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Monday, September 26, 2011
Fantastic Fest capsule: ‘Clown’
The title sequence for Danish comedy “Clown” features some jaunty music reminiscent of early 70s TV shows. The theme is fitting in that the film is a bit of broad slapstick, but misleading in the sense that the risque subject material of the movie would never been seen on 70s television.
Frank is a bit of a floundering wimp. He’s the ugliest guy in his book club and his newly pregnant girlfriend doesn’t think he has what it takes to be a dad. His best friend Casper, however, seems to have the world on a string. He lives in a cool, modern house, has a gorgeous girlfriend, can charm the pants off of man or woman and has concocted a brilliant scheme to get him and Frank out of town for the weekend, away from their ladies and in touch with some much more intriguing ones. Casper and Frank tell their girlfriends they are going on a canoe trip, but it’s really just a clever ruse to head to a rare brothel that opens one night a year and take in a local music festival.
The only problem: Wimpy Frank has decided to bring along a 10 year-old son of friends whom he and his girlfriend were babysitting. By taking care of the kid, Bo, and showing him a good time, Frank intends to prove to his girlfriend that he is father material.
But the road to relationship hell is paved with good intentions. The camping trip devolves into a series of sexual hi-jinx and humiliation fueled by high-grade marijuana and German liquers.
Part “Vacation” and part “Wet Hot American Summer” for grown-ups, “Clown” is a hysterical and bawdy romp that plays off of innocent and likable Frank’s ability to always end up in a bad situation despite the desire to do the right thing. There is probably a bit too much “Hangover”-type juvenile sexual humor, much at the expense of the child, that would make it a hard sell for American audiences, but at it’s heart, it’s a riotous buddy comedy that gets much of its humor from the Odd Couple of Frank and Casper. Cue the music.
Note: “Clown” won best screenplay and best picture at the Fantastic Fest awards on Monday night.
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Fantastic Fest capsule: “A Boy and His Samurai”
“Adorable” isn’t a word that anyone in their right mind would associate with Fantastic Fest.
“Asian?” Definitely. Plenty of Asian horror and gangster fare for everyone.
But “family” isn’t — can’t take the kids to “Human Centipede II.” Or almost anyone, really.
And yet, one of the best movies at this year’s Fantastic Fest is the adorable, Asian, family-ready “A Boy and His Samurai.”
Directed by Yoshihiro Nakamura (“Fish Story,” “Golden Slumber”), “A Boy and His Samurai” is the kind of live-action general audience movie that just isn’t made in the United States anymore. If you’re seeing a picture with this level of skillful sweetness, it probably has a Pixar logo on it.
Yusa (Shiori Kutsuna) is a single mom living in small apartment with her six-year old son, Tomoya (the almost superhumanly cute Fuku Suzuki). Like many single mothers, she is tired most of the time, her job affording her time to microwave dinner and that’s about it.
One day, she and her son see a man standing on the sidewalk looking quite lost. He is Kijima Yasube (Japanese TV star Ryo Nishikido), a samurai from the Edo Period who has been transported to 2009 Tokyo thanks to a rather effective prayer to the Buddha.
Profoundly confused yet deeply polite like any good samurai, Tasube has no idea what to make of the modern world. Tomoya, abandoned by his own father, is intrigued by this new potential role model.
Feeling honor-bound to help out around the house, Yasube soon takes over domestic chores, including cooking (his voice-over meditates on “The Way of the Supermarket”) and discovers a knack for desserts.
Charming without ever becoming grating, “A Boy…” finds its footing early, its deft, light touch never wavering. It is essentially a romantic comedy, but never a crass and particularly sexual one — the paternal love story is about Tomoya and Yasube more than the adults. Suzuki’s grin could melt glaciers, while Kutsuna and Nishikido develop a chemistry that never feels forced.
There are subtitles, but it’s precision entertainment for ages 5 to I-was-at-the-Randy-Newman-ACL-taping. Can’t say that about “Yogi Bear.”
“A Boy and His Samurai” screens for the final time at 5:45 p.m. today.
