MPAA (PG) CNS/USCCB (A-I) ChicagoTribune (3 Stars) RogerEbert.com (3 Stars) AVClub (B) Fr. Dennis (3 1/2 Stars)
IMDb listing
CNS/USCCB (J. Mulderig) review
ChicagoTribune (S. Cohen - AP) review
RogerEbert.com (B. Tallerico) review
AVClub (K. Rife) review
The Secret Life of Pets [2016] (directed by Yarrow Cheney and Chris Renaud, screenplay by Cinco Paul, Ken Daurio and Brian Lynch) is a SAFE, FUN, CHILDREN'S ORIENTED MOVIE that _won't_ offend anyone. Thanks be to God ;-)
Yup regardless of complexion or political orientation, pretty much all of us like our pets. Yes we may prefer dogs to cats or cats to dogs or birds or hamsters, frogs, turtles, fish even snakes to both. But generally speaking we like pets. Indeed, one of the more enjoying things at our Parish has been the Annual Blessing of the Animals around St. Francis' Feast Day ;-)
So it's great to see a film about pets that's just gleefully "about our pets" without any attempt to spin the story in some strange political direction (see what I wrote about Dispicable Me 2 [2013])
To the film ... ;-)
It's gleefully about Max (voiced by Louis C.K.) a terrier mix who had been picked-up when he was a pup by his smiling 20-somthing Manhattan dwelling 20-something human owner Katie (voiced by Ellie Kemper). And as he would tell it, theirs was a perfect relationship, until ... one day, Katie comes home with a surprise: another, now big shaggy dog named Duke (voiced by Eric Stonestreet) who she picked at the Pound both to save the "big shaggy guy" and actually to give Max "a friend" ...
Well Max didn't necessarily feel that he needed a friend. He had Katie even though, to him inexplicably, she went to work each day. "What does she do all day?" he would ask the other pets in the apartment building when she was away ;-). So now he had to deal with this unwelcome addition. (Actually anyone who's had a couple of dogs will know that the dogs don't necessarily get along initially until they "sort things out" among themselves).
So, Max and Duke are still "sorting things out" while being walked by a rather clueless "dog walker" when "one thing leads to another" and they find themselves separated from the other dogs being walked by said inattentive ipod-tune-listening "dog walker." THAT QUICKLY GETS THE TWO INTO TROUBLE with New York's "animal control" authorities ... and the rest of the story ensues ... ;-)
After being caught by the said animal control authorities, they're initially freed by a small guerrilla band of "flushed" (they'd prefer to think of themselves as "self liberated") pets led a rather bitter former magician's "bunny" named Snowball (voiced wonderfully by Kevin Hart). Led literally "underground" (into the sewers), they realize that they really don't fit in there, and so they break away and seek to find their way home ... on their own.
Back home, actually, a cute as a button, Pommeranian, named Gidget (voiced by Jenny Slate) who has a more or less obvious crush on Max, realizes that "Max is missing," and recruits the other pets of the apartment building to help organize a search party to look for him.
It's not necessarily easy: Neighbor cat, Chloe (voiced by Lake Bell), famously "doesn't particularly care (one way or another)" if Max is missing (Why? She's _a cat_ after all ;-). And even cuter than Gidget, guinea pig Norman (voiced by Chris Renaud) while perhaps with his fast-beating heart in the right place, has himself been _hopelessly lost_ (apparently for three weeks ;-) wandering the ventilation shafts of the building trying find _his_ way home ;-). Gitget recruits a trained Hawk named Tiberius (voiced wonderfully by Albert Brooks) living in a coop on the roof of the building to fly about to look for Max. But Tiberius has his own inner conflict: Yes _a part of him_ would really like to be "part of the team" of pets being recruited by Gidget to look for Max. On the other hand, _another part of him_ would really like _to eat_ "a good part of the team" Max ;-)
In the meantime, in perhaps the closest to "a Pixar moment" in this non-Pixar film, big shaggy Duke confesses to Max that he "can't go back to the pound." Why? "I've already been once to the Pound. If I return there, I'm never coming out."
Again, much happens, and all is truly very, very cute. Do the two make it home? (I'm not gonna tell you ... but guess ... :-)
In anycase, good job! Very, good job! ;-)
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Reviews of current films written by Fr. Dennis Zdenek Kriz, OSM of St. Philip Benizi Parish, Fullerton, CA
Friday, July 8, 2016
Thursday, July 7, 2016
Neon Bull (orig. Boi Neon) [2015]
MPAA (UR would be R) Fr. Dennis (3 1/2 Stars)
IMDb listing
AdoroCinema.com listing*
A Folha de São Paulo (S. Martí) review*
Diario de Pernambuco (J. Cavani) review*
APUM.com (V. Blanes) review*
NPR (P. Powers) review
The Hollywood Reporter (B. van Hoeij) review
Way Too Indie (C.J. Prince) review
Neon Bull (orig. Boi Neon) [2015] IMDb] [AC]*(written and directed by Gabriel Mascaro [IMDb] [AC]*) like the director's previous film August Winds (orig. Ventos de Agosto) [2014] (which played here at the Chicago International Film Festival) is about a social contract in Brazil between the nation and its poorer citizens/residents that _ought_ to disturb people.
The contract appears to be this: We won't do much for you. In exchange, we will let you live lives essentially free of obligations toward others (or honestly toward God / "something" ANYTHING "Higher"). You will probably be poor, but we hope that you will be generally happy, so long as you don't burden yourselves with much thought about the value / meaning of your lives. Your lives will be essentially like those of the animals: Here for a while, gone sometime after that. Enjoy, as best you can, your stay...
I do think I know something of this mentality because in my life as a Servite Priest, I did visit the Servite Mission in Acre, Brazil several times, where this same "social contract" is lived-out day-to-day by the rural residents living in little hamlets clustered around little petrol-driven electrical generators spaced at about one kilometer intervals along the rivers of the region. Those generators are turned-on by the residents for 1-2 hours each evening -- so that the women can watch their telenovelas -- and then presumably when an important soccer match would be played.
