Chac Mool does Fantasia

[Chac Mool]

Every year, Chac Mool departs his Yucatan dwelling(s) for the Fantasia Film Festival. This year, he has decided to share his impressions.

[Chac Mool]

http://bingbingli.com/bingbing_li/wp-content/uploads/2010/08/Detective_Dee_postor_20100816_ sinacomcn.jpg

DETECTIVE DEE AND THE MYSTERY OF THE PHANTOM FLAME
(Tsui Hark)

- The good: it's a historical epic (which Hark does well) married with a not-uncaptivating Sherlock Holmes-like plot involving a giant statue, a would-be female empress, spontaneous combustion and much behind-the-scenes conspirating. Oh, and it's got a rather nice cast, headlined by the great Andy and Carina Lau.
- The bad: tonal shifts are all the rage nowadays in Asian cinema, but they happen a little to quickly here -- the movie shifts from historical epic to fantasy movie to, in one confusing scene, steampunk. This scattershot quality extends to the plot and dialogue too, which suffer from strange, throwaway moments.
- The ugly: some of the CG reminded me of video games circa 1998.
- Overall: it's a little like walking into a curiosity shop -- there's a lot of neat stuff, and you're not sorry you went in, but you wish the individual items on display had a bit more polish and went a little bit better together.

[6/10]

[Philosophe_rouge]

Also doing Fantasia, seen 4 films so far. Not sure I will see anything tomorrow though, nothing catches my eye.

I really enjoyed Detective Dee, perhaps more than you, but I can't disagree with your criticisms.

[Philosophe_rouge]

This short played at Fantasia, and it's seriously one of the best shorts I've ever seen. For fans of horror/musicals, preferably both:

http://www.youtube.com/watch?v=wqKyG3RQV30&feature=related

[lovejuice]

- The bad: tonal shifts are all the rage nowadays in Asian cinema, but they happen a little to quickly here -- the movie shifts from historical epic to fantasy movie to, in one confusing scene, steampunk.
I don't consider that a tonal shift though. The world of Asian Fantasy, unlike its western counterpart, has always been one with history and sci-fi -- think Final Fantasy. It's not unusual that Genghis Khan, a mad scientist, a necromancer and a being from outer space that's later proved to be God populate the same imaginary landscape.

[Philosophe_rouge]

My issue with "tonal shifts" within Detective Dee have more to do with the fact that it began as a wonderfully absurd romp, and somewhere down the middle become quite a serious film. Most of what it had going for it was it's sense of fun, which they all but abandoned about halfway through.

[D_Davis]

Extreme tonal shifts are a staple of Hong Kong cinema.

[Chac Mool]

I don't consider that a tonal shift though. The world of Asian Fantasy, unlike its western counterpart, has always been one with history and sci-fi -- think Final Fantasy. It's not unusual that Genghis Khan, a mad scientist, a necromancer and a being from outer space that's later proved to be God populate the same imaginary landscape.


Extreme tonal shifts are a staple of Hong Kong cinema.


My issue with "tonal shifts" within Detective Dee have more to do with the fact that it began as a wonderfully absurd romp, and somewhere down the middle become quite a serious film. Most of what it had going for it was it's sense of fun, which they all but abandoned about halfway through.

I do agree that tonal shifts have been much more prevalent in Asian cinema. However, I can't deny that they often seem jarring to someone who grew up on the more "coherent" (for lack of a better word) tone of North American and European movies and TV.

That being said -- I also agree with PR that the shifts in "Detective Dee" almost split the film in two -- a fun mystery/adventure replete with villains, impossible crimes and colorful locales and a more serious historical drama. They're not diametrically opposed, and individually, both work, but they clash when interspersed.

[Chac Mool]

http://www.dreadcentral.com/img/news/mar11/block.jpg

ATTACK THE BLOCK
(Joe Cornish)

On paper, it plays like a great little sci-fi comedy: aliens land in a crime-ridden corner of South London and begin wreaking havoc, only to be fought back by a bunch of gritty kids who don't appreciate competition on their "block". And, to be honest, it is a great little sci-fi comedy, with a zany cast of 12 to 16 year olds, a zippy plot, good monster design, occasional but juicy gore and regular laughs.