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Ringside at the Fantastic Debates
The KNUCKLE Fantastic Debates were once again a hot ticket at Fantastic Fest this year. So I imagine more than a few people were disappointed when the email arrived Saturday alerting people that there had been a ticketing snafu that gave many attendees the impression they would get into the event at the South Austin Gym Saturday night. Apparently more than 250 people were able to reserve spots, but only 150 were allowed into the steamy gym.
What they missed was another battle of wits and absurdist wrestlemania showmanship between the Zellner brothers (Nathan and David), who argued whether robots or humans were superior. Production value was enhanced by the appearance of “Medium Wonder,” a female robot summoned by David to do his dirty work.
The second bout featured the best display of athleticism to date at the Debates. “Lord of the Rings” alumni Elijah Wood (a huge fan of the fest) and Dominic Monaghan argued the merits of a life spent playing World of Warcraft. After their war of words, the two former hobbits donned pink gloves and danced nimbly about the ring, exchanging jabs and crosses. No word on whether the actors trained for the fight, but they both looked rather comfortable in the ring.
The penultimate showdown featured a battle of cosmic and comic proportions, as Andy Howell, a professional astrophysicist and host of National Geographic’s “Known Universe,” argued with and then delivered a beatdown to Hunter, a goofy, rambling NASA-hater who has come to some small internet fame of late due to a series of confusing and profanity-laced YouTube tirades against the National Aeronautics and Space Administration. The debate, coherent only during Howell’s speech, gave way to a one-sided fight, as the much taller Howell delivered several blows to a staggering Hunter.
The final fight promised the best chance for a real injury, but fortunately “Knuckle” star James Quinn McDonagh showed Fantastic Fest co-founder a bit of mercy. The Alamo honcho entered the ring with great flair, sporting a small cowboy hat, Texas flag shorts and cowhide chaps after the Irish bare-knuckle brawler said he wanted to skip the chit chat and get down to business. The guys fought a couple of rounds, with McDonagh doing a decent job of keeping League at bay. But the ferocious film-lover did land quite a few punches amid his flurry of fists. I ran into McDonagh the next day, who said he had a bit of a sore jaw Monday morning, so it seems while League may not have proven that Texans are tougher than Irishmen, he still made his state proud.
All photos courtesy of David Hill.
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‘Bernie’ screening raised over $150,000 for Bastrop’s wildfire relief efforts
Despite going head-to-head with the final day of the Austin City Limits Festival, the benefit screening of Richard Linklater’s “Bernie” on September 18 raised $155,810 through donations and ticket sales.
The benefit, presented by Austin Film Society, the Paramount Theatre, Linklater, Jack Black and Matthew McConaughey, raised money for the Bastrop Emergency Food Pantry, Heart of the Pines Volunteer Fire Department and Friends of the Lost Pines State Parks.
The film was partially shot in Bastrop, where Linklater is a part-time resident.
“There is so much going on this weekend, and for you to show up to help our friends in Bastop means so much. The Austin community never ceases to amaze,” Linklater said at the screening.
“Bernie” recounts the bizarre mystery involving Bernhardt “Bernie” Tiede (Black), an assistant funeral home director in Carthage, Texas who admitted to murdering wealthy and eccentric socialite Marjorie Nugent (Shirley MacLaine).
The film is expected to open next spring.
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Fantastic Fest capsule: ‘Bullhead’
Jacky Vanmarsenille (Matthias Schoenaerts) is a hulking, simmering bull of a man who serves as the heavy for his family’s interest in the illegal steroids trade. His anger constantly lurks just below the surface, occasionally exploding with violent force.
The back-story of Vanmarsenille’s anger is revealed in a flashback to his adolescence, when as a fresh-faced China doll of a child his life takes a life-altering turn. A local bully terrorizes Vanmarsenille, and smashes his testicles with a brick. The brilliant blend of silence and sound give staggering emotional profundity to the unthinkable act. It is one of the most startling scenes I’ve seen at Fantastic Fest.
The devastating violence leads to Jacky’s parents injecting their son with hormones in hopes of replacing that which was so brutally stolen from him. The incident will, naturally, end up defining Jacky’s life, his relationship with women and his understanding of himself as an incomplete man.