Our Servite priests would pass through the various hamlets on "desobriga missions" (for the "unburdening of obligations" -- to allow people to go to Confession, receive Communion, Baptize the recently born, Marry those who need to be Married, etc) at regular intervals so that pretty much every hamlet in this mission territory (about half the size of West Virginia -- 32,000 sq.km) would be visited once every six months.
I remember describing to a cousin of mine the lives of the residents along those rivers -- Pretty much every 14 year old girl would already be (more or less) married and with a child. Yet pretty much by then, 14-15 years of age, all that one really needed to know, one would already know: He how to fish / raise some corn / beans, she how to cook / tend house. And it seemed to me that it was still "a more dignified life" living out-there along the rivers than _trying_ to move to the city and ending-up in a favela (slum) at the edge of town raising the same chickens in one's yard and looking (now harder) for a little plot of land to grow one's corn / beans and basic vegetables. -- to which my cousin responded: "But what a tragic waste of human potential." Basically all those people living along those rivers (and in GABRIEL MASCARO'S FILMS) were being WAREHOUSED: "Left to live out lives without much meaning ... until they would simply die someday."
And so it is then with Mascaro's current film: Viewers follow a random truckload of Brazilian rodeo-workers through the "cow country" of Pernambuco, Brazil:
There's Iremar (played by Juliano Cazarré [IMDb] [AC]*) a stable-hand, who keeps the rodeo's bulls lined-up, in the proper pens at the proper time. The main competition apparently in the rodeo is simply for a horse mounted rodeo wrangler to simply "take down a running bull by pulling its tail ..." Iremar's job was simply having those bulls lined-up so that they'd be released, one per rodeo wrangler, at their proper time. In off hours though, Iremar tinkers around as something of a fashion designer, drawing fairly exotic, form-fitting clothes onto pictures of nude models in porn magazines, and then as he gets the cloth and other materials, he actually sews said clothes for his muse ...
Galega (played by Maeve Jenkins [IMDb] [AC]*) who serves as the group's truck-driver by day, and as something of an exotic dancer (often wearing Iremar's creations) at night. She has a pubescent girl ...
Cacá (played by Alyne Santana [IMDb] [AC]*) who's become old enough to start "rolling her eyes" at some of her mother's not particularly purpose-filled behavior, but remains still "enough of a kid" to still believe that "all would be fine" if she just "had her own little horse."
Both Iremar and Galega "get distracted' by quite random MOTAS that they meet along their quite random travelings through Pernambuco "cow country."
Now NO ONE is desperately unhappy in this film ... but _more_ than in regards of Mascaro's previous film August Winds (orig. Ventos de Agosto) [2014], ONE CAN NOT BUT WONDER _HERE_ (in the current one) if ALL OF THE CHARACTERS are basically IN A KIND OF PRISON ... FOR "LIFE" ... waiting to just, one day, die.
It's a vision that ought to ... disturb.
Is Life for MANY basically "merda" coming from a "Neon Bull" ...?
* Foreign language webpages are most easily translated using Google's Chrome Browser.
** To load Websites from South, East and Eurasia in a timely fashion, installation of ad-blocking software is often required.
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
IMDb listing
AdoroCinema.com listing*
A Folha de São Paulo (S. Martí) review*
Diario de Pernambuco (J. Cavani) review*
APUM.com (V. Blanes) review*
NPR (P. Powers) review
The Hollywood Reporter (B. van Hoeij) review
Way Too Indie (C.J. Prince) review
Neon Bull (orig. Boi Neon) [2015] IMDb] [AC]*(written and directed by Gabriel Mascaro [IMDb] [AC]*) like the director's previous film August Winds (orig. Ventos de Agosto) [2014] (which played here at the Chicago International Film Festival) is about a social contract in Brazil between the nation and its poorer citizens/residents that _ought_ to disturb people.
The contract appears to be this: We won't do much for you. In exchange, we will let you live lives essentially free of obligations toward others (or honestly toward God / "something" ANYTHING "Higher"). You will probably be poor, but we hope that you will be generally happy, so long as you don't burden yourselves with much thought about the value / meaning of your lives. Your lives will be essentially like those of the animals: Here for a while, gone sometime after that. Enjoy, as best you can, your stay...
I do think I know something of this mentality because in my life as a Servite Priest, I did visit the Servite Mission in Acre, Brazil several times, where this same "social contract" is lived-out day-to-day by the rural residents living in little hamlets clustered around little petrol-driven electrical generators spaced at about one kilometer intervals along the rivers of the region. Those generators are turned-on by the residents for 1-2 hours each evening -- so that the women can watch their telenovelas -- and then presumably when an important soccer match would be played.
Our Servite priests would pass through the various hamlets on "desobriga missions" (for the "unburdening of obligations" -- to allow people to go to Confession, receive Communion, Baptize the recently born, Marry those who need to be Married, etc) at regular intervals so that pretty much every hamlet in this mission territory (about half the size of West Virginia -- 32,000 sq.km) would be visited once every six months.
I remember describing to a cousin of mine the lives of the residents along those rivers -- Pretty much every 14 year old girl would already be (more or less) married and with a child. Yet pretty much by then, 14-15 years of age, all that one really needed to know, one would already know: He how to fish / raise some corn / beans, she how to cook / tend house. And it seemed to me that it was still "a more dignified life" living out-there along the rivers than _trying_ to move to the city and ending-up in a favela (slum) at the edge of town raising the same chickens in one's yard and looking (now harder) for a little plot of land to grow one's corn / beans and basic vegetables. -- to which my cousin responded: "But what a tragic waste of human potential." Basically all those people living along those rivers (and in GABRIEL MASCARO'S FILMS) were being WAREHOUSED: "Left to live out lives without much meaning ... until they would simply die someday."
