cell is a worse place to find oneself than a hospital bed during the initial days of a zombie apocalypse. Fortunately, one of the surviving detectives realizes killings that landed Luke behind bars were not really killings. Yes, it all looks and sounds familiar, but at least the energy level is cranked up throughout Hamid Torabpour’s Zombies (trailer here), which opens today in select theaters.

Eventually, Luke and Det. Sommers fight their way out of the station, holing up in a shelter with a rag-tag band of survivors. Luke becomes their best scout and forager, regularly venturing out in search of more survivors. He is particularly keen to find his girlfriend Bena, since she is played by former America’s Next Top Model contestant Raina Hein. However, it will be Bena and her surly pal Tala who find Luke when he most needs help. This is quite a small town. He had just encountered Haley, another former girlfriend (or something), who has suffered a nasty psychotic break. Rather bizarrely, she seems to have some sort of symbiotic bond with the shuffling hordes, which allows her to lure unsuspecting survivors to their deaths.

Right, the rather generically titled Zombies could be described as three parts Walking Dead and one part Wyrmwood. Perhaps Torabpour recognized the Haley sub-plot does not make much sense, because he chokes it off relatively early in the second act. Regardless, he delivers some bounteous helpings of hack-and-blast zombie killing action. To give a feel for where the film is coming from, everyone basically admits the big climatic zombie battle involves a crazy plan and it’s probably avoidable in the first place, but they are going to do it anyway, because why not?

Why not indeed? Zombies are nowhere near as gripping or inventive as Train to Busan, the breakout zombie hit of the year. However, it delivers the raw meat. It is also cool to see horror legend Tony Todd playing a good guy, the world weary Det. Sommers. Steven Luke is respectably hardnosed as his namesake, while Hein shows some solid action chops as Bena.

This is basically a meat-and-potatoes zombie film that could become a sentimental fan favorite over time. There is nothing spectacularly original about it, but it aims to please. Recommended for zombie buffs, Zombies opens today in select markets.

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King Cobra: True Crime Gets Deadly Dull

It is supposedly a crime drama based on Andrew E. Stoner & Peter A. Conway’s nonfiction book Cobra Killer: Gay Porn, Murder, and the Manhunt to Bring the Killers to Justice, but it only takes the cops about thirty seconds to arrest the perps. Maybe the term “manhunt” is used euphemistically. Despite the intentionally lurid subject matter, you will be hard-pressed to find a duller, dingier, more vacuous film than Justin Kelly’s King Cobra (trailer here), which opens today in New York.

In the early 2000s, apparently anyone with a digital camera and a website could become a player in the gay porn industry. For Stephen, his nocturnal side light as producer-host “King Cobra” was the only relief from a life of quiet desperation. He was already moderately successful when he recruited seventeen-year-old Sean Paul Lockhart (mistakenly believing him to be eighteen), but the videos the performer shot under the name “Brent Corrigan” took his company to a whole new level. For a while, everyone enjoys their success, but when Lockhart decides to leave King Cobra, he discovers the spurned producer holds the trademark on the Brent Corrigan name.

Meanwhile, escorts and self-styled pornstars Harlow and Joe really want to work with Corrigan. Deep in debt, they are convinced a video co-starring Corrigan and Harlow will solve all their problems. Of course, it has to be Lockhart under the Corrigan name. He is willing, but King Cobra is not.

One of the many problems with King Cobra is the murder and the subsequent investigation are compressed into the final ten minutes. The overwhelming majority of the film is devoted to Lockhart’s hopes and dreams and angsts and insecurities of the killers. Frankly, this material couldn’t sustain a fifteen minute short. Clearly, Kelly hopes we will be distracted by the naughty business, but it quickly gets boring (particularly if it doesn’t float your boat to begin with).

How mind-blowing is it to see Alicia Silverstone playing Lockhart’s mom?  Actually, she is not bad—maybe the best thing about Cobra. To be fair, Christian Slater is also very good playing the profoundly sad Stephen (the King), but the film’s general crumminess is in keeping with the recent underwhelming additions to his filmography, such as The Adderall Diaries (another utterly unwatchable James Franco joint), Stranded, and Playback. Franco probably considered Joe the Psycho to be another opportunity to display his gay-friendliness, but it is an awfully schticky, perilously clichéd character. At least we notice him, whereas neither Garrett Clayton nor Keegan Allen have any presence or depth as Lockhart/Corrigan or Harlow.

