Paranoid Park

[eternity]

No trailer yet, but it did get a poster and a release date. March 7, 2008.

http://img258.imageshack.us/img258/8624/paranoidsa2.png

[Boner M]

So ugly it's almost kinda cool.

[eternity]

So ugly it's almost kinda cool.Now that you mention it, I kind of question the posters authenticity. I Googled the movie after I saw the date posted on Box Office Mojo, and there it was. The date was correct, but I don't know.

[Ezee E]

what horrible text. I'd believe it if it was the Red Envelope Group (or whatever Netflix's distribution is called), but not quite IFC.

[Derek]

That is a terrible poster. The film is great, if a sizeable step down from Elephant and Last Days. I fully expect most people to hate it or at least not be on the same wavelength as Van Sant's offbeat sense of humor.

[Winston*]

Christ, this film is awful.

[eternity]

http://img.photobucket.com/albums/v156/gv9000/paranoid_park.jpg

This poster is so, so, so, so, so much better.

[eternity]

Trailer (http://youtube.com/watch?v=GEs_Zz0hfEU&feature=related)

[Sven]

Trailer (http://youtube.com/watch?v=GEs_Zz0hfEU&feature=related)

Holy moly, this film looks terrible! Boo! Booooo!

[lovejuice]

i just realize it has nothing to do with kon's "paranoia agent" at all. silly me. :)

but then again, looking at the first poster, can you really blame me?

http://www.animatedbliss.com/images/DVD/Paranoia%20Agent/lg_paranoia-agent_volume-01.jpg

[Boner M]

That's one of the weirdest trailers I've seen, but some of the photography looks intriguing. Doyle is god.

[Boner M]

Holy moly, this film looks terrible! Boo! Booooo!
Most unexpected post of the year.

[Kurosawa Fan]

That trailer was awkward, but I'm still interested. If this ends up being another Last Days instead of another Elephant, Van Sant will be cut off for awhile.

[jesse]

That trailer was awkward, but I'm still interested. If this ends up being another Last Days instead of another Elephant, Van Sant will be cut off for awhile. It (obviously) revists the same milieu and some of the sames themes as Elephant only the style is completely different (the long tracking shots are gone) and the story and moral implications are kind of the inverse of Elephant's. They work as really good companion pieces, I think (I gave Elephant another watch after I saw PP in Toronto).

I have yet to see Last Days (and Gerry, for that matter), so I can't comment on that.

It's a really great film though--the trailer reminded me why it's one of my favorite films of the year so far. And if anything, it's just a gorgeous looking film--no surprise there.

[Kurosawa Fan]

It (obviously) revists the same milieu and some of the sames themes as Elephant only the style is completely different (the long tracking shots are gone) and the story and moral implications are kind of the inverse of Elephant's. They work as really good companion pieces, I think (I gave Elephant another watch after I saw PP in Toronto).

I have yet to see Last Days (and Gerry, for that matter), so I can't comment on that.

It's a really great film though--the trailer reminded me why it's one of my favorite films of the year so far. And if anything, it's just a gorgeous looking film--no surprise there.

I was speaking purely in terms of quality. Last Days was awful, whereas Elephant was phenomenal. Glad to know you thought it was great. I've heard a few very negative opinions, so the more good word of mouth the better.

[eternity]

American trailer:
http://vids.myspace.com/index.cfm?fuseaction=vids.spla sh&placement=entertainment

[transmogrifier]

Good film. A bit too much skateboarding stuff for me, but a moody little art piece all the same.

[number8]

Just saw it. Hmmmmm.

Did Chris Doyle really work on this, or did Van Sant just lie?

[Dukefrukem]

The murder/death/whatever scene better be cool.

[jesse]

Just saw it. Hmmmmm.

Did Chris Doyle really work on this, or did Van Sant just lie? How so? It looked very Doyle-esque to me, what with all that hazy, color-saturated slow-mo and whatnot.

