Oscar Time! Movies reviewed: Omar, The Great Beauty
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.
It’s time for my Oscar picks. Warning – I’m almost always wrong.
Best Actor. Should win: Matt McConoughey. Will win: Chiwetel Ejiofor.
WINNER: Matt McConoughey X
Best Actress. Should win: Judy Dench. Will win: Cate Blanchett.
WINNER: Cate Blanchett
Best Supporting Actor. (No idea… Jared Leto?)
WINNER: Jared Leto
Best Supporting Actress. Should win: Lupita Lyongo. Will win: Jennifer Lawrence.
WINNER: Lupita Lyongo X
Best Documentary. Should win: Act of Killing. Will win: 20 Feet from Stardom.
WINNER: 20 Feet from Stardom
Best Director. Should win — Steve McQueen. Will win: Russell or Cuaron
WINNER: Alfonso Cuaron
Best Picture. 12 Years a Slave (Should win and will win.)
WINNER: 12 Years a Slave
Best Movie in a Foreign Language. Should win: The Hunt. Will win: The Great Beauty.
WINNER: The Great Beauty
Sunday, March 2, 2014 , midnight. Oscars Results: My predictions weren’t bad this year — I got 6 or 7 out of 9 correct. The two I got wrong were winners I labeled “should win” not “will win”: Lupita Lyongo, and Matthew McConoughey. And I gave myself two “will win” options for best director (Russell or Cuaron).
So, in keeping with this theme, this week I’m looking at two movies nominated for best foreign language picture. One’s a dramatic thriller from the Palestinian Territories about a young man caught between a rock and a hard place; the other is a nostalgic look at contemporary Rome.
Dir: Hany Abu-Assad
Omar (Adam Bakri) is a young Palestinian who works in a one-man pita bakery. He’s a clean-scrubbed guy with an indefatigable spirit. Nimble on his feet, Omar can climb a three-storey wall — and back again — in a few seconds. And climb he does, over the Separation Wall that runs along the long border between Israel and the Occupied Territories. Because walls mean nothing to Omar — the border is porous, an arbitrary line.
Why does he cross the wall? Ostensibly to visit Tarek – serious, stern (Iyad Hoorani) and Amjad, a teller of jokes (Samar Bisharat).
But his real motivation is Nadia (Leem Lubany) Tarek’s younger sister, who lives on the other side of the wall. Omar is as tall dark and handsome as Nadia is kind, witty and beautiful with tousled black hair.
One day he’s stopped by a particularly cruel unit of the border patrol. The Israelis are about his age, but they beat him up and publically humiliate him. A shift in Omar’s thinking?
So he joins Tarek and Amjad for a planned action. They are all prospective members of the militant Al Aqsa Martyrs’ Brigade. Their initiation? A shooting. Omar doesn’t personally kill anyone but he’s the one arrested.
In prison, he’s tortured and interrogated. Finally he’s approached by a member of Al Aqsa. He warns Omar that spies are everywhere – they’ll pretend to make friends with him to get him to confess. The only way out is to collaborate with the Israelis – and any collaboration will last forever. His words are prophetic.
Soon enough, he’s out again, working to marry his love, trying to find the traitor who gave up his name, and, meanwhile, regularly speaking from a phone booth with his Israeli contact Rami (Waleed F. Zuaiter) an Arabic-speaking agent.
Whose side is he on? Which side does he really support? Can he even trust his friends, his love, his fellow militants?
Omar is a dramatic thriller about the Israel/Palestine conflict told decidedly from the Palestinian point of view. As a drama, it shows the psychologically draining toll non-stop surveillance takes on the lives of Palestinians. The movie’s done like a chess game: each side makes a move, countered by his opponent. But you soon see there are multiple chessboards, operating simultaneously, with countless players, alliances and betrayals until it’s hard to figure out who is black and who is white.
The acting is great, especially Adam Bakri and Leem Lubany as the young lovers, and Waleed F. Zuaiter as Omar’s handler. While not perfect, this is a thoughtful, informative and disturbing film, one that makes you think… and then rethink.
