A preview of the 2019 DOC10 Film Festival (April 11-14) in Chicago, featuring reviews of "Hail Satan?", "Mike Wallace Is Here," "Midnight Family," "The Infiltrators," "Knock Down the House," "Anthropocene: The Human Epoch," "The Biggest Little Farm," "The Distant Barking of Dogs" and "One Child Nation."
A fest dispatch on three films from late in TIFF, including "Stonewall " and the closing night of Midnight Madness, "The Final Girls".
Marie writes: I was looking for something to make Roger laugh, when the phone rang. It was a bad connection, but this much I did hear: "Roger has died." That's how I learned he was gone, and my first thought was of the cruel and unfair timing of it. He'd been on the verge of realizing a life long dream: to be the captain of his own ship.
I apologize for the lack of postings the last few weeks. A recent flare-up of heart problems left me with little energy to write. But as the emaciated old man in "Monty Python and the Holy Grail" says: "I'm feeling much better!"
At one point well into Paul Thomas Anderson's "The Master" I thought that the movie was going to reveal itself as a story about the meaninglessness of human existence. But that notion was based on a single piece of aphoristic, potential-thesis-statement dialog that, like much else, wasn't developed in the rest of the movie. Which is not to say that "The Master" isn't about the meaninglessness of human life. The line, spoken by Lancaster Dodd (Philip Seymour Hoffman), the cult guru known to his acolytes as Master, is addressed to the younger man he considers his "protégé," a dissolute mentally ill drifter named Freddie Quell (Joaquin Phoenix), and the gist of it is that the itinerant Freddie has as much to show for his life as somebody who has worked a regular 9-to-5 job for many years. The point being, I suppose, that for all Freddie's adventures, peculiarities and failures, he isn't all that much different from anybody else. Except, maybe, he's more effed-up.
Is Bryan Singer's "The Usual Suspects" (1995) one of the greatest films ever made? I admit there was a time, right after I saw it, that it seemed special. For most of my first viewing, I thought I was watching a standard crime thriller when suddenly it caught me off-guard and left me stunned. Once the DVD came out, I rushed to buy it but then, as the years went by, I noticed it had been left on its shelf abandoned as I had little interest in watching it again. I couldn't remember much about the characters or the plot, in fact, there was only one thing that stuck in my mind about it. Readers who've previously watched it will instantly know what I'm taking about.
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.)