Weekly reviews #005

Big Hero 6 (2014) - 6.0 / 10

Since their merge in 2009, it was but a matter of time before Marvel and Disney made their own animation movie. Big Hero 6 is completely produced by Disney (with some members of Marvel's creative team), but the story is based on a Marvel Comics superhero team. This is the 54th official Disney Animation Studios film and thereby following last year's Frozen. Unfortunately, Big Hero 6 is too much Wreck-It Ralph (which I didn't particularly like) and too little Tangled or Frozen (which I fairly enjoyed). The Japanase manga iconography in an American production is probably the most interesting aspect of this film which takes place in the fictitious San Fransokyo. Besides that it was quite funny and had some truly interesting moments, but in the end it was all too conventional and missed the Disney components I like most (songs, a fairy tale atmosphere, talking animals or creatures,...). I understand there's a new generation of kids who are more acquainted with superheroes, computer games, flashy new technologies and the likes, but this movie sometimes feels like propaganda for Silicon Valley and that I can do without. The post-credits scene seems like a reference to the Marvel habit for announcing a sequel, but as far as I know I don't think this'll be the case any time soon. Hopefully Disney's next feature will be more my cup of tea again.

Why Don't You Play in Hell? (2013) - 7.0 / 10

Shion Sono, one of Japan's contemporary cult directors, makes a follow-up to cinephile hits like Suicide Club, Noriko's Dinner Table, Strange Circus, Hair Extensions, Love Exposure, Coldfish and Himizu. After The Land of Hope, his idiosyncratic sci-fi drama shot around the Fukushima disaster, the transgressive Sono makes another instant cult hit with Why Don't You Play in Hell? This definitely won't appeal to a mainstream audience and to be honest, at first I had quite some difficulties watching it myself. It all seems a bit over the top and because of that it felt amateuristic. On the other hand I suppose this is the authentic style Sono is known for. With some patience I endured the first half an hour. Once I got familiar with its peculiarities, irony, meta-references and subversive character, this film started to grow on me. Especially the part of the young movie team that has been procrastinating their film project for years; while this is more of a sideline to the story, Why Don't You Play in Hell? depends on it for its absurd climax. The only thing I couldn't get into was the over-the-top acting. Cool movie with a high DIY vibe, although not flawless.

Das finstere Tal (2014) - 9.0 / 10

Who would've thought that two of the best movies released in 2014 were westerns? After seeing My Sweet Pepper Land I was surprised by how much I enjoyed this modern western, a genre that normally doesn't appeal to me that much. The Austrian movie Das finstere Tal (aka. The Dark Valley) again pushes the boundaries of the western genre. Not the American frontier, but the Austrian Alps at the end of the 19th century are its setting. Aesthetically this is one of the most beautiful movies of the year, especially because of its winter landscapes in the Alps and the almost desaturated blue-grey color palette. Storywise it seems like something Tarantino could've made, if he got off the coke and took some tranquilizers: a story of vengeance and raw characters but with a slow burn effect. At the same time this movie strikes an emotional nerve and provokes a melancholic atmosphere by constantly maintaining a dreary and ominous effect. With its use of an anachronistic soundtrack it never gets too heavy though. This should've been nominated for the Academy Award for Best Foreign Language Film. Seriously.

Moebius (2013) - 4.5 / 10

Master provocateur Kim Ki-Duk did it again. A movie that made people vomit during its premiere at the Venice Film Festival, that divides its audience in lovers and haters and that will have a cult following in some years. For some reason it felt like watching Gaspar Noé's Enter the Void: I was incredibly fascinated and couldn't turn my eyes off the screen, but at the same time I was so happy when the end credits started rolling. Still in doubt about how I feel about Moebius, I can say one thing for sure: this is a film I never have to see again. I'm glad I did, but it's an experience not worth repeating. Why not? Spoiler alert: a woman catches her man cheating on her with another woman (played by the same actress). She wants to take revenge and cut off her husband's penis. Failing to do this, she cuts off the penis of their son. Wrecked by guilt, the father offers his penis to his son by transplant. In the meanwhile, the son "raped" the woman his father had an affair with (as I said, who is played by the same actress as his mother, see what Ki-Duk did there?). Once the transplantation is complete, the son begins to get sexually aroused by his mother and vice versa. Seeing this, the father wants to cut off his son's penis yet again, but fails. Eventually he kills his wife and himself. While telling this sickening Freudian nightmare, Ki-Duk refuses to let his actors speak one word (there's no dialogue in this movie) and adds some knife-in-shoulder masturbating to take it all just one step further. Yes, you really need to have the stomach for it. Unfortunately, Ki-Duk forgets to make an interesting visual movie (unlike Noé's Enter the Void) and thereby doesn't reach the bourgeois public he intends to insult and provoke. But still... This movie is unlike anything you've ever seen. Try it.

Time Lapse (2014) - 7.0 / 10

Sci-fi topics about time and alternative realities provoke thoughts about determinism and free will. Same goes for movies that use those topics, no matter how bad they are. If it's +1, The Adjustment Bureau, The Matrix, Primer, Looper, Source Code, Predestination, Donnie Darko, Waking Life or Abre los ojos, they always seem to have an effect on my thinking about those subjects. Time Lapse is no different. Some reading on the net about this film taught me about the bootstrap paradox and Novikov's self-consistency principle. Exactly the kind of ideas I love to read and learn about after watching a film like Time Lapse. Although the acting wasn't that good (at all, actually) and it wasn't a visually daring or striking film, I found joy in discussing some metaphysics afterwards. Isn't the ability of provoking such thoughts an accomplishment to be taken into account when rating a film like this? I certainly think so. Entertaining stuff, probably too obvious and lame for science-geeks, but some philosophy majors and genre aficionado's will have fun with this.

