Three reviews from Cannes, including the latest from Francois Ozon and the Safdie brothers, along with a special out of competition screening.
A report from the Cannes Film Festival on the latest from Michael Haneke, Noah Baumbach and Kiyoshi Kurosawa.
Chaz Ebert reports on Todd Haynes' "Wonderstruck" and the Netflix controversy in her second video dispatch from Cannes 2017.
A report on the opening day press conference for Cannes 2017 and the premieres of "Ismael's Ghosts" and "Loveless."
The best recent releases on Blu-ray and streaming services, including "Blue Ruin," "Middle of Nowhere," "Only Lovers Left Alive," and "Love Streams."
This morning, Pedro Almodovar, Spain's biggest big-cheese filmmaker, handed us a limp noodle with "The Skin I Live In," his entry in the Cannes competition. The film stars Antonio Banderas (who began his career in Almodovar's early films) and Elena Anaya, who looks like a cross between Penelope Cruz and Audrey Hepburn. Even a second-best Almodovar film has its delicious moments, but "The Skin I Live In" is flat compared with his best work, including "Broken Embraces," "Volver," and his Oscar winner "All about My Mother."
Typical of Almodovar, the film is a melodramatic farce. Although it's based on the novel "Mygale" ("Tarantula" in English) by Thierry Jonquet, the story is also strongly reminiscent of the 1960 French horror classic "Eyes without a Face" by Georges Franju. In the Franju film, a surgeon kidnaps women in order to graft their faces onto the head of his disfigured daughter. In "The Skin I Live In," a plastic surgeon is engaged in highly experimental work in order to create synthetic skin as a tribute to his dead wife, who was burned to death in a car crash. He subsequently uses the results of his research in service of a unique punishment for his daughter's rapist.
This story has a lot of twists, and the element of surprise is important. I don't want to give away too much, especially since it's due to open in the U.S. in the fall. I haven't read "Mygale," but I understand that the narrative is fragmented into sections that all come together in the end. In this, Almodovar appears to have followed the structure of the book, perhaps too closely. One of the principle weaknesses of "The Skin I Live In" is that the story is scattered in pieces. Characters and subplots are introduced then dropped. They are loosely but not completely tied together in the end.
Hello, I'm Omar Moore. I was born and raised in London, where I grew up before moving to New York City with my parents. After branching out in the Big Apple on my own for a number of years, I moved west to San Francisco. I love America and its promise. We all need to do our small part to make this great country even better for all. Where a film is concerned, it is never "only a movie." Images mean something. They have unyielding power and influence, whether in "Birth of A Nation", "Un Chien Andalou", "Night Of The Hunter", "Killer Of Sheep", "Persona", "Psycho", "A Clockwork Orange", "Blazing Saddles", "Straw Dogs", "Soul Man", "Chameleon Street", "Do The Right Thing", "Bamboozled" or "Irreversible". A filmmaker generally doesn't put images in a film if they are meaningless.
My previous post, Impressions Based on the Hype for the Movie Precious Based on the Novel Push by Sapphire, was an account of exactly that -- how even limited exposure to advance word for the movie over 11 months, from Sundance in January to theatrical release in November, created expectations that made me not want to see it. What follows are my impressions when I finally did.
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UPDATE (12/24/09): "I didn't have the sensibilities of your ordinary filmmaker, let alone your ordinary African-American filmmaker. My heroes were John Waters, Pedro Almodóvar, and actors that were part of that world. Different." -- Lee Daniels, June 2009
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None of us is immune to movie publicity, unless we're lucky enough to see the picture well in advance of its theatrical release (perhaps at an early film festival screening) -- or stay away from publications, television, radio, the Internet and any form of communication with other people until we can see it. In the case of "Precious Based on the Novel Push by Sapphire," I reluctantly came to feel that I knew all-too-well what to expect: a grueling torture-fest of a movie that would culminate in an equally manipulative upbeat ending.
Turns out, it is all that, but it's also something else I hadn't anticipated: funny. Yes, it's a rags-to-redemption "social problem" movie, but at the same time it's a consciously camped-up fairy tale, complete with Evil StepMother. It's a showcase for two heartfelt bravura performances (by Mo'Nique and Gabourey Sidibe) and an often laughably overwrought melodrama -- not just because of the horrors it depicts but because it's fully aware of how shockingly high it stacks the decks against its heroine. "Precious" is a virtual remake of John Waters' 1974 "Female Trouble," which makes for a crazy, volatile clash of tones and textures.