THE BEST OF 2012: #6-10

#10 In the Family (dir. Patrick Wang):

This tiny, little indie that could slowly toured the country, gathering up word of mouth and positive critical notices wherever it played in 2012.  Still, In the Family is a film I've not a single soul reference all year, betraying I think more about what happens when films don't have the luxury of a proper marketing push, festival wins, or distribution than anything to do with the quality of the film.  Actor/director Patrick Wang's work here deserves a large audience.  In the Family is the smallest, most honest film I saw in 2012.

Read my review of In the Family here.

In the Family is currently still touring the country in limited engagements.  Check the website for more details.


#9 Amour (dir. Michael Haneke):

Michael Haneke's work tends to focus on the brutal truths of society; in this regard, he is one of modern cinema's most reliable truth tellers.  His latest work, Amour, dodges applying that characteristic to larger social phenomena.  Instead, this uneasy honesty is aimed entirely at a naked examination of mortality, fidelity, and the limitations of love.  The brutality is still there, but it's present in the way the film is edited.  In one quick cut after another, Haneke abruptly moves his characters further to the brink of their shared personal disaster, and it's crushing to apprehend the state of unraveling portrayed onscreen.  Oh, and if that wasn't enough, Jean-Louis Trintignant and Emmanuelle Riva turn in the two best performances of 2012.

Amour is currently still in theaters.  Hit up Mr. Movie Times for details of when and where.


#8 Beasts of the Southern Wild (dir. Benh Zeitlin):

Benh Zeitlin could walk away from filmmaking altogether and have made his mark with his debut feature, Beasts of the Southern Wild.  A joyous, tragic coming of age narrative that hits up more than a few indie tropes and techniques, but never resembles anything other than its own magical self.   
Beasts of the Southern Wild is a disaster lived through the eyes of a child, untouched by the strains of dominant culture and codified knowledge.  In Beasts, we finally have something along the lines of what I'd hoped for from Terry Gilliam's adaptation of Mitch Cullin's Tideland (absolutely worth a read, but skip the film).

Read my review of Beasts of the Southern Wild here.

Beasts of the Southern Wild is currently available on DVD & Blu-ray and can be streamed via Amazon Instant Video and VUDU.


#7 Oslo, August 31st (dir. Joachim Trier):

Oslo, August 31st is a difficult film to talk about with those who require a ray of sunshine present in the films they watch.  It's all about a guy who wants to die from a self-administered overdose.  We know this because early in the film he lets a friend in on his plans.  From that point on, we're made to watch as he makes his way through the day, unsure as to whether or not he'll actually go through with it.  Crazily enough, the film is incredibly life-affirming, both in the way that the reasons for living pile up (despite our protagonist's inability to acknowledge them) and because Oslo, August 31st is one hell of a film, and (c'mon, movie nerds) what's more life-affirming than that?

Read my review of Oslo, August 31st here.

Oslo, August 31st is currently available on DVD and can be streamed via Netflix.


#6 Dark Horse (dir. Todd Solondz):

Maybe you're one of the many out there who thinks Todd Solondz is past his prime, a relic of the oh-so-cynical 90s.  And you'd be forgiven for thinking this way; after all, Storytelling was a huge misstep after the triumphs that were Happiness and Welcome to the Dollhouse.  Palindromes only further alienated audiences, enough so that many might not have noticed that Life During Wartime was actually pretty good.

So it's kind of unfortunate that with Dark Horse, his strongest work since the late 90s, most of his audience has already walked away.  Trust me, I kinda like what Solondz does on a regular basis, but even I didn't expect him to produce the funniest film of 2012.  Sure, it's probably unbearable if you can't deal with humor borne from misery, but that's kind of what Solondz is all about, right?  Oh, and it features the best/worst music of any film this year, outside of the re-released 80s cult treat Miami Connection.

Read my review of Dark Horse here. 

Dark Horse is currently available on DVD & Blu-ray and can be streamed via Netflix and Amazon Instant Video.