To reiterate, the real problem with the film is not the subject matter. It is just an unforgivable snore fest. Arguably, it takes unique talent to make pornography and murder boring as Hell, but somehow Kelly pulled it off. He even squanders 1980s icon Molly Ringwald in an entirely inconsequential role. Tedious yet still sleazy, King Cobra is not recommended for anyone when it opens today (10/21) in New York, at the IFC Center.

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Ouija: Origin of Evil—Back to the Board

Ouija boards must be the most controversial and feared item found in typical toy stores. It makes you wonder why Hasbro still makes them. Maybe it is the hundreds of thousands of units they sell each year with virtual no marketing expenditure, but we’re just guessing here. They even licensed the brand for a horror film as part of their studio development deal. Did the story end with 2014’s Ouija? Who knows, but we can hope. Instead, it is time to flashback to when it all began in Mike Flanagan’s considerably superior prequel, Ouija: Origin of Evil (trailer here), a Blumhouse production, which opens today nationwide.

It is 1965, eight years before The Exorcist scared the pants off everyone and made Ouija boards synonymous sulfur-spewing Hell. When Alice Zander decides to incorporate a board into her phony spiritualist act, it doesn’t set off any alarm bells. She is a bit of a scam artist, but she really tries to give her clients the sort of consolation and closure she herself lacks. It has been a year or so since her husband Roger died in an accident, but her teenage daughter Lina and ten-ish-year-old daughter Doris are not even close to being over it. The Ouija board will not help.

It turns out there is an evil entity in the house, which uses the board as a catalyst to possess little Doris. It will take Mother Zander a while to accept the obvious, preferring to think the Ouija board really has brought her into contact with her late husband. However, Lina recognizes the weirdness of Doris’s Regan MacNeil behavior, which will be confirmed by her kindly Catholic school teacher, Father Tom.

Ironically, Origin is far better than the original film, but it is unfairly restricted by the previously established backstory. Flanagan is a considered an up-and-coming genre director who definitely shows some chops here. Most tellingly, the film carries a (mild by genre standards) PG-13 rating, yet Flanagan still earns some legit scares. In fact, the 1960s period look and vibe actually makes it feel more real and grounded. Like Blatty’s The Exorcist, Origin also wears its Catholic perspective on its sleeve. Terms like evil and innocence have very real meaning it this film.

To that end, Henry Thomas (yes, the kid from E.T.) is terrific as Father Tom. The scenes of his initial investigation represent some first class horror movie-making. Yet, the third act inevitably collapses into a blur of bodies flying through the air, just as we expected it would. Not to overstate matters, but there is a tragic poignancy to Elizabeth Reaser’s portrayal of Alice Zander. Lulu Wilson is also Bad Seed creepy as the possessed, mucus-gurgling, eyes-rolling-into-the-back-of-her-head Doris. Frankly, Annalise Basso mostly comes off as an obnoxious teen, but that is pretty much what Lina Zander is. Hardcore fans will also get a kick out of knowing Doug Jones is the one beneath the black ghoul’s make-up and special effects.

Production designer Patricio M. Farrell painstakingly recreates the miserable not-so-swinging, polyester sixties and cinematographer Michael Fimognari gives it all an eerie Conjuring­-esque glow. Given the origins of Origin, it certainly exceeds expectations. Despite the baggage straining the third act, it is an expertly-executed exercise in Catholic-influenced demonic horror. Worth a look for horror fans who can appreciate a good set-up and forgive the lame ending, Ouija: Origin of Evil opens in wide release today (10/21), including the AMC Empire in New York.

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Thursday, October 20, 2016

Autumn Lights: Love and Depression in Iceland

Iceland gets over a quarter of its electricity from geothermal plants, so you might think it would be the perfect setting for a steamy, hothouse mystery. It still might be so, assuming future filmmakers do not forget to include the mystery part. Viewers will have to make do with the angst and sex of Angad Aulakh’s Autumn Lights (trailer here), which opens this Friday in New York.

David planned to spend the summer with his lover Eva, while he worked on a nature photography assignment on a remote Icelandic island, but she threw a spanner in the works by dumping him. To make things even more depressing, he finds an apparent suicide victim while walking on the beach the next day. Now he won’t be able to leave until the fussbudget local cops finish their investigation. However, this does not seem so depressing when he meets Marie, the hot-blooded Italian wife of the painfully Nordic Jóhann.