And so it is then with Mascaro's current film: Viewers follow a random truckload of Brazilian rodeo-workers through the "cow country" of Pernambuco, Brazil:
There's Iremar (played by Juliano Cazarré [IMDb] [AC]*) a stable-hand, who keeps the rodeo's bulls lined-up, in the proper pens at the proper time. The main competition apparently in the rodeo is simply for a horse mounted rodeo wrangler to simply "take down a running bull by pulling its tail ..." Iremar's job was simply having those bulls lined-up so that they'd be released, one per rodeo wrangler, at their proper time. In off hours though, Iremar tinkers around as something of a fashion designer, drawing fairly exotic, form-fitting clothes onto pictures of nude models in porn magazines, and then as he gets the cloth and other materials, he actually sews said clothes for his muse ...
Galega (played by Maeve Jenkins [IMDb] [AC]*) who serves as the group's truck-driver by day, and as something of an exotic dancer (often wearing Iremar's creations) at night. She has a pubescent girl ...
Cacá (played by Alyne Santana [IMDb] [AC]*) who's become old enough to start "rolling her eyes" at some of her mother's not particularly purpose-filled behavior, but remains still "enough of a kid" to still believe that "all would be fine" if she just "had her own little horse."
Both Iremar and Galega "get distracted' by quite random MOTAS that they meet along their quite random travelings through Pernambuco "cow country."
Now NO ONE is desperately unhappy in this film ... but _more_ than in regards of Mascaro's previous film August Winds (orig. Ventos de Agosto) [2014], ONE CAN NOT BUT WONDER _HERE_ (in the current one) if ALL OF THE CHARACTERS are basically IN A KIND OF PRISON ... FOR "LIFE" ... waiting to just, one day, die.
It's a vision that ought to ... disturb.
Is Life for MANY basically "merda" coming from a "Neon Bull" ...?
* Foreign language webpages are most easily translated using Google's Chrome Browser.
** To load Websites from South, East and Eurasia in a timely fashion, installation of ad-blocking software is often required.
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
Tuesday, July 5, 2016
He - the Dragon (orig. Он – дракон / On -- Drakon) [2015]
IMDb listing
KinoPoisk.ru listing*
Kino-teatr.ru listing*
Megacritic.ru listing*
Afischa.ru (A. Dolin) review*
Film.ru (B. Ivanov) review*
FilmPro.ru (S. Sychev) review*
Izvestiya.ru (A. Pogova) review*
KinoAfischa.ru review*
Kino-Teatr.ru (A. Polibentseva) review*
Rossiyskaya Gazeta (A. Litovchenko) review*
Yaroslavl Region (M. Demidova) review*
Zavtra.ru (A. Belokurova) review*
TheHollywoodReporter.ru (D. Ostashevsky) review*
He - the Dragon (orig. Он – дракон / On -- drakon) [2015] [KP.ru]*[KT.ru]* (directed by Indar Dzhendubaev [IMDb] [KP.ru]*[KT.ru]* screenplay by Marina Dyachenko [IMDb] [KP.ru]*[KT.ru]* and Sergei Dyachenko [IMDb] [KP.ru]* along with Indar Dzhendubaev [IMDb] [KP.ru]*[KT.ru]* and Aleksey Arsenev [IMDb] [KP.ru]* based on the novel The Rite (orig. Ритуал - Ritual) [GR-Ru]*[GR-Pl]*[WCat-Ru]* by RUSSIAN LANGUAGE writing UKRAINIAN fantasy/romance writers Marina and Sergei Dyachenko [wikip] [GR] [WCat] [Amzn]) is an often SPECTACULARLY SHOT (and with world-class CGI) "Twilight Saga"-like love story between a Russian princess Miroslava (played wonderfully by Mariya Poezzhaeva [IMDb] [KP.ru]*[KT.ru]*) and a tortured Dragon (played when in human form by Russian male supermodel Matvey Lykov [IMDb] [KP.ru]*[KT.ru]*[fr.wikip]*).
The film, which ranked as the #3 most popular Russian Film of 2015 by Russian Viewers at the MegaCritic.ru* website, serves the first stop of my 2016 Russian Film Tour, which as last year, I undertake in hopes of promoting a better / fuller understanding of peoples, here of Russia and its people, than has been generally been available to us in the West.
To the film ...
The story begins "in the Rus" still long before the Christian era. We're told that the people of a particular region "of the Rus" were forced "back in those ancient days" to offer-up each year three young maidens to a Dragon. These young maidens were dressed in their best (wedding or funeral?) garb, laid down in separate small boats and set adrift into a particular bend in a river, whereupon the Dragon would appear from the sky, swoop down and take-away one of the maidens to his far-away lair; the maiden taken away in this way would never be seen or heard from again...
Many years passed, and there came a time in which "The Dragon" _no longer appeared_ (to swoop down take away one said maiden). What happened? No one knew. HOWEVER, _the ritual_ of laying the maiden, dressed in her best in a boat and setting it adrift - IN THE DIRECTION OF HER FUTURE HUSBAND - remained AS SOMETHING OF A WEDDING RITUAL to these people.
Well ... it came to be ... that a young Princess named Miroslava (played wonderfully by Mariya Poezzhaeva [IMDb] [KP.ru]*[KT.ru]*), her (quite common / traditional Slavic) name meaning "Lover or Proclaimer of Peace," betrothed to a dashing Prince named Igor (played by Pyotr Romanov [IMDb] [KP.ru]*[KT.ru]*) is dressed in her wedding garb, set solemnly on the boat and cast-off by her loving Regal/Noble Father (played Stanislav Lyubshin [IMDb] [KP.ru]*[KT.ru]*) in the direction of her betrothed, WHEN ... to _everyone's horror_ ... the Dragon, all but forgotten, 'cept in fairy tales and "Legends of Old...", REAPPEARS, swoops down and TAKES THE YOUNG PRINCESS MIROSLAVA AWAY ...
The rest of the story ensues ... Who was this Dragon? Where did he take poor Miroslava? Why didn't he appear for such a long time until now? And what to do so that this never happens again?