What's surprising, however, is that it's not just a guilty pleasure, but a pretty good movie overall. The characters are well-drawn and feel human, as opposed to the walking cliches often found in horror comedies; the movie also doesn't excuse the fact that they're criminals, preferring to show both their good and bad sides. Some of the credit, of course, goes to the particularly well-cast actors. Director Joe Cornish also does a great job of staging action set-pieces, each with a well-defined setting and unique particulars; a foot/bike/scooter chase through night-lit streets and a nerve-raising walk through a smoke-filled corridor are highlights.

There's a world of difference between mass-produced action/comedy/horror hybrids (which, admittedly, I still often enjoy) and a film like this, which retains all the required genre thrills but also remembers that old-fashioned concepts like characters and settings have a use. I liked "Attack the Block" a lot.

[7.5/10]

[Chac Mool]

http://1.bp.blogspot.com/-SPoaHenTvEM/TbIeEs5ak8I/AAAAAAAAABI/6MOCaD1gT7w/s1600/Another%2BEarth%2BFilm%2BPoste r.jpg

ANOTHER EARTH
(Mike Cahill)

Rhoda Williams is driving home from a party, elated by the alcohol coursing through her veins and the news that she's been accepted into MIT for an astrophysics degree. On the car radio, she overhears that a new planet has suddenly appeared in the night sky, a blue circle far closer than anyone would have thought possible. Curious, she peers out the window, and her car drifts into the opposite lane, and crashes into a station wagon stopped at an intersection. Two of the occupants -- mother and young son -- die. The driver, John, survives. Rhoda goes to prison for four years.

"Another Earth", from first-time director Mike Cahill, features a high concept premise: that another Earth, a mirror image of our own down to shorelines and cities, appears in our sky. That such a premise is at first thought impossible -- based on astrophysics, classical mechanics, common sense -- is irrelevant. Cahill is not interested in physical reality but in the far more mysterious workings of human feeling, thought, interaction. The other Earth is used as a catalyst and analogue for the increasingly complex relationship between Rhoda and John. She is an intellectual consumed by guilt; he an artist -- a composer -- crushed by grief. Both are struggling to face themselves and both are caught within the orbit of the accident that changed their lives. Both think of escape -- John through alcohol, and Rhoda by daring to dream of traveling to the other Earth.

The film may sound ponderous and pretentious, but it's not, because Cahill keeps the premise in the background, with discussion of the other Earth overheard on TV or on the radio. The majority of the film focuses on Rhoda and John, in scenes that are sparse but fraught with emotion. As Rhoda, newcomer Brit Marling is teriffic. She is in practically every scene, and manages to convey both the fierce intellect and the crushing guilt of her character with little dialogue. It's a high-wire performance because it could easily have fallen into either tedium or self-parody; as it stands, it's close to perfect. As John, William Mapother is surprisingly good in a low-key, vulnerable turn that plays against Marling well.

Other than Marling, the real stand-out of "Another Earth" is the directorial touch of Mike Cahill, who shows both artistry and confidence. This is a low budget production but doesn't feel like one. The cinematography is cold but graceful, the editing tight, the few special effects judiciously well-used. And, most importantly, the interplay between the human and science-fiction aspects is sharp, with several haunting images and scenes, including the final shot.

I could go on gushing about "Another Earth". There are terrific individual moments. There are stand-out scenes for both actors. As out-there as the premise is, it offers food for thought for those interested in recent developments in physics (the concept of parallel/alternate universes is not as impossible as it sounds). There are echoes to some of my favorite movies: the metaphysical sci-fi premise recalls Tarkovski's "Solyaris", "Stalker" and "The Sacrifice"; the raw emotion of the dialogue between Rhoda and John reminded me of Bergman or Cassavetes, and there is at least a passing resemblance (and one notable visual reference) between "Another Earth" and the work of Krysztof Kieslowski. I'm not comparing the film to any of these classics, nor Cahill to the grand masters -- but there are echoes.

"Another Earth" is not perfect, but it is the rare movie that works on all levels -- human, emotional, moral, intellectual. It moved me, showed me something new, and left me to think about it for hours afterwards. It's one of the best I've seen this year.

[9/10]

[D_Davis]

I do agree that tonal shifts have been much more prevalent in Asian cinema. However, I can't deny that they often seem jarring to someone who grew up on the more "coherent" (for lack of a better word) tone of North American and European movies and TV.

