The film breathes exhilarating life into its tired premise, thanks to some dazzling action choreography, stylish visuals and–most importantly–a vintage anti-hero performance from Keanu Reeves.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Marie writes: If I have a favorite festival, it's SXSW and which is actually a convergence of film, music and emerging technologies. However it's the festival's penchant for screening "quirky" Indie movies which really sets my heart pounding and in anticipation of seeing the next Wes Anderson or Charlie Kaufman. So from now until March, I'll be tracking down the best with the zeal of a Jack Russell terrier! Especially since learning that Joss Whedon's modern B/W take on Shakespeare's "Much Ado About Nothing" is set to screen at SXSW 2013 in advance of its June 21st US release date; they'll cut an official trailer soon, rubbing hands together!
Marie writes: Behold a living jewel; a dragonfly covered in dew as seen through the macro-lens of French photographer David Chambon. And who has shot a stunning series of photos featuring insects covered in tiny water droplets. To view others in addition to these, visit here.
(click images to enlarge)
Meet Steve Park. You may know him as Sonny, the Korean store owner in Spike Lee's "Do the Right Thing" (1989) -- or perhaps as a regular on "In Living Color" during the 1991-1992 season. While recently going through the Coen brothers' "A Serious Man" (2009) with an audience for a week during the Ebert Cinema Interruptus at the Conference on World Affairs, I came to the startling realization that the Steve Park who played Japanese-American Mike Yanagita in "Fargo" (1996) and the Stephen Park who played Korean-American Mr. Park 13 years later in "A Serious Man" were one and the same.
The Coens sometimes give a single-scene appearance to a relatively minor character who provides the key to understanding (or at least defining) the film's mysteries. In "Miller's Crossing" (1990) it's Mink (Steve Buscemi) who, in a rapid-fire exchange with Tom Reagan (Gabriel Byrne) at the Shenandoah Club lays out the movie's convoluted map of relationships before we can take in everything that's being thrown at us.
In "No Country for Old Men" it's Ellis (Barry Corbin), cousin of Sheriff Ed Tom Bell (Tommy Lee Jones), who, in the quiet scene that begins the last movement of the picture, spells out the harsh realities of the past, present and future for the retiring lawman who feels overmatched in the modern world and wants to opt out of it: "You can't stop what's comin'. Ain't all waitin' on you. That's vanity."
Park has the honor of appearing in two such key scenes for the Coens, years apart. His Mike Yanagita is funny, with a delectable Minnesota accent to bounce off Marge Gunderson's, but he's also a disturbing and even tragic figure. Mr. Park (Clive's father) is one of many forces buffeting Larry Gopnick. And, unlike Larry, he's a man who knows exactly what he wants, even if Larry's rationalist worldview can't comprehend him. (Watch the video, above.)
View image Anton Chigurh (Javier Bardem): You may think you know what you're dealing with, but believe me, you don't.
(A comment by Phillip Kelly in reply to an earlier post made me chuckle and got me thinking. He wrote: "I guess my theorizing [of] Anton Chigurh as main character doesn't stand now that Miramax is touting him for Best Supporting Actor. Too bad." That's the jumping-off place for this entry.)
The New York Film Critics Circle gave Javier Bardem its 2007 Best Supporting Actor award for his role as Anton Chigurh ("shi-GUR") in Joel and Ethan Coen's "No Country For Old Men" (which was also named Best Picture). The funny thing is, so much of the discussion of the of the movie centers around Chigurh that you'd think he was was the lead. And critical reservations about "No Country" tend to focus on interpretations of Chigurh, and whether the critic accepts him as a character or a mythological presence or a haircut or some combination thereof.
"No Country" traces the path of Sheriff Ed Tom Bell (Tommy Lee Jones), from his opening narration to his closing monologue, from his nostalgia about the "old times" and his fear of the violence in this modern world to his account of two dreams about his father. Llewelyn Moss (Josh Brolin), sets things in motion by taking the satchel of drug money, and Chigurh spends most of the film relentlessly tracking him down, while Ed Tom follows a trail of blood to catch up with them both. None of these characters is a conventional "lead." We never even see Moss or Ed Tom come face-to-face with Chigurh. He exists in the physical world, but his presence is strongest when it's felt by these other two characters, even though they don't share screen space with him.
View image And the Exploding Head goes to... Seth Rogen and Paul Rudd in "Knocked Up"?