The story that unfolds is just lovely. It is based on a novel The Rite (orig. Ритуал - Ritual) [GR-Ru]*[GR-Pl]*[WCat-Ru]* by RUSSIAN LANGUAGE writing UKRAINIAN fantasy/romance writers Marina and Sergei Dyachenko [wikip] [GR] [WCat] [Amzn]). That novel itself is unfortunately currently unavailable in English. However, a fair number of their other works are [GR] [WCat] [Amzn]. So it'd be worth it for Readers interested in this (Teen-oriented / Fantasy) genre to look-up a book or two of theirs :-).
In any case, EXCELLENT FILM!
* Foreign language webpages are most easily translated using Google's Chrome Browser.
** To load Websites from South, East and Eurasia in a timely fashion, installation of ad-blocking software is often required.
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
Monday, July 4, 2016
Battle for Sevastopol (orig. Битва за Севастополь - Bitva za Sevastopol) [2015]
MPAA (UR would be PG-13) Fr. Dennis (3 1/2 Stars)
IMDb listing
KinoPoisk.ru listing*
Kino-teatr.ru listing*
Megacritic.ru listing*
Smithsonian.com (G. King) - article about The Friendship between Lyudmila Pavlichenko and Eleanor Roosevelt
KinoUkraine.com (E. Rubashevska) review*
Film.ru (Yevgeny Ukhov) review*
KinoHod.ru (L. Frolova) review*
Nezavicimaya Gazeta (N. Grigorieva) review*
OVideo.ru (M. Malyukov) review*
Postcriticism.ru (V. Gorbenko) review*
The-Village.ru (N. Kurganckaya) review*
TimeOut.ru (D. Serebryanaya) review*
Vechernyaya Moskva (I. Nikolaev) review*
Vedomosti.ru (O. Zintsov) review*
Zavtra (A. Belokurova) review*
Woody Guthrie's song Miss Pavlichenko [YouTube] [Amzn]
Battle for Sevastopol (orig. Битва за Севастополь - Bitva za Sevastopol) [2015] [IMDb] [KP.ru]*[KT.ru]* (directed and cowritten by Sergey Mokritskiy [IMDb] [KP.ru]*[KT.ru]* along with Maksim Budarin [IMDb] [KP.ru]*, Maksim Dankevich [IMDb] [KP.ru]*, Leonid Korin [IMDb] [KP.ru]*[KT.ru]* and Igor Olesov [IMDb] [KP.ru]*[KT.ru]*) is a recent if somewhat _mistitled_ still RUSSIAN / UKRAINIAN _coproduced_ WORLD WAR II WAR FILM that serves as the second stop on my 2016 Russian Film Tour.
The film which was nominated (but did not win) two 2016 Nika Awards (Russia's closest equivalent to the Oscars) -- for Best Picture and Best Actress -- was noted by several of the Russian reviewers cited above as one of THREE World War II themed films that were released in close succession in Russia in the Spring of 2015 (the others being Batalon [2015] [IMDb] [KP.ru]*[KT.ru]*[MC.ru]* and The Dawns Here are Quiet... [2015] [IMDb] [KP.ru]*[KT.ru]*[MC.ru]* a remake of the classic Soviet Era WW II film ...The Dawns Here are Quiet [1972] [IMDb] [KP.ru]*[KT.ru]*).
What was going on in Russia in the first half of 2015? The country's attention was focused on events in the Ukraine: (1) the overthrow of Ukraine's notoriously corrupt (if elected, if questionably so) pro-Russian government and replaced by a pro-Western leaning one (confirmed by a second election which, in turn, was never recognized by Russia), and (2) the subsequent conflicts in the primarily Russian speaking Donetz and Luhansk regions of the Ukraine (which border with Russia), Crimea (of which Sevastopol is its primary city / capital) having voted to break away (in a still controversial referendum) and join itself to the Russian Federation the year before. So it's not altogether surprising that a fair amount of "war" / "patriotic" films would be coming out in Russia at the time. What perhaps would be most interesting for Readers to note here is that these "patriotic releases" won _neither_ a lot of awards in Russia _nor_ a lot of popular acclaim among Russian viewers. (Contrast this honestly with the wild popular acclaim (and especially on the part of the American Right) in the United States of American Sniper [2014])
The current film, again arguably _mistitled_ (or _retitled_ to call attention to more current events...), tells the story Lyudmila Pavlichenko [wikip] (played excellently in the film by Yuliya Peresild [IMDb] [KP.ru]*[KT.ru]*) an Ukrainian (Kiev) born Soviet sniper who killed 309 Fascist (German / Romanian) soldiers during the Sieges of Odessa and Sevastopol in 1941-42 and who upon being one of the few evacuated near the end of the latter siege was _sent to the United States_ as part of a Red Army "student" delegation to the United States to encourage support for the (unified) War Effort.
By this point a thoroughly hardened soldier, she apparently deeply impressed (if also worried / disconcerted) Eleanor Roosevelt [wikip] (played in the film by Joan Blackham [IMDb] [KP.ru]*[KT.ru]*) who invited her to spend some time as a personal guest of hers at the White House.
FOLKS, this is honestly a QUITE FASCINATING FILM because it tries (like Eleanor Roosevelt) to understand this woman, who by the time she arrives in U.S. comes across as a thoroughly efficient killing machine that the American Press nicknamed "Lady Death." How did she become that way?
Well, _even before the war_ she was a rather serious student / "product of the Soviet State." Her father (played by Stanislav Boklan [IMDb] [KP.ru]*[KT.ru]*) was an NKVD agent... (Incidently, the film portrays her as _not particularly liking him_ in good part because of his strictness). Yet, she had friends represented in the film by the the giggly boy-crazy Masha (played by Polina Pakhomova [IMDb] [KP.ru]*[KT.ru]*) a fiance' named Boris Chopak (played in the film by Nikita Tarasov [IMDb] [KP.ru]*[KT.ru]*) a soft-spoken doctor from Odessa, would have been fun in-laws (Jewish), parents of Boris (played by Vladimir Kononenko-Zadniprovky [KP.ru]*[KT.ru]* and Lyubov Timoshevskaya [KP.ru]*[KT.ru]* respectively) as well as two battlefield romances one with her sniper instructor Makarov (played by Oleg Vasilkov [IMDb] [KP.ru]*[KT.ru]*) still defending Odessa and the second with another sniper Leonid Kichenko (played by Yevgeny Tsyganov [IMDb] [KP.ru]*[KT.ru]*) while fighting in the defense of Sevastopol. By the time she gets sent to the U.S. as part of the "young soviet" / "student" delegation EVERYONE OF THESE PEOPLE WERE DEAD.
