Holy Motors, Batman!

Let's start with movie talk.


'Holy Motors' (Leos Carax, 2012)
A day in the life of Monsieur Oscar, who changes lives with the ease – and resources – of an expert actor. But where are the cameras?

This one requires a playful willingness to wonder just what the hell is going on (I'm talking to you, 'Donnie Darko' fans). But if you can muster that, you might well enjoy the intriguing premise, strong performance(s) by the lead actor, and strangely compelling, unconnected scenes. It sort of borders on the edge of making sense, and unlike most of the other serious movies I've seen here, there's plenty of comic relief to be had. Also, come on -- doesn't "Holy Motors" sound like the kind of thing Robin would shout in a 1940s comic book?

'7 Días en la Habana' [7 Days in Havana] (Benicio del Toro, Pablo Trapero, Julio Medern, Elia Suleiman, Juan Carlos Tabio, Gaspar Noé, Laurent Cantet, 2012)
Follows seven consecutive days in Havana, each through the eyes of various people, Cubans and non-Cubans alike. Each ‘day’ is directed by a different director.

It's an interesting premise - 7 days, 7 directors - but as such, it's a pretty mixed bag. Basically, you've got seven almost totally unrelated short films about Havana grouped together, and I'd say there are three-ish good ones... the rest are variously bluntly written, bizarre and plotless (there's a bathing ritual... that's all I got), or just uninteresting. My advice is to watch the first and second ones and whichever one Elia Suleiman directs and stars in.

'The Paperboy' (Lee Daniels, 2012)
In the 1960s, Miami reporter Ward James and his posh black associate return to a small town to investigate the unjust trial of a convict with the help of Ward’s aimless brother, who falls hard for the barbaric convict’s devoted girlfriend.

Heads-up: this is from the director who brought us 'Precious', so expect no pulled punches on issues that run the gamut from racism to domestic abuse and reckless (to put it mildly) sexual proclivities. That said, though, I enjoyed this movie -- a compelling plot (even if it's taken from a novel), several strong performances (favorites include Nicole Kidman, an against-type John Cusack, and a hilariously delightful Macy Gray, known for her recent work in 'The Help'). I would also like to point out that 'The Paperboy' gets my vote for the best film editing I've seen at Cannes this year.


'Jaws' (Steven Spielberg, 1975)
A huge, territorial great white starts eating unsuspecting swimmers in a New England town, but the concerned, hydrophobic sheriff’s efforts to close the beaches and hunt the beast meet with opposition from the image- and money-obsessed mayor.

This was another showing in the 'Cannes Classics' category, and to sweeten the deal, they showed it the night I saw it on the beach with lounge chairs and a big projector. I mean, come on -- where better to watch 'Jaws' for the first time? Anyway, as for the movie itself, the suspense in the first 20-ish minutes had to be my favorite part... I loved how they play with your expectations, and once they go out to sea, it got less interesting (I didn't like the two-dimensional fisherman character). But I definitely enjoyed hating the mayor, I always like Richard Dreyfuss, and the shark looked pretty darn good for 1975. It's also so interesting to me to think that this is what a summer blockbuster used to look like... nowadays, it would be a sleeper hit among horror fans, maybe noted for a good line or three and some decent setpieces.

'Cosmopolis' (David Cronenberg, 2012)
As anti-capitalist riots threaten and a presidential visit blocks traffic, young finance genius Eric Packer journeys across New York in his sleek limo to get a haircut. As the day progresses, he ruminates with associates over his sexless new marriage, the nature of finance, and the rising value of the Yuan… which he has bet against with all his fortune.

The sad truth is that I can go on as long as I like about great production design that creates a sleek, clinically calm professional world, how Robert Pattinson's deadpan actually makes him a nice fit for it, how fascinating the movie's philosophy discussions are, and even the thematic tie-ins with the rest of David Cronenberg's filmography... but the fact is, the dialogue in this movie is unbelievably dense. And while it does pose interesting questions and serve to cement the world of the movie, it's very slow, intentionally unnatural, and relentlessly serious... there's virtually zero break in that style for this entire two-hour movie light on plot, and that makes it very difficult to sit through, even if I'm sure Cronenberg took most of the dialogue from Don DeLillo's novel. Cronenberg and DeLillo fans: it's worth a try. Everyone else: you have been warned.