I'll publish my annotated "best of" list next week, but while thinking back over the year's movies I recalled some things that seemed to me "beyond category." Or the usual categories, anyway. One way or another, they made my head feel that it might explode. So, while everybody's preoccupied with all those other awards, here are the 2007 Exploding Heads for Achievement in Movies:
Best endings: • "The Sopranos" (final episode): blackout • "No Country for Old Men": "Then I woke up." • "I'm Not There": Dylan's harmonica on "Mr. Tambourine Man" • "Superbad": Baby-steps toward adulthood, separating at the mall escalator • "Zodiac": Stare-down
Most electrifying moment: A dog. A river. "No Country for Old Men."
Best grandma: "Persepolis"
Best surrogate grandpa: Hal Holbrook, "Into the Wild"
"Arrested Development" Award for Best Throwaway Lines: • "Keep it in the oven..." -- Jason Bateman, "Juno" • "... Terrorism..." -- Michael Cera, "Superbad" (actually, Cera has so many astonishingly brilliant under-his-breath moments in "Superbad" and "Juno" it's uncanny)
Best performance by an inanimate object: (tie) The cloud (and its shadow), the candy wrapper, the blown lock housing in the motel room door, "No Country for Old Men"
Most cringe-worthy lines: • "My cooperation with the Nazis is only symbolic." -- "Youth Without Youth" • "That ain't no Etch-a-Sketch. This is one doodle that can't be undid, home skillet." -- "Juno" (the cutesy moment at the beginning when I nearly ran screaming for an exit; cutting this entire unnecessary scene would improve "Juno" immensely)
Funniest double-edged observation: "He's playing fetch... with my kids... he's treating my kids like they're dogs." -- Debbie (Leslie Mann) in "Knocked Up," watching Ben (Seth Rogen) play with her daughter, who is loving it. That's her point of view, and she's right, but she says it like it's a bad thing.
View image Ain't nothin' but the real thing, baby: Brian Dierker and Catherine Keener in "Into the Wild."
The Real Thing: "Non-actor" Brian Dierker, rubber tramp, "Into the Wild" (and, of course, his "old lady" Catherine Keener, actor extraordinaire)
Best film about the way The Industry really works since "The Big Picture": Jake Kasdan's "The TV Set." The moment I knew it was going to be exceptional (sharp, precise and, therefore, extraordinarily funny) was when the writer's choice for the lead role gives an audition that's just... underwhelming. He isn't good. He isn't terrible. He just isn't enough. Which then allows the network execs to push for the "broader" alternative ("To me, the broad is the funny"). And even he proves himself capable of being not-awful -- in rehearsal, at least...
Best political film: (tie) "12:08 East of Bucharest" and "Persepolis" -- a pair of smart, funny movies about the effects of political revolutions on individuals in (respectively) Romania and Iran.
Deadliest stare: (tie) Anton Chigurh (Javier Bardem), "No Country for Old Men"; Briony Tallis (Saoirse Ronan), "Atonement"
Young comedy whippersnapper stars of the year: Michael Cera (19), Ellen Page (20), Seth Rogen (25), Jonah Hill (24), Christopher Mintz-Plasse (18)
Game savers: J.K. Simmons and Allison Janney, who come to the rescue of "Juno" not a moment too soon
Best torture porn: The excruciatingly funny baptism scene with Paul Dano and Daniel Day Lewis (both of 'em overactin' up a storm -- but in a fun way), "There Will Be Blood"
Most worthless critical label: "Independent." A movie should not be viewed through its budget, financing or distribution. And in these days of studio "dependents" (Miramax, Focus Features, Paramount Vantage, Fox Searchlight, etc.), the term "indie" is frequently misleading at the very least.
Best bureaucrat: Dr. Fischer (Alberta Watson), "Away From Her"
Best negotiations: • Chigurh and the gas station owner, "No Country for Old Men" • Chigurh and the trailer park lady, "No Country for Old Men" • Chigurh and Carla Jean, "No Country for Old Men" • "4 months, 3 weeks, 2 days": The painfully protracted, ever-shifting moral balance (and exhausting power-struggle) in the hotel room, between the friend and the abortionist -- while the pregnant woman herself passive-aggressively bows out of any responsibilities for what has happened, or will happen.
"Perfume" Award for Best Portrayal of Synesthesia: "Ratatouille"
Best Supporting Crotch: Sacha Baron Cohen, "Sweeney Todd." An squirm-inducing scene-stealer that makes you long for a change of angle: Please give us an above-the-waist shot! (Did they have spandex in mid-19th century London?)