And despite NO ONE being able to accuse her almost frightening single-minded determination to continue to "kill Fascists," IMHO one of the strongest / most honest aspects of the film was the portrayal of the (all but in the White House itself) ever-present "Political Commissar" (played by Gennadiy Chentsov [IMDb] [KP.ru]*[KT.ru]*) accompanying the "student delegation" to the United States, there to keep EVERYBODY, including Lyudmila _in line_.
So why did Lyudmila seem so driven / cold? Well, honestly, how could she not be?
Younger western viewers may catch a fascinating (and IMHO _entirely appropriate_) aspect of the sound track in the film. At various times, the film seems to employ (or certainly mimic) the most haunting strains of the soundtrack to the recent American-made young adult oriented dystopian series The Hunger Games [2012-2015]. I do think that the application was entirely appropriate (though perhaps also double-edged, as Russia would seem at least to an outsider like me to be as one of the most "capital vs the provinces" dominated societies in existence today...).
Still, I think that the current film would help Westerners better appreciate the horrors / sufferings of the 40s Russian / Soviet generation and hopefully help us to better understand, why Russia even today responds to various geopolitical situations the way that it does.
In any case, no could doubt that Lyudmila Pavlichenko [wikip] was one brave, capable and patriotic woman who suffered and overcame an enormous amount.
Excellent film.
* Foreign language webpages are most easily translated using Google's Chrome Browser.
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
IMDb listing
KinoPoisk.ru listing*
Kino-teatr.ru listing*
Megacritic.ru listing*
Smithsonian.com (G. King) - article about The Friendship between Lyudmila Pavlichenko and Eleanor Roosevelt
KinoUkraine.com (E. Rubashevska) review*
Film.ru (Yevgeny Ukhov) review*
KinoHod.ru (L. Frolova) review*
Nezavicimaya Gazeta (N. Grigorieva) review*
OVideo.ru (M. Malyukov) review*
Postcriticism.ru (V. Gorbenko) review*
The-Village.ru (N. Kurganckaya) review*
TimeOut.ru (D. Serebryanaya) review*
Vechernyaya Moskva (I. Nikolaev) review*
Vedomosti.ru (O. Zintsov) review*
Zavtra (A. Belokurova) review*
Woody Guthrie's song Miss Pavlichenko [YouTube] [Amzn]
Battle for Sevastopol (orig. Битва за Севастополь - Bitva za Sevastopol) [2015] [IMDb] [KP.ru]*[KT.ru]* (directed and cowritten by Sergey Mokritskiy [IMDb] [KP.ru]*[KT.ru]* along with Maksim Budarin [IMDb] [KP.ru]*, Maksim Dankevich [IMDb] [KP.ru]*, Leonid Korin [IMDb] [KP.ru]*[KT.ru]* and Igor Olesov [IMDb] [KP.ru]*[KT.ru]*) is a recent if somewhat _mistitled_ still RUSSIAN / UKRAINIAN _coproduced_ WORLD WAR II WAR FILM that serves as the second stop on my 2016 Russian Film Tour.
The film which was nominated (but did not win) two 2016 Nika Awards (Russia's closest equivalent to the Oscars) -- for Best Picture and Best Actress -- was noted by several of the Russian reviewers cited above as one of THREE World War II themed films that were released in close succession in Russia in the Spring of 2015 (the others being Batalon [2015] [IMDb] [KP.ru]*[KT.ru]*[MC.ru]* and The Dawns Here are Quiet... [2015] [IMDb] [KP.ru]*[KT.ru]*[MC.ru]* a remake of the classic Soviet Era WW II film ...The Dawns Here are Quiet [1972] [IMDb] [KP.ru]*[KT.ru]*).
What was going on in Russia in the first half of 2015? The country's attention was focused on events in the Ukraine: (1) the overthrow of Ukraine's notoriously corrupt (if elected, if questionably so) pro-Russian government and replaced by a pro-Western leaning one (confirmed by a second election which, in turn, was never recognized by Russia), and (2) the subsequent conflicts in the primarily Russian speaking Donetz and Luhansk regions of the Ukraine (which border with Russia), Crimea (of which Sevastopol is its primary city / capital) having voted to break away (in a still controversial referendum) and join itself to the Russian Federation the year before. So it's not altogether surprising that a fair amount of "war" / "patriotic" films would be coming out in Russia at the time. What perhaps would be most interesting for Readers to note here is that these "patriotic releases" won _neither_ a lot of awards in Russia _nor_ a lot of popular acclaim among Russian viewers. (Contrast this honestly with the wild popular acclaim (and especially on the part of the American Right) in the United States of American Sniper [2014])
The current film, again arguably _mistitled_ (or _retitled_ to call attention to more current events...), tells the story Lyudmila Pavlichenko [wikip] (played excellently in the film by Yuliya Peresild [IMDb] [KP.ru]*[KT.ru]*) an Ukrainian (Kiev) born Soviet sniper who killed 309 Fascist (German / Romanian) soldiers during the Sieges of Odessa and Sevastopol in 1941-42 and who upon being one of the few evacuated near the end of the latter siege was _sent to the United States_ as part of a Red Army "student" delegation to the United States to encourage support for the (unified) War Effort.
By this point a thoroughly hardened soldier, she apparently deeply impressed (if also worried / disconcerted) Eleanor Roosevelt [wikip] (played in the film by Joan Blackham [IMDb] [KP.ru]*[KT.ru]*) who invited her to spend some time as a personal guest of hers at the White House.