L'arte della felicità (2013) - 7.0 / 10

Waking Life meets Alois Nebel but without the rotoscoping. This melancholic portrait of an ex-musician that became a taxi driver, is a beautifully drawn animated film with lots of dialogue about life, love and loss. With some minor contemporary criticisms and lots of religious contemplations, L'arte della felicità knows how to captivate its audiences, provoke some thoughts and, most of all, create a gloomy yet meditative atmosphere. This might be one of those films that grows on you after seeing it. Rewatching it later in life might have another effect exactly because of that. Time will tell. Nevertheless, since this picture resembles one of my favorite movies of all time (Waking Life), it was bound to be compared to that and, of course, it isn't as good. Some of the storyline in L'arte della felicità is quite boring, which slows the experience down a bit. Nonetheless a very good and partly successful attempt of bringing something interesting on the (animated) screen. Nicely done!

I lossens time (2013) - 3.0 / 10

There's a lot of good stuff coming from Scandinavia these days, both in movies (Jagten, A Royal Affair, King of Devil's Island, Sons of Norway, Dead Snow 2, Trollhunter, Sound of Noise, Turist, We Are the Best!) as in television (The Killing, The Bridge). This is not one of them though. I lossens time (aka. The Hour of the Lynx) is as boring and conventional as Kvinden i buret (aka. The Keeper of Lost Causes). It feels like watching a very average made-for-television movie. The editing is often irritating, the characters have no depth whatsoever and the backstory is plainly predictable. Sofie Gråbøl, who plays the female priest Helen, keeps everything from falling apart. Although her acting resembles Sarah Lund a bit too much, she nonetheless portrays a convincing Lutheran priest. Apart from that, this film has almost nothing to offer. Especially the emotional uppercut where this movie aims at, is virtually inexistent. But maybe I'm a robot.

Chocolate Strawberry Vanilla (2013) - 5.5 / 10

An Australian b-movie! This low budget feature concerns the shy and socially awkward Warren that runs an ice cream truck. Being the product of heavy bullying and social isolation (seen through his own in-camera confessions), he is obsessed with a television actress of a local tv-show and gets completely euphoric when she shows up at his van to buy some ice cream. In the meanwhile he encounters several people who mock him or are themselves quite weird. After numerous setbacks, Warren gets Travis Bickle-like crazy. Luckily, the pretty predictable plot and rather conventional cinematography are outweighed by the authentic DIY feeling and an awesome over-the-top performance by Glenn Maynard (Warren), but it's too close to make a real impression. It seems like Maynard and Addison Heath (the writer of Chocolate Strawberry Vanilla) are on an underground crusade though. After their collaboration on this movie, two others will follow: Under a Kaleidoscope and Bubblegum: A Detective Story. I wonder how those will turn out to be!

Métamorphoses (2014) - 6.5 / 10

Christophe Honoré is one of those typical French author cineasts: it doesn't get any artier than this. Nothing wrong with some pretentious French cinema of course. Métamorphoses has some very strong and unique moments, especially because of the transgressive way Honoré explores Ovid's mythological universe and transports it to a contemporary context. On the other hand, the transgressive style and content are harmless and even quite loyal to Ovid's poem. Seen in that way, this film isn't transgressive at all and has more of an artsy, experimental pretence. That doesn't mean I didn't enjoy it, but it all is quite superficial for a movie that attempts to be something much more. The cinematograpy is extremely beautiful though, as well as the soundtrack and some of its symbolism. But when it comes to French l'art pour l'art cinema, I think Les rencontres d'après minuit succeeds way better in its intent. Maybe because, although the film also is very autoletic, it transcends itself by subverting some bourgeois notions. Something Métamorphoses didn't do at all. But then again, maybe it's just me and my limited way of experiencing films like this.

I Origins (2014) - 8.0 / 10

After Mike Cahill's enchanting Another Earth, I expected a lot from this. Especially because Brit Marling stars in it again - maybe one of the most underrated actresses today. My expectations were met. I Origins provokes atheists and evidence-based scientists by providing us with a story of a scientist that starts to question the existence of something metaphysical. Being an atheist myself, I nonetheless detest how self-righteous atheists try to debunk everything religious or - even more arrogant - metaphysical. You might call me a humble atheist, since I don't have the urge to preach my way of looking at the world to other people, nor do I feel better than those who believe in something transcendent. Because of all that, I love I Origins. Not because it convinces me of reincarnation, afterlife or God, but because it shows that spiritualism isn't affected by science and therefore even hardcore atheists are susceptible to it. So while this movie is obviously sci-fi, it feels very real and even hopeful. The wonderful soundtrack, dreamy images and slow paced build-up create a majestic movie experience, just like Cahill's Another Earth. I was quite surprised to hear he's planning a sequel to I Origins, but I must admit the post-credits scene captures the imagination and a second feature that'll elaborate on that, will be most welcome. Highly recommended!