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You May Feel a Burning Sensation: Brittania Nicol discovers the secrets of THE WICKER TREE.

A story as relevant as yesterday’s headlines, or too late a tale? Some thirty years ago, Cinefantastique hailed Robin Hardy’s THE WICKER MAN as “the CITIZEN KANE of horror,” lauding the Anthony Shaffer-scripted story of a god-fearing police detective trying  to solve a mystery within a community of Scottish pagans for its bold eroticism and cunning narrative. Now, Hardy has taken his own novel, Cowboys for Christ, and brought it to the screen as THE WICKER TREE, billing it as a “reimagining” of his original triumph.

Cinefantastique Online’s Steve Biodrowski and Dan Persons take a look at this tale of a couple of present-day evangelical missionaries who find they may have bitten off more than can chew in trying to convert the “heathens” of a Scottish village, and discuss how the film fares in its three-plus decade transition. Plus: Oscar 2012 nominations, and what’s coming to theaters and home video.

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Continue reading »]]> A key passage in Tom Wolfe’s blistering architectural critique, From Bauhaus to Our House, recounts a tumultuous public meeting attended by the residents St. Louis’ Pruitt-Igoe housing project, called by the city to get input on how to salvage the seriously deteriorating facility and notable for ending with the assembled tenants joining in on the chant, “Blow it… up! Blow it… up! Blow it… up!”

Wolfe’s description of the event is vivid (no surprise), but barely gets into the morass of Utopian ideals, modernist design, flawed social engineering, and unintended racism that, over two decades, doomed a project meant to raise the city’s poorest out of their poverty. Using extensive research, archival footage, and interviews with the people who lived and grew up in Pruitt-Igoe (some of whom still harbor fond memories of the place), filmmaker Chad Freidrichs fills in the blanks in his incisive documentary, THE PRUITT-IGOE MYTH: AN URBAN HISTORY, which opens at New York’s IFC Center on January 20th.

Check out the trailer below.

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Nowhere Near a Gilded Cage: Mikhail Khodorkovsky in custody in KHODORKOVSKY.

“World’s richest political prisoner,” now there’s a term you don’t hear much. And while OWS can make a case that there are select representatives of the 1% that deserve to see the inside of jail cell, in the case of Russian oligarch Mikhail Khodorkovsky, now serving time in his home country for charges of tax evasion and embezzlement (both trumped-up, in the opinion of many), the argument is not so clear.

In the new documentary, KHODORKOVSKY, filmmaker Cyril Tuschi incorporates interviews, stark, stylized animation, and his own personal journey to explore the story of a man who went from committed socialist to successful capitalist to political pariah. In the process, the film explores the paradoxes not just of Khodorkovsky’s own rise — a narrative that incorporates canny leveraging of a still-nascent financial system, a high-profile flaunting of his good fortune, and an ill-advised face-off with Russian strongman Vladimir Putin — but of a financial system that, in transitioning from communist to capitalist, wound up a Frankensteinian combination of both.

Click on the player to hear my interview with Tuschi.

KHODORKOVSKY
Trailer

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Official Website:
kinolorber.com/khodorkovsky

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A double agent was pivotal in the success of D-Day in GARBO THE SPY

Of all the film clips director Edmon Roch uses to compose his WW II documentary, GARBO THE SPY — and they include such eclectic sources as documentaries, dramas, both Allied and Nazi propaganda, and cartoons — the ones that he seems to rely on most come from Carol Reed’s OUR MAN IN HAVANA, the film where Alec Guinness snookers the British Secret Service by fabricating a network of Cuban-based spies under his control. Turns out that the story’s original author, Graham Greene, didn’t come up with that idea from whole cloth — during the war, a mysterious Spaniard operating in Great Britain was able to convince the Nazis that the D-day landing at Normandy was just a diversion for the actual invasion, all thanks to information provided by his own network of equally fictional informants.

GARBO THE SPY explores both the history of that spy, Juan Pujol Garcia — known to the Germans as Alaric, “Man of Trust,” and to the British as Garbo for his skill at assuming a convincing role — and how the story of his pivotal role in the war was uncovered by a group of journalists, writers, and scholars. Roch brings a wry outlook to the story — fitting, given Pujol’s rather unusual background — that turns this into an entertaining tale of high-stakes deception.