FOLKS, this is honestly a QUITE FASCINATING FILM because it tries (like Eleanor Roosevelt) to understand this woman, who by the time she arrives in U.S. comes across as a thoroughly efficient killing machine that the American Press nicknamed "Lady Death." How did she become that way?
Well, _even before the war_ she was a rather serious student / "product of the Soviet State." Her father (played by Stanislav Boklan [IMDb] [KP.ru]*[KT.ru]*) was an NKVD agent... (Incidently, the film portrays her as _not particularly liking him_ in good part because of his strictness). Yet, she had friends represented in the film by the the giggly boy-crazy Masha (played by Polina Pakhomova [IMDb] [KP.ru]*[KT.ru]*) a fiance' named Boris Chopak (played in the film by Nikita Tarasov [IMDb] [KP.ru]*[KT.ru]*) a soft-spoken doctor from Odessa, would have been fun in-laws (Jewish), parents of Boris (played by Vladimir Kononenko-Zadniprovky [KP.ru]*[KT.ru]* and Lyubov Timoshevskaya [KP.ru]*[KT.ru]* respectively) as well as two battlefield romances one with her sniper instructor Makarov (played by Oleg Vasilkov [IMDb] [KP.ru]*[KT.ru]*) still defending Odessa and the second with another sniper Leonid Kichenko (played by Yevgeny Tsyganov [IMDb] [KP.ru]*[KT.ru]*) while fighting in the defense of Sevastopol. By the time she gets sent to the U.S. as part of the "young soviet" / "student" delegation EVERYONE OF THESE PEOPLE WERE DEAD.
And despite NO ONE being able to accuse her almost frightening single-minded determination to continue to "kill Fascists," IMHO one of the strongest / most honest aspects of the film was the portrayal of the (all but in the White House itself) ever-present "Political Commissar" (played by Gennadiy Chentsov [IMDb] [KP.ru]*[KT.ru]*) accompanying the "student delegation" to the United States, there to keep EVERYBODY, including Lyudmila _in line_.
So why did Lyudmila seem so driven / cold? Well, honestly, how could she not be?
Younger western viewers may catch a fascinating (and IMHO _entirely appropriate_) aspect of the sound track in the film. At various times, the film seems to employ (or certainly mimic) the most haunting strains of the soundtrack to the recent American-made young adult oriented dystopian series The Hunger Games [2012-2015]. I do think that the application was entirely appropriate (though perhaps also double-edged, as Russia would seem at least to an outsider like me to be as one of the most "capital vs the provinces" dominated societies in existence today...).
Still, I think that the current film would help Westerners better appreciate the horrors / sufferings of the 40s Russian / Soviet generation and hopefully help us to better understand, why Russia even today responds to various geopolitical situations the way that it does.
In any case, no could doubt that Lyudmila Pavlichenko [wikip] was one brave, capable and patriotic woman who suffered and overcame an enormous amount.
Excellent film.
* Foreign language webpages are most easily translated using Google's Chrome Browser.
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L'Attesa [2015]
MPAA (UR would be R) Fr. Dennis (3 1/2 Stars)
IMDb listing
FilmTV.it listing*
AlloCine.fr listing*
CineBlog.it (A.M. Abate) review*
cinematografo.it (G Arnone) review*
Indie-Eye.it (A. Mastarntonio) review*
LaRepublica.it (M. Uzzeo) review*
aVoir-aLire.fr (A. Martin) review*
Critikat.fr (N. Brarda) review*
LaCroix.fr (J.C. Raspiengeas) review*
AVclub (M. D'Angelo) review
EyeForFilm.co.uk (J. Kermode) review
Slant Magazine (C. Gray) review
L'Attesa [2015] [IMDb] [FT.it]*[AC.fr]* (directed and cowritten by Piero Messina [IMDb] [FT.it]*[AC.fr]* along with Giacomo Bendotti [IMDb], Ilaria Macchia [IMDb] and Andrea Paolo Massara [IMDb] based on two works by Luigi Pirandello [wikip] [IMDb]) is an ITALIAN / FRENCH COLLABORATION that played recently at the Gene Siskel Film Center here in Chicago. The film is also available, subtitled, in the United States on various streaming services for a reasonable price.
Heavy on symbolism and playing-out largely at a hill-top estate somewhere in Sicily of today, the story's mainly about two women: Anna (played by Juliette Binoche [IMDb] [FT.it]*[AC.fr]*) middle aged, and Jeanne (played by Lou de Laâge [IMDb] [FT.it]*[AC.fr]*), early 20-something, both French. Anna had married (and some years back divorced) a Sicilian man, perhaps since deceased, and was living now with the exception of having a few servants in said Sicilian hilltop citadel alone. Jeanne, the (former?) girlfriend of Anna's beloved son Giuseppe, "comes visiting" around Holy Week (so basically around "Spring / Easter Break").
Jeanne's arrival comes as something of a surprise to Anna and the handful of her servants. She tells them that Giuseppe had invited her to come, ... 'cept Giuseppe's "not around."
So ... the rest of the film (80-90% of it) is about Jeanne _waiting_ for Giuseppe to arrive. She leaves messages on his cell phone. He _never_ answers. Anna, his mother, more or less clearly "in mourning" (though she tells Jeanne it's on account of her (Anna's) brother having recently died), _doesn't say much_. As the film progresses, it becomes clear that Jeanne and Giuseppe did have "a falling out" ABOUT A YEAR AGO ... so one starts to wonder if Jeanne had really been invited to be there (and yet she _insists_ that she was).
What the heck was going actually on? With _almost no one talking_ and even when they did talk, saying _very little_ (of pertinence anyway) this becomes a _fascinating_ if _irritating_ "mystery" of sorts. What happened? What happened to / where was Giuseppe? Why doesn't Anna know where her own son is? What was Jeanne hoping to accomplish by being there (or staying there)?