For a while, David concentrates on Marie’s super-blonde Icelandic BFF Liv, but he knows Marie is compulsively inclined towards infidelity. When they finally give into temptation, he starts getting rather possessive, which is downright tacky under the circumstances.

Poor old Jóhann happens to be a hunter. In terms of narrative, this is a rather inconsequential detail, but it allows Aulakh to shoot enough scenes of him holding a rifle to make the trailer look deceptively thrillerish. Honestly, by the time the film loops back around to the suicide investigation, it has become a completely anticlimactic tangent.

Instead, we get to watch David walk through a veritable land of ECM record jackets, brooding and taking pictures. It may very well be largely a function of the film’s Ikea ambience, but Guy Kent (resembling a poor man’s Eric Balfour) just doesn’t connect as David. Lusty and impish, Marta Gastini at least makes an impression as Marie. Frankly, Sveinn Ólafur Gunnarsson deserves mucho credit for almost redeeming the film with his slow-burning, tightly-controlled turn as Jóhann—almost, but not quite.

A film this sexually preoccupied should never be so deathly dull. Iceland’s coastline looks pristine and invigorating, but Aulakh’s script is muddled and tired. Safely skippable, Autumn Lights opens tomorrow (10/21) in New York, at the Cinema Village.


German Currents ’16: Fukushima, Mon Amour

Technically, the former Fukushima disaster area is now considered safe for human occupation, but unlike the still off limits Chernobyl Exclusion Zone, older residents have been much more reluctant to recolonize. At least that is how it looks to the worst German expatriate clown in Japan. Much to her own surprise, she feels compelled to help Fukushima’s last geisha return to her home in Doris Dörrie’s Fukushima, Mon Amour (trailer here), which screens during the 2016 German Currents in Los Angeles.

Reeling from a wedding jilting, Marie has volunteered for the NGO Clowns4Help to bring some joy into the lives of elderly disaster survivors. It was not a well thought-out decision. Frankly, she is not a very good clown and probably an even worse human being. Just when she is about to slink off in disgrace, Satomi convinces the expat to drive her to her now dilapidated house in Fukushima. When Marie realizes Satomi isn’t leaving, she more or less decides to stay as well.

The tall German is relatively helpful when it comes to clearing rubble, but she eats a lot. More troubling, her misery acts like a magnet for all the local ghosts. Rather awkwardly for Satomi, this includes her late pupil Yuki, whose death remains a profound source of guilt and angst for the geisha.

Mon Amour is very definitely about the figurative and literal ghosts haunting Japan, but it also has a gently absurdist sense of humor. Frankly, giving Marie charm school lessons in the middle of the scarred wasteland really doesn’t seem so outlandish when you are caught up in the moment. After all, they have to do something to pass the time.

Kaori Momoi gives an Oscar caliber performance as Satomi. She is an ageless beauty, but also a forceful, no b.s. presence (if you doubt it, watch her steal the show in Miike’s Sukiyaki Western Django). Yet, she also vividly and directly conveys all of Momoi’s pain and remorse, while delivering some surprisingly tart one-liners. She and the gawky Rosalie Thomass make an effective odd couple pairing, but it is an unequal partnership.

Nanoko’s Yuki is disconcertingly beautiful and unsettling, duly following the grandly tragic tradition of Japanese movie ghosts. Honsho Hayasaka also adds healthy servings of humility and attitude as Jushoku, the sake-pounding Buddhist monk who is just starting to feel again. (FYI, it is good to know they have regularly serviced sake vending machines conveniently located throughout Japan.) Clowns with Borders founder Moshe Cohen and musician Nami Kamata merit shout-outs as well for being good sports. Essentially playing themselves, they deserve better help than Marie.

Hanno Lentz’s absolutely arresting black-and-white cinematography perfectly captures the barren, surreal-in-real-life post-3/11 landscape. This is an elegant, finely tuned film that ought to be playing at more of the Fall film festivals, especially given Dörrie’s considerable international reputation. Very highly recommended, Fukushima, Mon Amour screens tomorrow (10/21) at the Egyptian Theatre, as part of this year’s German Currents.