Wri/Dir: Paolo Sorrentino
Jep (Toni Servillo) is a bon vivant living in the floating world of contemporary Rome. It’s still the Dolce Vita. Ostensibly, he’s a novelist, but hasn’t done anything great in decades. He coasts along, living off his reputation, and partying with faded royalty, vapid models and the ultra-rich. He is a camera, experiencing and recording all of this in mind.
His Rome is one filled with gilded palaces, rococo night clubs and velveteen Vatican chambers. His editor at a popular magazine, Dadina (Giovanna Vignola), is a little person, given to wearing electric-blue dresses. As his 65th birthday approaches he confides in her: he needs to find something or someone important, genuine – the “great beauty” of the movie’s title.
Slowly, the movie chugs along, heading toward his dinner party, with an elusive guest. Will he be touched by God? Or will it all prove as superficial as the rest of his life?
The Great Beauty is a nostalgic look at Rome’s faded glory, the cool elegance of old Fellini movies. Wonderfully acted, carefully shot. But does it add up to anything new?
I found this movie hollow at the core.
And, aside from a few minutes of genuine beauty, it’s not attractive at all. It’s drenched in a 1970s aesthetic of awful opulence, far from the coolness of 50s and 60s Italian cinema. And both its story and its look exists more as a tribute (or a rehash) of older Italian movies than as a new one all its own.
The Great Beauty is now playing and Omar opens today in Toronto; check your local listings.
This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5 FM and on my website, culturalmining.com
Daniel Garber interviews director JIM BRUCE about his new film Money for Nothing: Inside the Federal Reserve
Hi, this is Daniel Garber at the movies for culturalmining.com and CIUT 89.5 FM.
The world’s economy was brought to a standstill after the crash of 2008 – we’re still recovering. What happened? A new movie posits that it was the policies of the Federal Reserve under Alan Greenspan that were largely responsible for the meltdown.
This in-depth documentary explains the history of this powerful but opaque agency and how it works. It’s called Money for Nothing: Inside the Federal Reserve, (opening today in Toronto at Hot Docs). Director JIM BRUCE (editor: King of Kong) tells us more.
Movie Movies. Films Reviewed: Pompeii, 3 Days to Kill PLUS AKP Job 27
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.
Do you ever get tired of movies with deep meanings and avant-garde styles? Do you ever just want to see a “movie” movie? Well this week I’m looking at some movie movies, each with a bit of a twist. There’s a sword- and-sandal romance that’s also a disaster movie, an action-thriller that’s a family comedy, and a Yakuza movie… that has no lines!
Dir: Paul W.S. Anderson
The Roman empire is reaching its apex, planting the golden eagle on Brittainia. A particularly cruel general named Corvus battles the Celts. When it’s over he says to his henchman: Kill them all! But one little boy survives.
Milo (Kit Harrington, Game of Thrones) grows up to be a champion fighter, with stringy hair, a wispy beard and killer abs. He’s sent to Rome to compete as a fighter-slave. But on the way he comes to the aid of a beautiful, upper-class woman with porcelain features named Cassia (Emily Browning) Her horse has an accident, and Milo has a way with horses. He was “born on horseback”, he says. But will they ever meet again? You can count on it.
Now, Milo is sent to Pompeii (a holiday spot outside of Rome) to fight to the death in the arena there (Cassia’s dad controls Pompeii’s stadium). The ultimate fight will be between Milo and his rival Atticus (Adewale Akinnuoye-Agbaje) an African gladiator about to win his freedom.
Who comes to town, but a suitor, a senator from Rome. He says he’ll approve the new stadium, if — and only if — Cassia marries him. But she hates him (they had an earlier run-in in Rome) and she has a thing for Milo. And who is this senator? Why it’s Corvus (Keiffer Sutherland) who, along with his henchman Proculus (Sasha Roiz) massacred Milo’s family as a child!