Click on the player to hear my interview with Roch.

GARBO THE SPY
Trailer

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OFFICIAL WEBSITE:
firstrunfeatures.com/garbothespy

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Wagner Moura in ELITE SQUAD: THE ENEMY WITHIN.

Like DIRTY HARRY with a social conscience, the Brazilian film ELITE SQUAD: THE ENEMY WITHIN manages to kick all kinds of righteous ass while delving into the pernicious effect of corruption on those allegedly pledged with looking after the public welfare. The follow-up to 2007′s ELITE SQUAD, ENEMY WITHIN picks up Rio de Janeiro’s hard-line Special Operations Captain Nascimento as he’s kicked upstairs to become the city’s Sub-Secretary of Intelligence and committed to upending the city’s cycle of crime by waging all-out war on the gangs who rule the slums.  Problem is: the war is too successful, and Nascimento finds his victory has released a wave of official corruption that puts him into conflict with his own colleagues.

Director José Padilha built his reputation with the incredible hostage documentary BUS 174, and here demonstrates that the skills that turned news footage into riveting drama are well suited to telling a fictional story that delves into the dark corners of Brazilian society while keeping the audience riveted with intense action.

Click on the player to hear my conversation with Padilha.

ELITE SQUAD: THE ENEMY WITHIN
Trailer

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Untitled (Slide) (2011)

I’m a lucky guy. I’ve wanted a reason to break out of my cramped, unkempt studio and check out Carsten Höller: Experience, the new exhibit at the New Museum that provides a comprehensive survey of the German-born artist known for his immersive, sensory-confounding — and sometimes adrenaline-pumping — installations, and along comes Air France to sponsor my coverage.

And why not? Not only is Air France the gateway to Paris, New York’s only equal as a cultural capital (I’m not saying which city is actually better, but only one of them has original Picassos and Shake Shack), but the airline tends to express the romantic thrill of travelling to their home turf (yeah, there may be grungy areas in France, but I can’t think of any, offhand) by coming up with imagery like this:

Which is just a lovely way of expressing the feeling through pure kinetics.

Giant Triple Mushrooms (2010)

Interestingly, Carsten Höller is himself no stranger to employing kinetics as part of his toolset for provoking intense, and frequently visceral, responses from his viewers. Having left a career in science in the early 90′s, Höller has translated his clinical background into works that range from the grandly whimsical — the lobby of the New Museum boasts a garden of oversized mushrooms that Lewis Carroll would have felt right at home in — to the powerfully immersive. “Viewers” rarely remain passive observers in the artist’s efforts: Included in the exhibit are such works as Experience Corridor, a series of rooms containing strange, sensory experiments (most curious: The Pinocchio Effect, in which strategic application of a medical vibrator convinces one that one’s nose is growing); Giant Psycho Tank, a sensory deprivation pool; Mirror Carousel, in which the glistening replication of a stock, amusement park thrill-ride is paradoxically trimmed to a serene pace; and — the big draw for this exhibition — Untitled (Slide), a corkscrewing tube that briskly transports daring visitors from the museum’s fourth floor down to the second, landing them into the visual bombardment of a pulsing, Höller light installation.

The works have a singularly unique way of cutting through intellectual concerns to provoke pure, emotional responses — interesting for pieces that frequently present themselves as the products of an especially fanciful laboratory. I wanted to find out more about Höller’s motivations, so in addition to getting some interesting pics of the exhibit, I also spoke with associate curator Gary Carrion-Murayari. Click on the player to hear the discussion, and check out the link to the slide show below that

CHECK OUT FULL SLIDE & VIDEO SHOW
AT THE HUFFINGTON POST

BTW: I’m not likely to be shaken from my conviction that New York was, is, and forever will be the center of the cultural universe, but if anyone wants to check out what’s doing in Paris, hit up Air France, get yourself over there, and compile the evidence that’ll make me eat my words.

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Street Tougher: Adult Swim's BLACK DYNAMITE.

Come 2012, Adult Swim is going to get bad-ass. In honor of the grand and sometimes delirious world of blaxploitation, they’ve latched onto the 2009 feature satire, BLACK DYNAMITE, and are bringing it to the video screen as half-hour, animated series.