[Wryan]

Dear Gus,

Victor Salva called. He wants you to stop stealing the jailbait from his daydreams.

Warmest Regards,

Wryan

[EvilShoe]

The murder/death/whatever scene better be cool.
Yes, "cool" is exactly what Van Sant was aiming for with that scene.
I'd even dare to call it "awesome to the max!!!!!!".

[eternity]

http://www.apple.com/trailers/independent/paranoidpark/trailer/

Real trailer.

[number8]

How so? It looked very Doyle-esque to me, what with all that hazy, color-saturated slow-mo and whatnot.

I don't think it's hazy and color-saturated. It was dark and blurry. The slow-mo and "video game" shots are more Van Sant's ilk than Doyle. The compositions are pretty boring for the most part (I think they showed all the best shots in that trailer). I can usually tell Doyle's cinematography apart (even in Lady in the Water it was obvious), but here I would have had no idea.

That trailer's pretty misleading and spoiler-ish, by the way.

[Duncan]

Spoilers, I guess, but the film does absolutely nothing unexpected with its premise so they matter little:

I thought Doyle's photography was pretty signature.

That said, I saw this film like 5 hours ago and all that sticks with me are the super 8 shots. I'm the kind of guy that could probably watch skateboarders go up and down tubular walls in grainy slow motion for an hour and a half perfectly contented. Also, that shot in the shower when his hair streams the water into a whole bunch lines and the lighting changes. That's such a common scene in films. The shower to erase moral/emotional trauma scene, I mean. But this one felt unique and powerful, not cliché. Anyway, I didn't really get much out of the guilt trip aspect of the film. Kills a guy, feels bad, writes about it. Ok. And if it's supposed to be political, then I don't think it's very effective either. What are these explicit mentions of the Iraq War there for? Are we supposed to read the film metaphorically? Is America supposed to write a guilt addled journal and then burn it? I dunno. Wasn't too impressed with this one.

[ledfloyd]

So IFC is releasing this, which means I won't be able to get the DVD unless they build a blockbuster around here? They're releasing Flight of the Red Baloon too. wtf.

[NickGlass]

So IFC is releasing this, which means I won't be able to get the DVD unless they build a blockbuster around here? They're releasing Flight of the Red Baloon too. wtf.

If you have Comcast cable, IFC OnDemand is your friend.

[Boner M]

What are these explicit mentions of the Iraq War there for? Are we supposed to read the film metaphorically? Is America supposed to write a guilt addled journal and then burn it? I dunno.
I thought the Iraq references were meant to be taken pretty literally; perfectly believable for an alienated kid who is awkwardly trying to engage with the world around him. I think one of the film's strengths is that Van Sant never makes Alex a mouthpiece for anything. He just embodies everything about his personality on a formal level. Admittedly, there's not much to the kid, but I (eventually) admired the film for doing enough striking things with the medium that I haven't really seen before.

[origami_mustache]

The film isn't short on striking imagery; the time lapses are gorgeous and I liked the progression of the nonlinear story intercut with consumer grade video clips of skating teenagers, however Paranoid Park is lacking in adequate acting. The narration is seriously grating; it's like in grade school when kids are asked to read a passage from the textbook out loud, only the material is much less articulate here. I also found the gratuitous use of unmotivated slow motion shots became tedious and the soundtrack seemed to be over the top eclectic just for the sake of it. It probably included double digit genres ranging from Beethoven, experimental/electronic, jazz, country/folk, Elliott Smith, hip-hop, opera, metal, as well as sporadic pieces of Nino Rotas scores. I was most impressed with the sound design for a film of such a small scale. There is some really great stuff going on during the shower scene, railroad scene, among others, but my favorite part was when Alex's internal thought process is running through his head; dialgue overlaps with different echoes and reverb effects.

[Qrazy]

I may watch it. Van Sant is one of those filmmakers where I'm not impressed by the content but I'll watch out of formal intrigue (vis. Von Trier).