Most films feature a character who must face and overcome an obstacle. The fascinating thing about “Bullhead” is that its protagonist will never be able to fully conquer or resolve his conflict. It defines him and circumscribes his life. The fatalism of his life is tragic and unavoidable.
As Jacky haltingly attempts to come out of his shell of shame and misery, he commits an act of violence that will eventually return to torment him.
The narrative is built around a somewhat vague crime ring that sometimes confuses with its intricacies. But the real thrust of the story is Jacky’s internal conflict. Schoenaerts gives the massive Jacky (Belgian actor Schoenaerts put on close to 50 pounds of muscle for the role) a stunning vulnerability cloaked in a brooding intensity. Roskam uses extreme close-ups give the film a raw intimacy, and put the viewer in unsettling proximity to this tortured animal of a man.
At times you wonder what is going on in the narrative of the corruption, betrayal and murder. But Roskam often clears up confusion in subsequent scenes, a device which helps give a nice pace to the mystery.
A pair of bumbling French mechanics who unwittingly get wrapped up in the criminal activities and a male police officer who flirts with a gay informant give the thriller a a bit of comedic relief and Coen-esque absurdity, providing a slight release for the slow-boil.
Last week the film was selected as Belgium’s entry for the Academy Awards, a distinction that should bring some much deserved international attention to this staggering work.
“Bullhead” is an incredible accomplishment for a first-time director. Roskam chose as his film’s central premise a conceit that could have ended up playing very melodramatically, making the film unbelievable and almost silly, and infused it with an amazing amount of tenderness, truth and humanity. The movie is stunning in its stark noirish beauty and balances humor and rage as well as hopefulness and despair.
Roskam is one of the things that is great about Fantastic Fest — and film festivals in general — you get to see the beginning of what is almost certain to be a wonderful career.
“Bullhead” screens again Monday at 5:30 p.m.
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The wit and wisdom of Lars von Trier
Lars von Trier’s meditation on depression and man’s futile existence, “Melancholia” is stunningly beautiful, superbly acted (I could see Oscar noms for Kirsten Dunst and Charlotte Gainsbourg) and directed in such a way that you can really feel the main character’s desperation and resignation. It also has a few comedic moments, mostly thanks to Kiefer Sutherland’s character. The humor should be no surprise to fans of von Trier, who, at Fantastic Fest got a dose of wit from the director before the screening.
Before the screening Saturday at Fantastic Fest, the audience was treated to film of a taped Skype conversation between the director (whose fear of flying prevents him from overseas travel) and Devin Faraci of Badass Digest.
Some highlights:
- The Danish director said he was alerted to the brilliance of Dunst by, P.T. Anderson. (a name he briefly struggled to recall). Von Trier said he was in luck as Dunst was “not doing ‘Spiderman’ at the time.”
- He shared a funny anecdote about how, upon being complimented by Martin Scorsese about his effecting use of slow motion black-and-white, he told the legendary director that it’s impossible to go wrong using such an effect, before realizing he was telling this to the man who made “Raging Bull.”
- He confessed that he thought “Melancholia” was “on the edge of being kitsch and unbearable,” a sentiment I doubt hardly anyone shared after the screening.
- Although the director has admitted to battling depression, he says that making the film was in no way instrumental in him working through those emotions himself.
- Despite no trace of the Spanish actress, von Trier mystifyingly said “Melancholia” “came out of the idea I should make a film with Penelope Cruz.”
- The director did a lot of scientific research about the possibility of a large planet careening toward earth and was very happy to find out such an event could happen tomorrow. It saved him from having to do a bunch of “future stuff.”
- Although the movie is very grounded, there is a bit of CGI used in the cosmos scenes. He originally thought the computerized work would be a breeze, but soon learned that the images (which would eventually take six months to complete) were much more labor-intensive than simply inserting a CD-ROM disc.
Photo: In this photo taken on Wednesday, May 18, 2011, Danish Director Lars von Trier displays an obscene word on his fist as he poses during a photo call for “Melancholia” at the 64th international film festival, in Cannes, southern France.
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