Here’s the top level view, brief recap from Tuesday.
Friday, March 13
We arrived so late on Friday that there wasn’t a lot to see. Still we tried. “New World Order,” the latest documentary, by the director of the D&D-like LARP game, “Darkon,” Luke Meyer, this time working with Andrew Neel, was full and then so was “Ong Bak 2.” So we decided to orient ourselves and have a beer. Technically you could say we saw “I Love You, Man,” for its SXSW Premiere, but we actually saw it weeks ago. Whatever, we’ll count it.
“I Love You, Man“
Sweet, tender and funny, “I Love You, Man” is ultimately a tale far deeper than male fraternizing and bro-ing down. Those words make it feel cheap like they are in lesser comedies. The Paul Rudd/Jason Segel buddy comedy is about that special thing called friendship. A little ghey sounding maybe? Is our mangina dripping? Possibly, but its nice to feel something a bit more meaningful than the typical dude emotions. “I Love You, Man” does not reinvent the wheel nor will it remotely change your life, but it’s a cut above most chick flix for men and definitely in the vein and surprising quality of “Forgetting Sarah Marshall.” In the end, immensely enjoyable. [B+]
Saturday, March 14
Rested up we had a better shot at things, but still missed “Beeswax,” but didn’t fret too much cause friends of ours who are supposed to review (hint, hint) caught it (friends actually caught tons of other films HINT! :).
“Objectified”
From Gary Hustwit, the director of the font doc, “Helvetica,” the industrial/smart design documentary, “Objectified,” was complete design porn. And we know a few designer aesthetes that would probably go totally erect at the fetishized, close-ups of sleek function over form products. Fascinating, well told, intelligent and carefully observed, Hustwit’s second film in what he intends to be design docu trilogy (he wouldn’t say what the third would be based on), we loved the import of psychological and emotional relationship to objects. But while our brain did twitter with the delights of concepts like the “emotional energy and authenticity” of product design and how they speak to us, we couldn’t help but think the dissertation was strictly for affluent, educated, privileged stuffthatwhitepeoplelike. Our biggest issue was how it mostly failed to address the ideas of wanton consumerism, and shallow materialism that seemed what innate to the subject matter. Or to purposely misappropriate a concept by ’80s truism artists Jenny Holzer, the pic did not seem to concern itself with the idea of: “protect me from what I do not need.” Here’s the trailer. [B]
“Moon”
Directed by David Bowie’s son Duncan Jones and starring Sam Rockwell as a isolated man trapped on the Luna, “Moon,” was an interesting and affecting subversion of the classical, man-loses his mind in space/ psychological horror, but a slightly ephemeral, albeit austerely beautiful one. Clint Mansell, (Darren Aronofsky’s “Requiem For a Dream,” and “The Fountain” scores), score was typically bereaved and Rockwell put in a commanding performance, but it still failed to chart outside of an engaging theatrical experience. As in, days later it didn’t really rock our emotional or psychological world the way a film like this should. Shot on the cheap, “Moon,” must be applauded for looking like a million bucks, the cinematography is panoramic, the crusty-dirt atmosphere a nice change from the clinically stark “2001” look, but Kubrick this fell short of. “Moon” was in no way shape or form a bad film, and it was, in the moment at least, thoroughly captivating and enjoyable, but there was enough endgame gravitas missing and fleeting absence felt to deny ranking it as another contemporary sci-fi classic.[B]
“Alexander The Last”
It’s a little bit hard to objectively review, Joe Swanberg’s fifth film in five years (that volume says a lot), because our friend Jess Weixler was basically the star of the film, but despite delivering a solid performance, we couldn’t hang with the mumblecore’s latest examination of tiny moments and random, drifting situations in life, because we’re just not convinced he has the cinematic faculties to bring them in on any plane of real human interaction that goes beyond the indie blank stare in lieu of emotional resonance. Amy Seimetz was another nice discovery, but other filmmakers do non-narrative, going-nowhere films with a lot less tedium and self-satisfaction (the film also stars Justin Rice of indie-rockers Bishop Allen, he was in the mumblecore films “Funny Ha Ha” and “Mutual Appreciation” both by Andrew Bujalski). Nothing against Swanberg, but at this point, we’re pretty sure we just don’t enjoy or are engaged much by his form of filmmaking. Also, we’re not quite sure if the callow DIY filmmaker is equipped to handle the sex scene just yet. Some quality over quantity would be a good place to start though. SXSW could also stand to perhaps be a bit more discerning in these kinds of choices, but we suppose everyone needs to champion someone. Trailer. [C+]
“Pontypool”
Canadian director Bruce McDonald’s mild reinvention of the zombie movie via a mostly, gore-free, self-contained psychological thriller where a virus is transmitted through the English language was a noble effort and a fairly engaging “War Of The Worlds” like story. Centered on a haggard radio DJ (a vastly entertaining performance by Stephen McHattie, known for playing Hollis Mason/Nite Owl in “Watchmen”) who inadvertently helps propagate an already spreading verbal disease. Marginally absorbing and mostly stimulating, the enjoyable film was nevertheless a minor work and a fun diversion from the typical SXSW indie fare, as this played to the tumescent and black-clad midnight madness crowd. Less discerning zombie enthusiasts will probably appreciate the way it subverted the genre and will likely eat it up like brains. Here’s the trailer. [B]
Sunday’s films tomorrow and hopefully more reviews and reports from our friends on the ground apparently dealing with connectivity issues.