'On the Road' (Walter Salles, 2012)
Eager to write and gain new experiences, Sal Paradise joins his new, reckless friend Dean Moriarty and his free-spirited, promiscuous wife Marylou on a road trip around the country.

This was a very well-made movie, but the whole beat generation thing probably just isn't for me. I didn’t like the terse drum-patter soundtrack, and the color palette – while appropriate – was so bleak I felt nauseous. I didn’t mind the lack of plot, but at almost two and a half hours, some trimming was in order. For what it’s worth, though, I am now curious about Kerouac’s novel. Also, Kristen Stewart really can’t act. And Garrett Hedlund (played Moriarty, and who I dismissed after 'Tron: Legacy') really, really can.

'Elefante Blanco' (Pablo Trapero, 2012)
When he receives a terminal diagnosis, a priest working in an impoverished Brazilian community calls a close colleague to help him… but with gang wars raging and construction money drying up, even two priests might not be enough to save the community.

This was another one in a language I don’t speak with French subtitles, so I couldn’t really follow who was who, what side they were on, or who they were up against. But it was well done, and I think the location really brought out stronger performances in the actors. I felt like I was watching real people in real, sympathy-evoking situations (I didn’t realize until the credits that the new priest was French star actor Jeremy Renier). Several long traveling takes were also interesting. Bottom line: I doubt I’ll watch it again, but I don't regret having given it a try.

'Antiviral' (Brandon Cronenberg, 2012)
Syd March works for the Lucas Clinic, where clients can be infected with their favorite celebrities’ diseases. But when Syd starts slipping in his black market moonlighting gig, he injects himself with a superstar’s newest bug… and starts suffering the deadly symptoms.

Brandon is David Cronenberg's son, and the grotesque apple doesn't fall far from the gory gree. I thought this was a fascinating premise (perhaps because of my background studying David Cronenberg), and it makes for an excellent, piercing commentary on the culture of celebrity obsession. Great, austere production design and some gripping, horrifying imagery. The whole thing is very grotesque, there's a lot of blood, and a lot to do with needles. I'm also not wild about the plotting... pacing droops for a while after the halfway mark, and the plot gets a bit muddled. This one is for a very specific taste.

. . .

So, tomorrow, Annie and I are going to see 'Mud', and maybe another (very serious) movie called 'The Hunt', starring Mads Mikkelsen, who played the villain in 'Casino Royale'. I will fill you in after I see it/them.

So, like I said, a lot of time goes to waiting in lines, but Annie and I have also gotten really good at begging for extra tickets. We have a 5-for-4 record, which is to say we've gotten so good that we get free tickets when we're not even trying. We were between screenings today when a cop flagged us down and gave us his two tickets to this Monday night's gala screening of whichever movie wins the Palme d'Or ('Golden Palm', equivalent of Best Picture). We're really rooting for 'De Rouille et d'Os' (Of Rust and Bone), a French movie with strong reviews and Marion Cotillard, just because we didn't get to see it. I'm fairly sure, though, that it will go to 'Amour' instead (about the old couple - I talked about it last time).

So, the festival has been pretty hectic... I'll be relieved to be out of such a crazy, people-packed setting, and hopefully I'll have the chance to see some less serious movies... but this has been a unique experience. I think the ticket begging will make up my favorite memories. And I haven't hobnobbed with too many more celebrities... Nanni Moretti, the notoriously cantankerous Jury President for this year, was at the 'Jaws' screening, and I do keep seeing Alexander Payne (wrote and directed 'The Descendants' and 'Sideways') all over the place. His new nickname is 'A-Payne'. The trouble with celebrity spotting around here is that, unless you stake out a spot near the red carpet hours in advance of a gala screening (before it gets fenced off), you're not likely to run into too many famous folks.

Tomorrow (Sunday, 27 May) is the last day of the festival. One last entry about that, and then I'm off to travel Germany, and then the UK and Norway by cruise liner.

We're almost done here.

-Andy