[NickGlass]

Gus Van Sant--the director of such hazy, slow-paced films as Gerry, Last Days and the Palme d'Or winning Elephant--must be the most patient director in contemporary American cinema. With Paranoid Park, his newest tracking-shot-filled experiment in austerity, Van Sant puts his spacey style to effective use by employing multiple devices to document the experience of a psychologically-conflicted high schooler, Alex (Gabe Nevins, whose expressive visage compensates for his clunky line-readings).

Alex-a na've and sullen skater-has gotten into a bit of trouble. After a Saturday night at the titular skateboarding arena, Portland's most dangerous and challenging skateboard rink, he unwittingly becomes involved in the accidental killing of a railroad security guard.

Paranoid Park's power derives from its fundamental understanding that, to a teenager, the ramifications for murder are more psychological than moral. Alex's witnessing of a death he unintentionally caused leads to a particular brand of ennui produced by a mixture of guilt and adolescent insouciance. Alex's silence is salient. He shrugs off friends, family and his prom-queen-primed girlfriend--even the loss off his virginity is depicted as a detached experience.

Van Sant subordinates the plot, which is fragmented in a modernist style, and successfully employs multiple devices to evoke Alex's consciousness. The film is composed of a loose narrative, an eclectic soundtrack and swirling cinematography. These elements complement each other beautifully--truly capturing the muddled mindset of a boy who refuses to be haunted by his actions.

The least inspired technique is the main frame--Alex's journal, which tells the nonlinear sequence of events. Even within this device, however, Van Sant is able to provide an evocative ambience. Alex's prose, which is communicated through a monotonous voiceover, reflects a seventh grade composition; it's filled with jarring syntax, meandering anecdotes and juvenile rhetorical questions, such as "I was screwed. What was I going to do?" Van Sant's intentions are simple and straight-forward, but the atmosphere he creates is piercing.

Music is so prominent, and dialogue is so often trivialized, that Paranoid Park could easily have functioned as a silent film. The musical cues occasionally confound as much as they illuminate-the use of birds chirping as Alex showers off the bit of blood off his body is frivolous and hackneyed, while certain compositional choices (Beethoven, Nino Rota and Elliott Smith) are inspired. Similarly powerful is Christopher Doyle's camerawork, which captures the rolling, dizzying rhythm of skateboarding.

The title, Paranoid Park, may suggest the idea of a generic teen-slasher flick, but make no mistake. Van Sant's film is certainly unsettling, but it's a peculiar brand of horror. It evokes a confused terror that stems from young adulthood and a character's inability to live life once he has taken another during a crucial time of development. Van Sant's filmmaking is fluid-it's Alex that suffers from inertia.

[Sven]

which is fragmented in a modernist style

As opposed to fragmented in any other kind of style?

Your review is encouraging.

[NickGlass]

As opposed to fragmented in any other kind of style?


Postmodernist, perhaps?

I chose "modernist" in particular because it borrows heavily from the idea that the form derives highly from the mindset of the protagonist.

[Derek]

Postmodernist, perhaps?

I chose "modernist" in particular because it borrows heavily from the idea that the form derives highly from the mindset of the protagonist.

Yeah, I think that's the main reason for the strange combination of music on the soundtrack. It plays as fragmented and dissonant almost as if Alex were flipping through his IPod to find the right track. The Nino Rota playing over the break-up scene may be the single funniest moment in any Van Sant film.

[origami_mustache]

Yeah, I think that's the main reason for the strange combination of music on the soundtrack. It plays as fragmented and dissonant almost as if Alex were flipping through his IPod to find the right track. The Nino Rota playing over the break-up scene may be the single funniest moment in any Van Sant film.

I felt like the ridiculousness of the soundtrack was trying to say something, but it was too stupid and obvious for me to take seriously.