So all of these plots are going on right at the base of Mt Vesuvius. And as we all know now, the volcano is about to blow, pouring lava and volcanic ash over everyone, rich and poor, who doesn’t get out of there soon.
This movie has three things going on. There’s the frequent action scenes – lots of fights, great gladiator matches, chase scenes; then there are the romantic parts: Cassia and Milo are constantly risking their own lives to rescue each other from death and danger; and there’s the inevitable disaster part: ground rumbling, buildings crumbling, spectacular collapses… The movie uses way, way, way too many CGIs. It makes everything look dark. You long for some blue skies. Nevertheless, I totally enjoyed this movie. Excitement, interesting plot, fights, romance, tears… it’s got everything.
And believe it or not, this movie about ancient Rome was shot in Toronto’s west end, all in enormous soundstages and backlots.
Dir: McG (The O.C.)
Ethan Renner (Kevin Costner) is just a regular guy who wears Dockers and roots for the Pittsburg steelers. He’s been away from his wife and daughter for five years. Why? Because he’s also a CIA assassin. He is in Belgrade to kill a sadistic criminal named the Albino (played by Icelandic actor Tómas Lemarquis as a James Bond-type super-villain). He’s known for chopping off the heads of his enemies. A young CIA agent named Vivi (Amber Heard) is there at the same time to kill another criminal known only as the Wolf. But something goes wrong.
Ethan collapses to the ground just when he should have shot the Albino.
Turns out he has inoperable brain cancer. He decides to spend his last days with his estranged wife and resentful teenaged daughter Zooey (Haillee Steinfeld, True Grit) in Paris. This is where the action is supposed to turn to laughs.
Back in Paris, his apartment has squatters: an extended family from Mali. (He’s white, they’re black… Get it?) And his teenaged daughter Zooey is angry because he neglected her. (She’s young, he’s old… Get it?) Well, somehow, he convinces his wife he can be trusted to take care of their daughter for three days while she’s away on a business trip. But then Vivi reappears to say: I’ll cure your cancer with some secret drugs if you murder the Wolf (Ethan’s the only one who saw his face in Belgrade.) So now he has to juggle bonding with Zooey, with dying of cancer, and torturing suspects and killing alleged criminals.
This is such a craptastically messed-up movie. Believe it or not, the script was originally co-written by Luc Besson, the notorious French action movie director. So it does have some good chase scenes and shootouts.
But the humour? So lame, it’s absolutely devoid of laughs. Costner is a terrible comic actor, and Amber Heard is embarrassingly bad as the multi-wigged Vivi. The script feels like it was written in French, rewritten in Serbo-Croation with the English version courtesy of Google Translate, alpha edition. Just dreadful.
Dir: Michael Suan
And in a tribute to the old Luc Besson comes a silent gangster pic from Toronto. A Yakuza hit man travels to on assignment in Canada and falls for a beautiful woman in the sex trade… who reminds him of a long lost love. This is a purely visual movie with a smorgasbord of images: gunshots in a field of air turbines, sex scenes in red and blue. There is too much slo-mo and choppy jump cuts for my taste — at times it feels like an extended 1980s music video. But it’s commendable as a first film, with Suan re-imagining a noir-ish Toronto as a city full of dark allies, rainy streets, neon lights, and strip bars.
Pompeii, Three Days to Kill and AKP Job 27 all open today in Toronto; check your local listings. The glorious Chilean film Gloria continues, and also opening this week is Tim’s Vermeer.
This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5 FM and on my website, culturalmining.com
Daniel Garber talks with writer/director Jeremy Lalonde about his new comedy Sex After Kids
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
What do these people have in common? A lesbian couple, a single british woman, a newly married couple with a baby, an agent married to an ex-model, and a pair of grandparents? They all have kids and they all wonder what happened to their sex lives.
A funny new comedy, shot in Toronto and opening today, asks the age-old question: What happens to Sex after Kids? Writer/ director Jeremy Lalonde tells us all about it.
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