Brian De Palma’s ‘Passion’ fails to ignite critics

August 30, 2013 by

Neo-noir master Brian De Palma’s latest film, “Passion,” starring Rachel McAdams and Noomi Rapace, was released today. It’s a reworking of a French film called “Love Crime,” which I reviewed last summer and thought was rather good. (“Love Crime” was directed by Alain Corneau and starred Kristin Scott Thomas and Ludivine Sagnier).

I haven’t seen “Passion” and am wondering if it behooves me to see it, having not been contacted re: screenings arranged by the film’s publicity team. It’s bloody hot out, it’s a holiday weekend and I do have to live up to my nickname, Lazy Legs.

The NYT’s A. O. Scott said the film was “often sleek and enjoyable, dispensing titillation, suspense and a few laughs without taking itself too seriously.”

Justin Chang of Variety puts it this way: “By the time it reaches its overwrought final act, the picture has generated neither the tension of its forebears nor the audacity that would allow it to transcend its silliness.”

And the New York Daily News’ Joe Neumaier pretty much hated it. “With no heat at all and a woefully disjointed cast, De Palma’s danse macabre never catches fire,” Neumaier writes.

Anyone out there seen it? Let me know what you think. I’m going to ponder, while sipping a cool & refreshing cocktail, whether I can get fired up over “Passion.”

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Can Ryan Gosling save ‘Only God Forgives’?

July 23, 2013 by

“Only God Forgives,” starring Ryan Gosling and Kristin Scott Thomas, opened on Friday to mixed (mostly negative) reviews. This art house/crime thriller film, written and directed by Nicolas Winding Refn, was nominated for the Palme d’Or at this year’s Cannes Film Festival.

In 2011, Refn, Gosling and Carey Mulligan teamed up for the eloquent and extremely violent “Drive.” You can read Stephanie Zacharek’s review of “Only God Forgives” here.

And on the small screen: The success of political-intrigue TV dramas such as “Scandal,” “House of Cards” and “Homeland” means the Beltway has displaced Manhattan and Los Angeles as the capital of noir, says James Wolcott in next month’s Vanity Fair. You can read the full story here.

 

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French thriller ‘In the House’ opens intimate, mysterious doors

April 19, 2013 by

In the House/2012/Mandarin Cinéma, Cohen Media Group/ 105 min.

“In the House,” a new thriller by François Ozon, made me think of this quotation from Alfred Hitchcock: “I’m a writer and, therefore, automatically a suspicious character.”

In Ozon’s story-within-a-story film, there are two writers – a 16-year-old student named Claude (Ernst Umhauer), precocious and a bit of a pretty boy, and jaded, middle-aged Germain (Fabrice Luchini). With one poorly received novel under his belt, Germain now teaches in a French high school and struggles to endure his students’ mediocre essays.

But his passion for teaching is reignited when he reads some of Claude’s writing –personal, thoughtful and fresh – and certainly far more promising than the work his classmates produce. Germain shares his enthusiasm with his wife Jeanne (Kristin Scott Thomas) when he brings the assignments home at the end of the day and discusses them with her.

Claude has picked a provocative topic: a voyeuristic account of a classmate’s everyday home life, cozy and comfy, unlike Claude’s apparently more deprived situation. By tutoring Rapha (Bastien Ughetto), Claude gains up-close access to the family, observing their seeming contentment as well as sensing the underlying frustrations of Rapha’s sexy and mysterious mom (Emmanuelle Seigner) and his easygoing, jocular dad (Denis Ménochet).

Against his better judgment, Germain encourages and evaluates Claude’s literary efforts, even though he knows it is a risky experiment. Germain lectures him on the process of writing, the purpose of literature. As Claude’s creative muscle builds, the line between reality and fantasy is blurred, and the stakes are gradually, dangerously raised for all the players in this riveting domestic drama.

I am always curious about the work of director-writer François Ozon, perhaps most famous for “Potiche,” “Swimming Pool,” and “8 Women.” He has an easy touch with bold subject matter, a knack for humor (whether deadpan, dark or absurd) and a talent for making well paced, well acted thrillers that reflect his inventive, sometime s cheeky, vision while paying subtle homage to old-school suspense masters like Hitchcock, Henri-Georges Clouzot and Claude Chabrol.