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Wednesday, October 19, 2016

Park Chan-Wook’s The Handmaiden

Domestic service is a full-contact, no-holds-barred endeavor in Korean cinema. It goes back to 1960, when the title character terrorized a middle-class respectability-craving family in Kim Ki-young’s The Housemaid. In 2010, Im Sang-soo turned the tables in favor of the wealthy elite with his in-name-only remake. Now we journey back to occupied 1930 Korea, where a rigid class system is still very much intact. However, viewers should make no assumptions regarding who has the upper hand in Park Chan-wook’s The Handmaiden (trailer here), which opens this Friday in New York.

Sook-hee adapted rather well when she was adopted into an Oliver Twistian family of pickpockets and con artists, so she readily agrees when “Count Fujiwara,” a fake Japanese nobleman, recruits her for a caper. She will go undercover as the cloistered Lady Hideko’s latest maid. After gaining her Lady’s trust, Sook-hee will help Fujiwara seduce and marry her, so he can abscond with her inheritance after committing her to an insane asylum. Yet, much to the surprise of both women, a romantic attraction slowly boils over between them. In fact, Sook-hee considers warning Lady Hideko about her eventual fiancé’s intentions, until she suddenly finds herself committed to the asylum in Hideko’s place.

Furious at their betrayal, Sook-hee vows to avenge herself on her lover and her accomplice. End of part one. There will be two more parts, each featuring plenty of further curve balls. Part two backs up, establishing Lady Hideko’s backstory and showing us the key events of Sook-hee’s downfall from her perspective. By the time we get to part three, all bets are off.

It is fair to say Handmaiden is inspired by Welsh novelist Sarah Waters’ Fingersmith. Part one tracks pretty closely with the source novel, but parts two and three are almost entirely the creation of Park and co-screenwriter Chung Seo-kyung. The twists and counter-twists come faster than the double- and triple-crosses, which makes it all greatly entertaining.

Yet, perhaps the most shocking thing about Handmaiden (especially as a Korean film) is its sexual explicitness. At times, it resembles Blue is the Warmest Color, but with a plot—in this case, one cribbed from Dangerous Liaisons and The Sting. This film will often leave you slack-jawed, but for very different reasons.

Nationwide talent search discovery Kim Tae-ri is indeed quite the find as Sook-hee. She is all kinds of intense, in all the ways you might imagine. Kim Min-hee perfectly counter-balances her with her commanding ice queen presence (when she thaws, the film gets steamy enough to scald the skin). Ha Jung-woo continues to display remarkable range and flexibility, this time around oozing sleaze from every pore as the caddish Fujiwara.

Depending on how you look at it, The Handmaiden is deliciously fun, in spite of, or on top of (so to speak) the extended love-making scenes. This is definitely one of those “you-ain’t-seen-nothing-yet” kind of films. It is also a lush, gorgeous spectacle, thanks to the exquisitely crafted period sets and trappings, as well as Chung Chung-hoon’s rich, painterly cinematography. This is a sweeping, gauntlet-spiking statement from a bold auteur, but it is also a rip-roaring example of storytelling. Very highly recommended for mature audiences, The Handmaiden opens this Friday (10/21) in New York, at the Landmark Sunshine.

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Henry: Portrait of a Serial Killer, Celebrates its 30th

In its day, it was so controversial, even its poster was banned. It provided the impetus for the supposedly respectable NC-17 rating, along with Almodóvar’s Tie Me Up!  Tie Me Down and Greenaway’s The Cook, the Thief, His Wife & Her Lover, but it was eventually released without an MPAA rating. The time is definitely ripe for a cultural reappraisal on what arguably represents its thirtieth anniversary, depending whether you count its 1986 festival premiere or the long deferred 1990 theatrical release. Freshly restored yet as gritty and grubby as ever, John McNaughton’s Henry: Portrait of a Serial Killer (trailer here) returns to the big screen this Friday in New York.

Henry is intentionally and transparently modeled on the inflated confessions of real life serial killer Henry Lee Lucas, but not necessarily on the cold hard facts of his case. McNaughton’s Henry is staggeringly prolific, yet he remains off law enforcement’s radar because he always switches up his methods of killing and he constantly stays on the move. Uncharacteristically, Henry will stay a spell in Chicago with his former cellmate Otis. As luck would have it, Otis’s recently separated sister Becky also moves back in around the same time. She immediately takes a shine to the polite Henry, presumably because her brother and husband are such pond scum.

As Otis’s resentments and failures pile up, Henry takes him under his wing, teaching his protégé a sure fire way to blow off steam. Yet, much to his surprise, Henry also develops something like fondness for Becky. Of course, that won’t stop him from taking more victims.