[Derek]

I felt like the ridiculousness of the soundtrack was trying to say something, but it was too stupid and obvious for me to take seriously.

Wouldn't it being obvious imply that you'd know its purpose rather than dismissing it as eclectic just for the sake of it? But I suppose what you found stupid, I found effectively playful, so to each his own.

[Raiders]

http://blog.oregonlive.com/qpdx/2008/02/paranoid-park-alex.jpg

For a while, I didn't know how to properly articulate my love of this film, and I think Gus Van Sant would applaud me for that. Films have forever looked to define the peculiar stage of life that is high school, from all out noir-ish perversion to hyperbolic inarticulation to clichéd and wise to simply using to setting for adult situations. It is a particularly strange part of life where self-absorption is at incredible highs and the challenges and tragedies of the real world seem rather distant to the insular tribulations of the walls of the high school.

I'm not entirely sure any film has quite attempted what Van Sant does here. The film is a narrative mess, going back and forth chronologically and moving less with any rigorous structure and more with the fleeting emotions of the cognitive level of a high-school student. There's less Bela Tarr here and more Wong Kar-Wai, perhaps thanks to the presence of Christopher Doyle behind the lens, though I think that brings about a chicken and egg argument (what came first: the stylistic choice or the choice of DP?). Regardless, there's an aimless quality that befits the film without ever delving completely into "teenage ennui" that so famously has become the mumblecore movement. Every lingering shot of a skater hung in midair has a singular purpose and the repetition of this brings about the ending result that when we leave, we are struck by the fleeting grace of such moments contrasted with the grave situation that actually makes up the narrative's core.

You can hardly argue with Alex's, our young protagonist, lack of interest in his shallow girlfriend or the idea of sex when it is obvious he has experienced things no teenager should have to articulate. His brief respites involve the jotting down of his emotions and his story, and his frequent patronage of the titular local skater haven (or is that heaven?). The film's structure allows Van Sant to play with what we assume to be typical teenage behavior. The beginning of the film feels like every other aloof teenage film ever made, but by the time we see the tragedy behind those scenes, I think we peer into Van Sant's respect for this age group and perhaps his own derision of the mumblecore movement: teenagers have problems too and not all are formed inarticulate, indecisive and boring buffoons.

Physics seems just as much an enemy to Alex as anything else. Nevermind it was physics and gravity that likely caused the central tragedy, but in those lingering shots of skaters separated from the Earth, there must eventually be a fall. Thus, Van Sant links Alex's dilemma to the eventual fall as the trivialities of youth giving way to the harshities of the real world. As such, Alex has an innate understanding of pain and has seen tragedy to a greater degree than all his classmates and his girlfriend. Thus, while she is off talking about the "life changing" event of her first time having sex, Alex lies pensively, detached from the typical teen frame of mind.

But, Van Sant does not absolve Alex of his own obliviousness, gently and slightly amusingly showing Alex's lack of knowledge about social and political events in the world as a friend chides him for his lack of insight into the affairs of the world. Yet, I think this is two-fold for Van Sant's film displays a sullen humanity in that while his friend may have a newspaper-thin knowledge of the world of politics, only Alex has the knowledge of the fragility of life. While all his friends sit stuck in the midair high of their teenage lives, Alex is falling to a state of mind for which there is no return.

The choice of music is something I still don't know exactly how to rectify, but the mood it creates is free and floating. In particular is a break-up scene where dialogue is washed out in favor of a Nino Rota melody. It harks back to how the relationships fall away in Alex's mind and how he is no longer the same teenager he was mere weeks before. To him, it has just become noise.

It is interesting to see this film following the "death trilogy" Van Sant just completed. It's a slightly livelier work, certainly less rigid in its construction and though at the center there is indeed death, the film feels free from the dreary, inevitable march of his previous three films. The film feels less confined to life and death and more to the inner reaches of Alex's mind. Throughout scenes of him writing down his thoughts in ineloquent but honest sketches provide the film's framework. Like the central death, Alex's youth feels detached and severed, bloodily and messily giving way to the world of the future.