Where Ozon falters slightly with “In the House” is in the movie’s visuals. Perhaps because it’s based on Juan Mayorga’s play, “The Boy in the Last Row,” Ozon’s version feels a bit too theatrical and stagebound. That said, telling the tales are terrific actors (Luchini, Scott Thomas and Seigner in particular). And, driving the suspense, Claude’s true motivation remains intriguingly elusive throughout.

“In the House” opened Friday in New York and LA at the Landmark.

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‘The Woman in the Fifth’ is a mystery thriller in disguise

June 15, 2012 by

The Woman in the Fifth/2011/ATO Pictures/83 min.

A hypnotic story set in Paris. A creeping sense of dread, hints of dark memories and damaging secrets about to unfold. Dream imagery and sleight-of-hand shots. Shadowy criminal types and a formidable, cryptic seductress. Excellent acting. “The Woman in the Fifth” has the ingredients for a first-rate psychological thriller, in the tradition of Roman Polanski or David Lynch.

Ethan Hawke plays Tom, an American writer trying to repair his relationship with his ex-wife (Delphine Chuillot) and daughter (Julie Papillon) in Paris. His wife wants nothing to do with him though, as per the restraining order against him.

Broke, frustrated and forlorn, he takes a job at a warehouse and finds solace from a distinguished, domineering translator who lives in the 5th arrondissement (Kristin Scott Thomas) and a young Polish barmaid (Joanna Kulig). But, when a fellow resident at Tom’s grim hostel is murdered, he struggles to retain his tenuous grip on reality.

Polish director Pawel Pawlikowski (his last work was 2004’s “My Summer of Love”) describes “Woman,” based on a novel by Douglas Kennedy, as a mystery thriller in disguise and more precisely as a nightmare about “a man who fails to pay attention to the outside world, who lives in his own head and is totally incapable of understanding his true motives.”

But the film is at its best and most interesting before the anything-goes twist; once that’s revealed, the tension seeps out and we’re left deflated as the story sputters to the end.

“The Woman in the Fifth” opens today in select cities and on June 22 in LA.

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An impeccable noir and an insightful portrait: ‘Love Crime’

September 2, 2011 by

Love Crime/2010/UGC/106 min.

“Love Crime,” a splendidly suspenseful ride, just might be the late Alain Corneau’s best film. A great script, excellent actors, perfect pacing and a terrific final twist make this a must-see movie.

Sleek and savvy Christine (Kristin Scott Thomas), a powerful exec at a multinational company, seems to have a charmed existence – success, style, a glitzy social life and a gorgeous lover, Philippe (Patrick Mille). Reporting to Christine is ambitious, hard-working and eager-to-please Isabelle (Ludivine Sagnier).

Their relationship is subtle and complex – a mix of admiration and affection, rivalry and rude awakenings. Isabelle’s first jolt is when Christine takes credit for Isabelle’s work. (In corporate life, really?) Acting as a pawn in their mind games and manipulation is Philippe, one of their many male colleagues. It’s not long before barbed convo at the water cooler shifts to a malevolent life-and-death battle. (In corporate life, really?) We see that Isabelle’s methodical, meticulous approach applies to every project she tackles, at the workplace and beyond.

Corneau, who died last August at age 67, referred to the film as one of his little Fritz Lang labyrinths. “It can be summed up very simply,” he said. “After you have committed the perfect crime, of which you will definitely be suspected, how can you prove you are innocent by making yourself look guilty?”

“Love Crime” is an impeccable noir with a stark look and restrained palette from director of photography Yves Angelo. It’s also an original, insightful portrait of two characters’ identities. Corneau, aided by co-writer Natalie Carter, explored fresh terrain by focusing on female characters. “I’ve recently discovered how exciting it is to have women in leading roles,” said Corneau. “I thought, without knowing why, that it would be more spectacular if the labyrinthine plot were feminine.”

Spectacular it definitely is; and of course sad that his first foray into the inner lives of women was also his last.

And one more thing. There’s particular attention paid to Isabelle’s blonde hair. She starts out with a mane of slightly messy curls; as she climbs the corporate ladder, she taps her inner Veronica Lake for a peek-a-boo effect that’s smoothly sexy and seductive. Looking good is always key, especially when you’re up to no good.

“Love Crime” opens Sept. 2 in Los Angeles and New York.

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