When it first hit the public consciousness, Henry was largely considered the most violent movie ever. However, time has passed and the culture has evolved. Subsequently, the Saw and Hostel franchises have been released into the world, along with the films of Rob Zombie and the outré shocker of all time, A Serbian Film. Frankly, through our contemporary eyes, Henry looks almost restrained.

It still has the power to shock, but arguably the scenes that depict the aftermath rather than the actual violence per se, are far more disturbing. Early in the film, McNaughton shows us a series of Henry’s crime scenes, with his victims looking carefully and cruelly posed. Likewise, the ending is still a kick in the teeth, because it so dashes any hopes we might have for human nature.

Michael Rooker gives a bravura, career-defining performance as Henry. He is so potently nerve-jangling, precisely because of his restraint. Granted, his Henry obviously has intimacy issues, but he is surprisingly sociable. When he is on the prowl, his ruthlessness is icily chilling. However, he also develops some highly ambiguous chemistry with Tracy Arnold’s Becky. Together, they keep viewers completely off-balance and way outside their comfort zones.

Without Henry, fans probably wouldn’t have the Walking Dead’s Merle Dixon, at least not as they came to know him through Rooker. In terms of color palate and imagery, it looks like it could be a Herschell Gordon Lewis grindhouse flick, but it is a much more challenging examination of sadism and sociopathy. Bracing but never exploitative in the strictest sense, Henry: Portrait of a Serial Killer is a film all cult cinema connoisseurs should be familiar with. Recommended for mature cineastes, Henry: Portrait of a Serial Killer screens this Friday and Saturday (10/21, 10/22) in New York, around midnight at the Landmark Sunshine.

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KAFFNY ’16: The Luncheon on the Grass (short)

Listening to this quartet of amateur criminals is sort of like Rashomon, except instead of four different perspectives, we get eight. It will be up to a professional fixer-cleaner much like Winston Wolfe in Pulp Fiction to tidy up their mess and decide where the truth lies in Hyunyong Park’s short film, The Luncheon on the Grass, which screens during the 2016 Third Culture Korean American Film Festival New York (in Brooklyn).

The young kidnapping victim is now dead, but Luncheon is a comedy, so deal with it. Apparently, he grabbed a knife and killed himself. In fact, that is the only point where their stories agree. With the arrival of the cleaner (a referral from a more connected acquaintance), each tries to convince the outsider of their limited culpability for boy’s death. To “get their stories straight,” the underworld specialist has them re-enact the crime, with the still fresh corpse. However, this leads to more bickering and less clarity. Things get so heated, they almost forget they ordered Chinese. Settling down to eat, they inadvertently recreate Manet’s Luncheon on the Grass, a reproduction of which hangs on the wall of the apartment in question. Then suddenly, their motivation shifts, as do their stories, in tandem.

Luncheon has some wonderfully flawed and damaged characters, including a scandal-tarred university professor and an aspiring actress coveting Botox sessions. It is a bit disappointing that they were brought together by their clay-footed priest, but at least Park buoys us with some razor sharp dialogue and darkly absurdist humor.

Hip viewers might guess the final twist, but the real point to Luncheon is the verbal steel cage battle royale and the resulting narrative confusion. Sly and subversively pointed, it must be one of the funniest about a dead child you will see all year (or so let’s hope). Highly recommended for viewers with a pitch black sense of humor, The Luncheon on the Grass screens this Friday (10/21) as part of the Shorts Two program at the Wythe Hotel in Brooklyn—and remember you can get 15% off tickets with the “jbpins” promo code.

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Tuesday, October 18, 2016

Ti West’s In the Valley of Violence

Now its proximity to the Mexican border only gives it a comparative advantage in crime and exploitation. All the decent folk have long since left, but the stranger who rides into town is no choirboy. He is not looking for trouble, but it finds him nonetheless in Ti West’s In the Valley of Violence (trailer here), which opens this Friday in New York.

His name is Paul, but he is the sort of gunslinger who often has no name. The Mexico-bound former cavalry man has deserted due to his mounting revulsion for the so-called “Indian campaigns.” We can tell by looking at him he was disgusted by the killing, precisely because he was so darned good at it. However, Gilly, the ringleader of the local Denton ne’er-do-wells is not so fast on the uptake. As the town Marshal’s deadbeat son, he can usually get away with his bullying behavior, but Paul is an entirely different sort of cat, just like his assertive dog Jumpy.