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DARK HORSE: ARRESTED DEVELOPMENT IN THE SUBURBS

A Todd Solondz movie is largely an in or out proposition.  He doesn't make family friendly fare; regularly interrogating social taboos in his films, and there's little to no effort on his part to dumb down or soften his stories for wider acceptance.  After scoring a cult following for divisive early works like Welcome to the Dollhouse and Happiness, there's been a noticeable drop off in audience numbers and critical support for his subsequent releases.  You'd be totally forgiven at this late date for writing Solondz off as a has-been miserablist taking out his angst on both his characters and viewers. 

Chances are, if you hold that opinion, you didn't see his last movie, the darkly, funny Life During Wartime, and probably plan on avoiding his latest comedy, Dark Horse.  That last move would be a mistake.  Straight up, Dark Horse is the best film Solondz has made in over a decade and, without hyperbole, I'd go as far as to label it one of the funniest releases of the year.

Dark Horse takes place, like most all of Solondz' films, in the suburbs.  Jordan Gelber plays Abe, a college dropout in his thirties, still living with his parents (Christopher Walken and Mia Farrow) and (barely) working at his father's firm.  It's safe to say that Abe's a bit of a non-starter, an observation that is only reinforced when contrasted with his brother Richard's (Justin Bartha) success as a physician.  Very early in the film, Abe encounters Miranda (Selma Blair); a thoroughly depressed woman with a similar living situation, at a wedding and basically sweet talks a phone number out of her.

An uneasy relationship develops between the two, due chiefly to Abe's persistence and the absurdly positive facade that he adopts whenever Miranda is present.  Solondz explores Abe's mood swings through both simple observation and the relentlessly saccharine pop music that enters the soundtrack via Abe's cell phone and the stereo of his comically large, yellow Hummer.  This highly obtrusive music serves a dual purpose, working as both an obvious (and hilarious) punchline and as a counterpoint to Abe's unacknowledged and growing angry, depressive state.

As it proceeds, the film ends up moving into areas that aren't necessarily meant to reflect reality as much as comment on internal damage wrought from years of not living up to one's potential.  Some audience members might have difficulty taking the leap as the film transitions away from a more literal mode of storytelling.  Personally, I wanted to watch Dark Horse a second time as soon as it was over.  Solondz doesn't pull punches or make it easy to embrace his work but the humor he spins out of the wretched lives of his characters has a whiff of truth and authenticity that can't be denied.

Highly recommended.

Dark Horse begins its run at Living Room Theaters on Friday, August 17th.  More info available here.


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DOGTOOTH: Not for the weak of heart

The critically acclaimed (and Academy Award nominated) Greek film Dogtooth was finally released on dvd in the U.S. this past Tuesday.  The basic premise of the film involves an aging couple who have raised their children to fear that which lies outside the gates of their home.  Playing out like some kind of Freudian nightmare sporting a wink and a twisted grin, Dogtooth fashions a world that is fully enclosed within the repressed fantasies and regressed understandings of those now adult offspring.  As the film unfolds, those characters play an endless series of nonsensical games which only partially discharge the sexual friction that grows between them.  And every once in a while, when the safety imposed upon them by their parents is challenged, the father punishes the offender brutally.

Dogtooth resides in the same darkly tense terrain as films like Todd Solondz' Happiness and Michael Haneke's Funny Games.  Like those past films, it provokes without moralizing, interrogates without resolution and leaves the heavy lifting of interpreting the thematics almost entirely to the audience.  With its primary meaning not at all locked down, a post-screening discussion of Dogtooth is likely to produce just as many interpretations as there are audience members in attendance.  My own reading of the film vacillates somewhere between a fairly standard critique of the family and/or the socialization process as it starts at birth and continues until death.  Yeah, folks...it's just that wide open.

A warning: the film is not for the overly squeamish.  There are some truly shocking moments peppered throughout its run time.  It's plenty disturbing but also funny, engaging and completely original in its approach.

 

One last note: as a bonus feature, the Kino released dvd has an excellent 12 minute interview with director Yorgos Lanthimos on the production, casting and his overall filmmaking philosophy.  Very much worth checking out.