And with this playing-out in the context of Holy Week, there's _a lot_ of symbolism present as well.
Fascinating / irritating and above all _slow moving_ story ;-)
Honestly, quite a good job! ;-)
* Foreign language webpages are most easily translated using Google's Chrome Browser.
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
IMDb listing
FilmTV.it listing*
AlloCine.fr listing*
CineBlog.it (A.M. Abate) review*
cinematografo.it (G Arnone) review*
Indie-Eye.it (A. Mastarntonio) review*
LaRepublica.it (M. Uzzeo) review*
aVoir-aLire.fr (A. Martin) review*
Critikat.fr (N. Brarda) review*
LaCroix.fr (J.C. Raspiengeas) review*
AVclub (M. D'Angelo) review
EyeForFilm.co.uk (J. Kermode) review
Slant Magazine (C. Gray) review
L'Attesa [2015] [IMDb] [FT.it]*[AC.fr]* (directed and cowritten by Piero Messina [IMDb] [FT.it]*[AC.fr]* along with Giacomo Bendotti [IMDb], Ilaria Macchia [IMDb] and Andrea Paolo Massara [IMDb] based on two works by Luigi Pirandello [wikip] [IMDb]) is an ITALIAN / FRENCH COLLABORATION that played recently at the Gene Siskel Film Center here in Chicago. The film is also available, subtitled, in the United States on various streaming services for a reasonable price.
Heavy on symbolism and playing-out largely at a hill-top estate somewhere in Sicily of today, the story's mainly about two women: Anna (played by Juliette Binoche [IMDb] [FT.it]*[AC.fr]*) middle aged, and Jeanne (played by Lou de Laâge [IMDb] [FT.it]*[AC.fr]*), early 20-something, both French. Anna had married (and some years back divorced) a Sicilian man, perhaps since deceased, and was living now with the exception of having a few servants in said Sicilian hilltop citadel alone. Jeanne, the (former?) girlfriend of Anna's beloved son Giuseppe, "comes visiting" around Holy Week (so basically around "Spring / Easter Break").
Jeanne's arrival comes as something of a surprise to Anna and the handful of her servants. She tells them that Giuseppe had invited her to come, ... 'cept Giuseppe's "not around."
So ... the rest of the film (80-90% of it) is about Jeanne _waiting_ for Giuseppe to arrive. She leaves messages on his cell phone. He _never_ answers. Anna, his mother, more or less clearly "in mourning" (though she tells Jeanne it's on account of her (Anna's) brother having recently died), _doesn't say much_. As the film progresses, it becomes clear that Jeanne and Giuseppe did have "a falling out" ABOUT A YEAR AGO ... so one starts to wonder if Jeanne had really been invited to be there (and yet she _insists_ that she was).
What the heck was going actually on? With _almost no one talking_ and even when they did talk, saying _very little_ (of pertinence anyway) this becomes a _fascinating_ if _irritating_ "mystery" of sorts. What happened? What happened to / where was Giuseppe? Why doesn't Anna know where her own son is? What was Jeanne hoping to accomplish by being there (or staying there)?
And with this playing-out in the context of Holy Week, there's _a lot_ of symbolism present as well.
Fascinating / irritating and above all _slow moving_ story ;-)
Honestly, quite a good job! ;-)
* Foreign language webpages are most easily translated using Google's Chrome Browser.
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
Saturday, July 2, 2016
The BFG [2016]
MPAA (PG) CNS/USCCB (A-I) ChicagoTribune (3 Stars) RogerEbert.com (3 1/2 Stars) AVClub (C+) Fr. Dennis (3 1/2 Stars)
IMDb listing
CNS/USCCB (K. Jensen) review
ChicagoTribune (M. Phillips) review
RogerEbert.com (M. Zoller Seitz) review
AVClub (A.A. Dowd) review
The BFG [2016] (directed by Steven Spielberg, screenplay by Melissa Mathison based on the children's book [GR] [WCat] [Amzn] by Roald Dahl [wikip] [GR] [WCat] [Amzn] [IMDb]) is a truly _excellent_ children's film that many parents / adults may very well enjoy as well.
Further, the reason why many adults may enjoy the film is very nice as well: Unlike many other children's oriented films made these days, it's not as if there's "a second level" in which to understand the film that would be geared more to the adults. INSTEAD, as Matt Zoller Seitz writes in his review of the film for the website RogerEbert.com, the film invites Viewers to re-experience the world through the eyes of a kid.
So the film begins with 8 year old orphan named Sophie (played wonderfully by Ruby Tarnhill) who can't seem to sleep one night. So she's looking out the window of the orphanage in what seems to be 50s era London around three AM and ... to her _enormous surprise_ she spots an "older" 50-60 ft GIANT lumbering down the street.
Now SHE'S scared because though GIANTS _do exist_ in the world of an eight year old, she _didn't_ really expect to run into one. Then from the Giant's perspective (played again very, very nicely by Mark Rylance), he didn't expect to be spotted by her either. Even though he's 50-60 ft tall, he'd only come to London late in the night, and with a very very dark cloak, and a cane that looked kinda like a streetlight, he'd make himself quite invisible to passerbys that encountered (first). THERE'S A VERY, VERY CUTE / ENJOYABLE SEQUENCE in which we, the Viewers, (along with Sophie) watch this 50-60 ft GIANT quite gracefully avoid being spotted by five or six different passerbys. The one thing that this kindly GIANT (what's he doing there? well it turns out that he has a fairly important job to do each night... No, I'm not going to tell you here, but it'd make perfect sense to a 5-10 year old) didn't expect was to be spotted / watched by the eight year old Sophie.
So she's scared and he's scared and he just takes her up then to "Giant Country" where he lives to figure things out. He may be A BIG GIANT, but not a particularly BRIGHT ONE ;-). But if not all that bright, he turns to be remarkably kind. Hence why Sophie comes to call him BFG or "Big Friendly Giant."
