Kiss Me Deadly (Robert Aldrich, 1955). Pow and va-voom.
Pickup on South Street (Samuel Fuller, 1953). Nearly as much pow, equal va-voom.
Goodbye (Mohammad Rasoulof, 2011). Another imprisoned Iranian filmmaker, with a work we hope is not final. The movie’s social argument is impeccable, and, although perhaps it seems less urgent under the circumstances, so is its aesthetic argument. (showing in SIFF)
Welcome to Doe Bay (Nesib Shamah, Dan Thornton, 2012); and Eden (Megan Griffiths, 2012). I’m on the SIFF jury for the “NW Connections” award, so you’re not getting any hints out of me.
Paul Williams: Still Alive (Stephen Kessler, 2011). How can you be a certain age and not wonder what happened to the man who wrote “The Rainbow Connection” and “We’ve Only Just Begun”? Still, having seen the movie, I think I still wonder. (showing in SIFF)
Keyhole (Guy Maddin, 2011). Maddin’s most recent batch of pictures has been getting loopier, and here the man from Winnipeg really goes daft. This one has a gangster movie barging in on a haunted house – or so I think. Slightly surprised how in-the-spirit-of-things Jason Patric’s performance is. (showing in SIFF)
Trial on the Road (Alexei Guerman, 1971). Blunt and powerful Soviet film from the future director of Khrustalyov, My Car!, which this does not much resemble. A tense WWII incident involving turncoats taken prisoner. (showing – well, already showed – in SIFF)
Check the ArtZone podcast on SIFF 2012, featuring a square-table of Andrew Wright, Shannon Gee, Andy Spletzer, and me: listen here.
What a Feeling! rolls out a 1985 review of Roger Donaldson’s Marie, a dull vehicle for Sissy Spacek.
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