Like night follows day, Gilly challenges Paul when he reluctantly stops for supplies. Paul might have let things slide had the entitled thug not threatened his dog. When Paul duly shows him up, the chagrined marshal rather apologetically runs him out of town, to preserve public order. At that point, the deserter and the lawman would be fine letting matters stand, but not Gilly. Of course, he and his entourage lay a trap for Paul, but they only succeed in killing Jumpy. We know what that means—and so does West, who delivers Charles Bronson levels of vicarious payback.

Who knew Ethan Hawke had so much Eastwood in him? Granted, it is more of the tortured Josey Wales Eastwood, but it definitely still counts. He instantly projects a sense of a man well acquainted with death, while delivering West’s frequently droll dialogue with wry understatement. He also forges some terrific (albeit slightly problematic) ambiguous romantic chemistry with Taissa Farmiga, as Mary Anne the younger and more naïve of the two sisters operating the town’s high vacancy hotel.

Yet, the real scene stealer is none other than John Travolta, who gleefully gnaws the scenery even as his character struggles to be the voice of reason. Travolta been grinding out a spate of VOD-theatrical day-and-date B-movies, but Valley gives us reason to hope he might just have yet another comeback in him. As an extra added bonus for cult movie fans, West’s frequent co-conspirator Larry Fessenden does his thing playing one of Gilly’s ill-fated cronies.

Although The Sacrament was billed as a departure for West, the Jonestown-inspired found footage thriller was not really so far removed from the horror field. Granted, there is a spot of blood here and there in Valley, but it is a western through and through. Clearly, West has some affection for this genre too, at least as it was realized in Italian productions. He stages some nifty gun fights and pens some razor-sharp, attitude-drenched dialogue. It is a retro blast with uber-modern sensibility. Very highly recommended for a wide spectrum of genre fans, In a Valley of Violence opens this Friday (10/21) in New York, at the Village East.

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Stuff MX ’16: Keep Going (short)

Margo is the sort of post-apocalyptic android Johnny Cash would appreciate. His name is not an accident. It is a conscious way of differentiating his protective new role from his destructive past. Margo’s retrofit makes him more than Yeon-hee’s guardian. He is also her external pacemaker. Unfortunately, the world is not inclined to appreciate their bond, but things might be better on the other side of the border. However, safely crossing it will be a real trick in Kim Geon’s pedal-to-the-metal sf short film, Keep Going (trailer here), which screens during the 2016 Stuff MX Film Festival, south of the border.

Humanity was nearly annihilated during the last planet-wide war, thanks to the use of battle robots like Margo. Of course, it really wasn’t their fault. Nonetheless, after the armistice, a large luddite contention decided to merely switch their armed hostilities towards all things robotic. The large anti-robot contingent dug in near the border will not care about Margo’s life-sustaining function. If he and Yeon-hee hope to continue their trek, they will have to fight their way through.

Somehow, Kim packs an awful lot of genre filmmaking into a mere twenty minutes. As an action film, Keep Going is as good or better than any feature released this year. In addition to the spectacular centerpiece shootout, Kim economically creates a convincingly detailed near future world. Margo’s robotic features are particularly spot-on, combining hard steel with worn edges, while conveying the sense of something like a conscious imprinted on his circuit board.

Choi Bae-young portrays Yeon-hee with tremendous sensitivity and vulnerability, even while she is kicking butt. Likewise, even though Lee Tae-young is buried beneath the Margo helmet, he is still giving a real performance through his body language and action chops.

Any way you break it down, Keep Going represents massively impressive indie genre filmmaking. It is easy to see how the short film could be expanded into a full epic feature. In fact, there is a graphic novella prequel posted on the film’s Facebook page that explains how Margo became Yeon-hee’s protector. However, there is indeed dramatic logic to the place where Kim choses to conclude the short. Regardless, anyone who enjoys films with whizzing projectile action and human-robotic relationships will flip for Keep Going. Very highly recommended, it screens this Thursday (10/20) as part of the Stuff MX Film Fest.

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Vampyres: Remaking the Vampire Exploitation Cult Favorite

Based on vampire lore, death need not curb your sex drive. In fact, most post Lugosi vampires are downright voracious—especially the lesbians. At least, that is how filmmaker-dudes like Jean Rollin and Jess Franco envisioned them. Joseph [José Ramón] Larraz also contributed to the softcore Sapphic blood-sucking tradition with the 1974 cult classic Vampyres. It wasn’t exactly a complicated narrative, but Victor Matellano remade it anyway. Faithful to the original, Matellano’s English language Vampyres (trailer here) releases today on DVD and VOD.