[Pop Trash]

I went to rent this this week and my stupid DVD rental place didn't have it. :frustrated:

[Cult]

It's a great film that I liked a lot more the second time 'round. It's one of those narratives that really benefits from being unlocked on repeated viewings. Also, I found the scene with the security guard cut in half, but still alive greatly disturbing. I think that was due to the dreamlike, unassuming mood of the film before that happens. Totally caught me off guard.

Nice review!

[Watashi]

It has the best baptism through rain/shower/etc. scene ever in film.

Usually they're super cliche, but Gus Van Sant and Christopher Doyle made it really work here.

[origami_mustache]

It has the best baptism through rain/shower/etc. scene ever in film.

Usually they're super cliche, but Gus Van Sant and Christopher Doyle made it really work here.

From what I hear, Doyle has a stipulation in his contract that allows him to drink on set...I met a guy who was hired as his personal beer bitch on a set hahaha...anyways the sound design was especially great in this scene too.

[Ezee E]

Getting this tomorrow. I really know nothing about it except it's Gus Van Sant, skaters, and along the lines of Elephant.

[eternity]

The film further nailed the fact that Gus Van Sant is one of few who can perfectly nail teenage dialogue and direct unknown teen actors to get the most realistic performances he can get out of 'em. Doyle's cinematography was awesome as well, and these elements alone make it a movie I have to admire. But unlike Elephant, a top 25 film for me, this film's short runtime felt insanely empty. It didn't really go anywhere other than its established little plotpoint, and isn't entirely effective as a character study or well...anything.

[Ezee E]

Gus Van Sant's been on a roll with his recent movies in which he has no studio involvement. Gerry, Elephant, and Last Days are all fascinating films that show the talent of Gus Van Sant before everything else.

Paranoid Park may be the momentary end to the trend as he has the highly-studio involved Milk coming out later in the year. While it is a fascinating piece of work from a director, I would say it's the weakest effort of the four films as it relies on a performance more than any of the other four films, and the performance by Gabe Nevins is nothing more than mediocre.

There are several moments where the film relies on his acting as the scenes get quiet. The previous four have them as well, whether it is the strolls of Damon/Affleck walking, following random students like a stalker, or the dread of a music star, they are there. Here, it's a young kid feeling guilt over a huge accident, but it simply isn't as intriguing to me.

However, Gus Van Sant still puts on some nice touches. Whether it's the admiration of Paranoid Park itself as skaters take a jump in slow motion, the already mentioned Baptism scene, moments of strange music (albeit overused), or an impressive interrogation scene, there are pieces that fit right in with the other films.

I'm curious to see where Gus Van Sant is going to go next. I think he safely ended this period of filmmaking, and rather do hope he moves on to something else. End while it's still good.

Gerry - *** 1/2
Elephant - ****
Last Days - *** 1/2
Paranoid Park - ***

[Pop Trash]

I finally found a copy of this! It was well worth the wait. I loved the Super 8 shots of skateboarders and other little honest moments Van Sant puts in there (like the little brother reiterating Napoleon Dynamite to his bro, so honest and true that scene)

There is a genuine empathy towards the main character here. Understanding and empathising with the guilt he feels. But Van Sant doesn't put an easy ending to the investigation. You would expect the main character to get either arrested or exonerated by way of some other skater going to jail in his place. Neither happens and it's left open. Just keep rollin'.

In the past Van Sant, no matter how how formally great his films are, would have some content that would make me cringe. I specifically mean the awkward, unecesarry Shakespearean dialogue in My Own Private Idaho and making the Columbine characters closet gays/possible neo nazis/possibly influenced by violent video games, and other dumb red herrings in Elephant.

Thankfully, none of that happens in Paranoid Park and it might be my favorite Van Sant film since Drugstore Cowboy almost twenty years ago (hard to believe!)