Now after Sophie wakes up the next morning up there with her new found friend, BFG, up in Giant Country, she finds that even GIANTS don't have it all that easy. Indeed, there always seems to be "someone" EVEN BIGGER than they are. So Sophie / we find that even the BFG finds himself picked-on by EVEN BIGGER GIANTS than he.
And who then better to help him THAN A KID (and even an ORPHAN KID) who knows a bit about being SMALL and yes, often, LONELY / ALONE ...
This is just a wonderful story folks ... and yes, much, much ensues ... ;-)
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
IMDb listing
CNS/USCCB (K. Jensen) review
ChicagoTribune (M. Phillips) review
RogerEbert.com (M. Zoller Seitz) review
AVClub (A.A. Dowd) review
The BFG [2016] (directed by Steven Spielberg, screenplay by Melissa Mathison based on the children's book [GR] [WCat] [Amzn] by Roald Dahl [wikip] [GR] [WCat] [Amzn] [IMDb]) is a truly _excellent_ children's film that many parents / adults may very well enjoy as well.
Further, the reason why many adults may enjoy the film is very nice as well: Unlike many other children's oriented films made these days, it's not as if there's "a second level" in which to understand the film that would be geared more to the adults. INSTEAD, as Matt Zoller Seitz writes in his review of the film for the website RogerEbert.com, the film invites Viewers to re-experience the world through the eyes of a kid.
So the film begins with 8 year old orphan named Sophie (played wonderfully by Ruby Tarnhill) who can't seem to sleep one night. So she's looking out the window of the orphanage in what seems to be 50s era London around three AM and ... to her _enormous surprise_ she spots an "older" 50-60 ft GIANT lumbering down the street.
Now SHE'S scared because though GIANTS _do exist_ in the world of an eight year old, she _didn't_ really expect to run into one. Then from the Giant's perspective (played again very, very nicely by Mark Rylance), he didn't expect to be spotted by her either. Even though he's 50-60 ft tall, he'd only come to London late in the night, and with a very very dark cloak, and a cane that looked kinda like a streetlight, he'd make himself quite invisible to passerbys that encountered (first). THERE'S A VERY, VERY CUTE / ENJOYABLE SEQUENCE in which we, the Viewers, (along with Sophie) watch this 50-60 ft GIANT quite gracefully avoid being spotted by five or six different passerbys. The one thing that this kindly GIANT (what's he doing there? well it turns out that he has a fairly important job to do each night... No, I'm not going to tell you here, but it'd make perfect sense to a 5-10 year old) didn't expect was to be spotted / watched by the eight year old Sophie.
So she's scared and he's scared and he just takes her up then to "Giant Country" where he lives to figure things out. He may be A BIG GIANT, but not a particularly BRIGHT ONE ;-). But if not all that bright, he turns to be remarkably kind. Hence why Sophie comes to call him BFG or "Big Friendly Giant."
Now after Sophie wakes up the next morning up there with her new found friend, BFG, up in Giant Country, she finds that even GIANTS don't have it all that easy. Indeed, there always seems to be "someone" EVEN BIGGER than they are. So Sophie / we find that even the BFG finds himself picked-on by EVEN BIGGER GIANTS than he.
And who then better to help him THAN A KID (and even an ORPHAN KID) who knows a bit about being SMALL and yes, often, LONELY / ALONE ...
This is just a wonderful story folks ... and yes, much, much ensues ... ;-)
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
Friday, July 1, 2016
The Purge: Election Year [2016]
MPAA (R) Fr. Dennis (1/2 Star)
IMDb listing
The Purge: Election Year [2016] (written and directed by James DeMonaco), the third in this base franchise is a film that I could not bring myself to watch.
I did view and review the original film The Purge [2012] in the series. However, I saw no positive value to viewing / reviewing the sequel that appeared a year later And despite a certainly having a seductive title (of sorts) playing to frustration (and encouraging cynicism) in our country with the current state of our election process, I similarly could not find positive reason to view / review the current film.
I do give the film 1/2 Star because I do believe that the franchise does apparently speak to a frustration existing today in society, otherwise I don't believe that the original film and its sequels would have had box office success to justify (financially) the continuation of the series. I fully expect the current film "to do well" (financially). I just do hope that the more-or-less inevitable fourth film will prove to be a flop.
Yes, there is frustration in the land. But do we need to exploit it for monetary gain? And if we do, does this not approach making a living through blood money? Call this film (and the films of this series) essentially a kind of porn: AT BEST these films "dissipate" anger / frustration present in their viewers. AT WORST they may actually encourage more violent acting out in society and ALMOST CERTAINLY they _further_ degrade our consciences and further numb us to the shock of violence (making violent behavior appear ever more acceptable).
Folks, this is not a good slope to be going down...
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
IMDb listing
The Purge: Election Year [2016] (written and directed by James DeMonaco), the third in this base franchise is a film that I could not bring myself to watch.
I did view and review the original film The Purge [2012] in the series. However, I saw no positive value to viewing / reviewing the sequel that appeared a year later And despite a certainly having a seductive title (of sorts) playing to frustration (and encouraging cynicism) in our country with the current state of our election process, I similarly could not find positive reason to view / review the current film.
I do give the film 1/2 Star because I do believe that the franchise does apparently speak to a frustration existing today in society, otherwise I don't believe that the original film and its sequels would have had box office success to justify (financially) the continuation of the series. I fully expect the current film "to do well" (financially). I just do hope that the more-or-less inevitable fourth film will prove to be a flop.
Yes, there is frustration in the land. But do we need to exploit it for monetary gain? And if we do, does this not approach making a living through blood money? Call this film (and the films of this series) essentially a kind of porn: AT BEST these films "dissipate" anger / frustration present in their viewers. AT WORST they may actually encourage more violent acting out in society and ALMOST CERTAINLY they _further_ degrade our consciences and further numb us to the shock of violence (making violent behavior appear ever more acceptable).
Folks, this is not a good slope to be going down...
<< NOTE - Do you like what you've been reading here? If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation. To donate just CLICK HERE. Thank you! :-) >>
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