Fran and Miriam are your classic lesbian vampires, who lure horny male victims to the gothic abode for a night of hedonism and feeding. Harriet assumes several of her friends are just running late for their camping trip, but the vampy vamps have already picked them off. Not exactly proactive, she and her other two grudgingly platonic pals will just wait around for someone to find them.

It turns out they will have a ridiculously long wait. Fran has just picked up Ted playing the lost, waifish hitchhiker. However, the young Brian Dennehy-looking fellow is apparently her type. Instead of dispatching immediately as per their standard procedure, she keeps him alive in a sex-stoked, blood-drained haze. Meanwhile, Matellano periodically checks back in at the inn where Ted spent the night, just so he could cast British horror icon Caroline Munro in meaninglessly tangential scenes.

There is plenty of sex and nudity in the re-upped Vampyres as well as a good deal of blood-letting, so Matellano covers all the mandatory bases. However, it is nowhere near as successful creating an atmosphere of mystery or critiquing gender roles as the thematically similar Blood of the Tribades. Frankly, the remake just sort of looks cheap, which is a bit of an unfair criticism given its severe budget constraints, but it is still fair to point out the original looks better, even though it was produced under similar circumstances.

Vampyres is not exactly an actors’ workshop either, but Marta Flich’s potent presence gives us a hint of the sort of lushly indulgent guilty pleasure could have (and should have) been. There is also something weirdly compelling about Christian Stamm’s half-delirious dad-bodded Ted. To her credit, Munro manages to almost convince us she isn’t completely bored as the hotelier, because she is a total professional.

Spelling “vampyre” or “womyn” with a Y always seems perversely contradictory, since the whole intention is to convey the lack of a Y chromosome, but so be it. While we’re in a pedantic frame of mind, it also seems rather negligent for a vampyre couple to have a loaded crossbow affixed to their wall, like some kind of decorative object. At least we cannot accuse it of being “Chekhov’s Crossbow,” because it will be used eventually. If you are in the mood for a lesbian vampire film, the 1974 original or either version of Embrace of the Vampire will probably better satisfy. However, if this is your thing then have at it, when Vampyres releases today (10/18) on DVD and VOD, from Artsploitation.

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Monday, October 17, 2016

KAFFNY ’16: Time Agent (short)

For his line of work, being aloof and anti-social is actually a prime qualification. He has come from the future to subtly undermine the relationships the parents of future mass murderers, forcing them to break up before they tragically procreate. Of course, it is imperative he not interact with others while he is secretly living in our current time-span. Ordinarily that is not a problem, but one mistake leads to complications even he could not foresee in Jude Chun’s short film The Time Agent, which screens during the 2016 Third Culture Korean American Film Festival New York.

To break-up currently happily married couples due to have monstrous children, he mostly does little things, like leaving the toilet seat up. It is not just one thing—it is the cumulative effect that really matters. Frankly, these scenes are rather disturbingly convincing. However, while walking home from a day of minor mischief making, the Agent interrupts a possible suicide on the bridge. Rather annoyed by his squirrely behavior, Moon Yeesul decides not to jump.

Did he just change the future? To limit the potential damage, the Agent invites her to stay in his Spartan flat while he investigates what her previous future fate. Yet, much to his surprise, he quickly finds he quite enjoys her company.

Much like Richie Mehta’s I’ll Follow You Down, Time Agent focuses more on the emotional implications of time travel than special effects or huge history-altering time ripples. Frankly, it turns out to be shockingly poignant, bringing together two lost lonely souls, while dangling a Damocles Sword over their ambiguously budding relationship.

Essentially a two-hander, Time Agent features two extraordinarily subtle and agonizingly restrained performances from Choi Gwui-woong as the Agent and Jeon Young-hee as Moon. You will be hard pressed to see better work in any recent science fiction feature.

Chun helms the terrific duo with a remarkably sensitive touch. However, his conception of time travel also gives viewers food for thought. Tonally and thematically, it is sort of like a cross between Paris, Texas and Doctor Who, which you do not see too often. Highly recommended, Time Agent screens this Friday (10/21) as part of the Shorts Two program at the Wythe Hotel in Brooklyn—and remember you can get 15% off tickets with the “jbpins” promo code.

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