The only small criticisms I would have are with some of the bizarre music choices he makes. Particularly the rockabilly song right before the skater kid meets the detective for the first time (really?) and the country songs. I loved the use of Nino Rota, however. And the hardcore song made sense for skaters. Elliott Smith is always lovely but Van Sant already used that in Good Will Hunting. Still, Smith is always welcome.

Rating: 8/10 and as of now, my new #1 for 2008 (going by US release dates)

[Yxklyx]

...The musical cues occasionally confound as much as they illuminate-the use of birds chirping as Alex showers off the bit of blood off his body is frivolous and hackneyed, ...

You didn't notice the bird themed wallpaper in the shower? Actually I only remember one bird - the rest looked like a gazebo or cage.

[Yxklyx]

Very solid film. 8/10 My favorite part was the breakup scene. The shower scene was incredible. The absurd death sequence was also very memorable. I love how he just focuses on one character while another speaks. I look forward to seeing this again.

[Yxklyx]

The film further nailed the fact that Gus Van Sant is one of few who can perfectly nail teenage dialogue and direct unknown teen actors to get the most realistic performances he can get out of 'em. Doyle's cinematography was awesome as well, and these elements alone make it a movie I have to admire. But unlike Elephant, a top 25 film for me, this film's short runtime felt insanely empty. It didn't really go anywhere other than its established little plotpoint, and isn't entirely effective as a character study or well...anything.

Yeah, it feels like a short film run too long - but that's not necessarily a bad thing. It's a nice change of pace.

[megladon8]

It has become evident that Gus Van Sant is just not a director for me.

I really hated this film.

[elixir]

It has become evident that Gus Van Sant is just not a director for me.

I really hated this film.

I think the film is pretty great. What makes you hate it? As for van Sant, I'm not sure yet...I need to see more of his because while I love this film, I absolutely despise Elephant. I find the more commercial features of his that I've seen to be alright, I suppose. I'll probably check out Last Days or Gerry next.

Also, a 5 for A Serious Man? Boo.

[megladon8]

I think the film is pretty great. What makes you hate it? As for van Sant, I'm not sure yet...I need to see more of his because while I love this film, I absolute despise Elephant. I find the more commercial features of his that I've seen to be alright, I suppose. I'll probably check out Last Days of Gerry next.

Also, a 5 for A Serious Man? Boo.


I found it frustrating on just about every level. I don't understand how one could say that the performances from these non-actors were good. I can be quite forgiving with poor acting, but these were bad to the point of distraction, and constantly pulled me out of the experience the film was trying to provide.

An occasional interesting visual flourish here and there wasn't enough to make up for what was a very drab, bland, uninteresting looking film which I found myself fighting to keep any interest in.

Any emotional attachment I could have felt towards the story or its characters was lost because of (what I felt to be) a very poor execution.

Seeing as how I have not enjoyed a single one of Van Sant's films, I think it's safe to say, like I said earlier, that he's just not a man whose work appeals to me.

[Watashi]

I think Paranoid Park, Gerry, Elephant, and Last Days are all equally amazing.

[megladon8]

I don't.

[Watashi]

I don't.
I know. You stated that in the post above mine.

[megladon8]

I know. You stated that in the post above mine.


I know. I posted the post above yours.

:P

[Spinal]

If nothing else, I admire Van Sant's ability to work in two completely different modes. 'Commercial' mode and 'artsy' mode. Although that still doesn't give me info as to whether or not I'll like the film or not. I've liked and disliked films in both categories.

[Rowland]

I was kinda indifferent to the film, so I can understand both ends of the spectrum. Gerry and Last Days are my favorites of the 'artsy' Van Sant mode.

[Boner M]

I was kinda indifferent to the film, so I can understand both ends of the spectrum. Gerry and Last Days are my favorites of the 'artsy' Van Sant mode.
Agreed w/ all of this.