That being said -- I also agree with PR that the shifts in "Detective Dee" almost split the film in two -- a fun mystery/adventure replete with villains, impossible crimes and colorful locales and a more serious historical drama. They're not diametrically opposed, and individually, both work, but they clash when interspersed.

I guess I don't see the clash at all because of how comfortable I am in HK cinema. If anything, I think Detective Dee will appeal more to a wider audience outside of HK because the tonal shifts are not extreme. You want to see tonal shifts, watch any number of wuxia films from the '90s in which ultra-broad slapstick comedy is juxtaposed with extreme bloody violence, like in the remake of Sword Stained With Royal Blood, or films like Holy Weapon, Butterfly and Sword, and Flying Daggers.

Many HK films over the last decade have been dialing back on these tonal shifts and in doing so they've lost a lot of the charm that makes HK cinema so unique in the world. This trend really gained momentum in the post Crouching Tiger and Hero days; these two films were more classically "western" in their execution, and have pretty much set the standard for subsequent HK cinema.

And so with that said, I was elated to find that Tsui has the bravery to return, even if only slightly, to the days when HK cinema featured more brashness and more tonal shifting. Detective Dee was a film that reminded me of many of the reasons why I fell in love with HK cinema.

Even when comparing Tsui's latest films with his earliest will show this. Gone are the days of We're Going to Eat You and Zu Warriors, or even Once Upon a Time in China, films in which everything and the kitchen sink could, and did, happen.

[Philosophe_rouge]

LOVED Attack of the Block and am indifferent at best to Another Earth.

[Winston*]

Surprised at that reaction to Another Earth. The trailer made it look terrible.

[Chac Mool]

Surprised at that reaction to Another Earth. The trailer made it look terrible.

It's low-fi in all the best ways.

[Chac Mool]

Dos mas, short since I'm about to sprint out the door...

http://0.tqn.com/d/horror/1/0/l/v/0/-/Phase-7-poster-2.jpg

PHASE 7
(Nicolas Goldbart)

A terrific riff on contagion and zombie movie conventions all the way from sunny Argentina: a slacker late-twentysomething and his pregnant girlfriend are stuck in their apartment once the government quarantines their apartment building during a worldwide viral pandemic. They have small problems -- boredom, a dwindling food supply, burnt-out lightbulbs. And they have big problems -- an cast of neighbours that goes crazier by the minute.

"Phase 7" works because it's hilarious, harrowing -- even sobering once or twice -- while remaining totally mundane. The characters are funny but they're not caricatures; the situations in which they end up are hilariously convoluted but not ridiculous. Add to that what feel like high-budget production values, good pacing and deft, unobtrusive direction and you get a great time at the movies.

You horror-hounds will love this one.

[8/10]

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http://www.trailershut.com/movie-posters/Die-Movie-Poster.jpg

DIE
(Dominic James)

Not worth the time it'll take me to write a capsule review. Suffice to say (and it pains me to put these words to paper) "Saw" did it before and "Saw" did it better.

Urgh.

[3.5/10]

[Chac Mool]

http://www.google.ca/url?source=imglanding&ct=img&q=http://thefilmstage.com/wp-content/uploads/2011/02/super-poster.jpg&sa=X&ei=19UtTtuOJsPu0gGHrL3kDg&ved=0CAUQ8wc&usg=AFQjCNEXx7accJ5cDOXCEo_IrQ iItLTm5w

SUPER
(James Gunn)

The prototypical hipster indie superhero movie -- loner loses wife to suave douchebag criminal, gets inspired by comic books to start fighting crime, befriends wacky hipster chick, fights crime, learns bittersweet lessons about life. The ingredients are all there too: excellent actors (Rainn Wilson, Ellen Page, Liv Tyler and Kevin Bacon, enjoying himself quite a bit), low-fi production values, an indie rock soundtrack...

But somehow, nothing coalesces, because the film goes too far in both directions. The human bits are too mired in misery: while likeable, none of the characters are relatable, because they're either too mopey or too nuts, and the film goes pretty far in making things go wrong for them. At the same time, the superhero bits are too extreme: the "action scenes" are realistic and gruesomely violent, stripping them of the humour found in movies like "Kick-Ass" and giving the whole thing a rather creepy sheen. Even the ending, which is genuinely moving, is uncomfortably grim. All in all, it's a movie that's easy to admire but, for me, almost impossible to like.