With the film’s Michael Jai White and Byron Minns continuing their roles as producers, writers, and stars — White as ex-CIA agent Black Dynamite; Minns as compatriot Bull Horn — plus the feature’s director Scott Sanders helming the episodes and THE BOONDOCKS’ Carl Jones backing them up as exec producer, the show promises to carry forward with the movie’s vision of a world where the hair is big, the lapels are wide and the action is nonstop.

Adult Swim brought in White, Minns, Jones, and Sanders — plus Kim Whitley, who plays Honey Bee — for their roundtables, and we got to speak with all of them. Click on the player to hear the show.

Continue reading »]]> I won’t hide it: I’m New York City born-and-bred. Concrete was my cradle, and carbon-monoxide-tinged air my mother’s milk (a strained analogy, but apt). Which is to say that I know squat about life on the farm. Don’t know how reap, don’t know how to herd, don’t even think of approaching me about animal husbandry. When I want produce, I get myself to the supermarket two blocks away; when I want milk, I want to pour a glass, not squeeze a teat. Bottom line: There may be grit under my fingernails, but it’s the asphalt captured from clawing my way to survival in these mean, mean streets. And that’s just the way I like it.

So when our sponsor, Samsung, came up with the following video…

…I have to admit I felt deeply for the office drones. I know how I’d be feeling if I was cast out of my element to that extreme, and I’m just glad those guys brought their Galaxy Tabs along to help them cope.

Much to my surprise, though, it turns out that not everyone here in the five boroughs shares my genetic deficiencies in the field of agriculture. Turns out there are people city-wide who have taken relatively small plots of earth bared from the metropolis’ concrete heart and turned them into veritable cornucopias of hearty produce. And when GreenThumb, the city office that oversees these urban farms, invited me out to the Bronx to witness their annual harvest celebration, I had to go and have a look. Here’s what I found:

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Cloudy with a Chance of Impending Doom: Michael Shannon tries to weather the storm in TAKE SHELTER.

Roland Emmerich can bite me. The guy’s been making disaster films since time can remember, yet for all his besetting humans with floods, fires, and earthquakes (and the occasional alien invasion), he’s never managed to make something as resonant, affecting, and powerful as TAKE SHELTER. A film that skirts the line between vivid fantasy and straight drama, it tells the tale of a loving, working-class husband and father (Michael Shannon) suddenly overwhelmed by visions of impending doom and torn between the compulsion to protect his wife (Jessica Chastain) and deaf daughter (Tova Stewart) from the onslaught and the fear that a family history of schizophrenia may be making itself manifest. This is director Jeff Nichols second feature (and his second with Shannon), and in weaving a scenario that balances vivid imagery with nuanced observation — and is highlighted by moving, vulnerable performances from Shannon and Chastain, among others –  the film speaks compellingly not only to the power of familial love, but to a sense of creeping helplessness that’s overtaking American society.

Click on the player to hear my interview with Nichols.

TAKE SHELTER
Trailer
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OFFICIAL WEBSITE
takeshelterfilm.com

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Turn Your Head, Cough, and Die: Jennifer Ehle battles the bio-apocalypse in CONTAGION.

Break out the Purell, Steven Soderbergh is in mainstream thriller mode and he’s decided to get under your skin — almost literally — with a tale about a virus that doesn’t know when to quit. CONTAGION follows Soderbergh’s TRAFFIC template, spinning a world-spanning drama of people trying to survive the ravages of a fast-acting and deadly disease. Caught up in the turmoil: everyday dad Matt Damon; asshole blogger Jude Law; CDC doctors Jennifer Ehle, Kate Winslet, Demetri Martin, and Marion Cotillard; and government officials Laurence Fishburne, Bryan Cranston, and Enrico Colantoni.

Join Cinefantastique Online’s Lawrence French and Dan Persons as they examine Soderbergh’s skill at applying an indie film’s spontaneous production approach and incisive worldview to the dynamic momentum of a mainstream drama, debate whether the globe-hopping scenario does a disservice to the film’s characters, and consider whether it’s advisable for mature film critics to engage in a little social research by faking coughing fits during screenings (short answer: probably not).

Also: A celebration of the 45th anniversary of STAR TREK’s debut; plus what’s coming this week in theaters (spoiler: nothing) and home video.

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