That being said -- two things almost make it required viewing: the year's best opening credits (a thousand times more fun than anything else in the movie), and the sight of a horny-out-of-her-mind-while-costumed Ellen Page inciting the titular character to get it on with her. Wowza.

[5.5/10]

[Chac Mool]

http://www.daemonsmovies.com/wp-content/uploads/2011/03/Detention-Movie-poster-550x733.jpg

DETENTION
(Joseph Khan)

It's your usual high school teen comedy (cliques, booze, young love) spiked with a masked serial killer, time travel, alien abduction and a sledgehammer through the fourth wall. If that sounds like too much for any movie to contain, that's because it is -- but this is not a movie so much as a modern art piece, to be screened on a bare white wall in some glass-fronted museum. The dialogue is rife with pop culture references and teenspeak to the point of being abstract (helpful definitions pop up on the screen); individual scenes reference classic movies and commercials, making use of just about every filmmaking device known to man, and director Joseph Khan maintains an absolute frenetic pace throughout. Did I like it? Initially, no... but once it got me on its wavelength, I enjoyed it a great deal.

[7/10]

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http://2.bp.blogspot.com/_7bYrGY_jQ9o/TI_zwhviNRI/AAAAAAAAApY/Sf-zsP0EjpM/s1600/ElSanatorio.png

EL SANATORIO
(Miguel Gomez)

"The Blair Witch Project" as transposed to an abandoned hospital in Costa Rica. At 62 minutes, it's short and sweet -- the set-up does a nice job of, well, setting up individual characters, and the second half does a nice job of killing them off. For a micro-budget film (in the tens of thousands of dollars, all in all), it looks and sounds surprisingly good -- the special effects are sparing, yet effective, and director Gomez finds nice ways to evoke the supernatural without too much CG. Great final image, and a kick-ass song during the credits too.

[6.5/10]

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http://moviecarpet.com/iwave/images/17/o-evil-lurks-beneath-berlin-in-urban-explorer.jpg

URBAN EXPLORER
(Andy Fetscher)

A group of young tourists, led by a guide, enter the unexplored tunnels beneath Berlin for a not-so-legal tour of a recently discovered Nazi bunker, and encounter rather more than they bargained for in the form of a reclusive dweller. It's a fantastic premise. Urban exploration is inherently creepy because the spaces being explored --dark, dank, forgotten-- are barely a few dozen meters underground, but may as well be miles deep in the absence of cell phone reception and maps; the usual distance between hostile environment (jungle, ocean, the void of space) and the audience is swapped for an uncomfortable proximity.

It's unfortunate, then, that the film, which starts off so promisingly, eventually turns into second-rate torture porn. The ingredients are all great -- an effective cast, a spectacularly well-chosen setting, confident filmmaking on all levels -- but they're put to the service of a film that becomes increasingly cruel to its characters, increasingly reliant on stupid horror film cliches to prevent them from escaping and increasingly interested in pushing the boundaries of what's shown on screen. The latter may be an unfair criticism (I loathe the torture porn genre, which repulses rather than scares me), but I genuinely wish a film with this much potential would have focused on scares rather than gore. It could have been "The Descent" literally beneath our feet.

[5.5/10]

[Rowland]

DETENTION
(Joseph Khan)
Hey hey, it's the Joseph Khan of Torque fame!

[Philosophe_rouge]

My co-host is basically making me watch Detention because we have an interview with Kahn and apparently I'll like it.

[Chac Mool]

Hey hey, it's the Joseph Khan of Torque fame!

Seemed like a really nice, down-to-Earth guy in the two minute pre-screening talk.

Not at all like the blood-splattered, cocaine-fueled maniac I imagined after seeing Torque...

[Chac Mool]

http://twitchfilm.com/news/ColdFishPoster.jpg

COLD FISH
(Sion Sono)

An incredibly gory tale about the dangers of the tropical fish business -- and yet, strangely enough, maybe Sion Sono's straightest movie. The director's trademarks are out in full force: terrific performances (particularly the top two); a strong visual sense; tense scenes that thrum with feeling; a focus on domination, violence, sexual depravity... but somehow, the movie still plays straight, without the left-field surprises of his previous movies. I can't say that it's a favorite -- the luminous "Love Exposure" will be tough to beat -- but it's definitely a festival highlight...

[7.5]

[Qrazy]

Only saw one thing this year... bunch of short films by unknown directors. One of them was really quite good... Brothers Quay-esque. It's called Princess.