Showing posts with label independent. Show all posts
Showing posts with label independent. Show all posts

Friday, September 18, 2009

Resident Film Critic Chris Cabin Reviews -


Note: The Informant! is playing at most theaters in the city and in Brooklyn, go here for showtimes. Poster courtesy of IMP awards.

As has been widely reported, Matt Damon gained 40 pounds to play whistleblower Mark Whitacre, the mustachioed high-level exec at Archer Daniels Midland who became an informant for the FBI sometime in late 1992, in Steven Soderbergh's odd new film The Informant! Hidden behind a pair of thick frames, adjusting his toupee as much as his mood, Damon's Whitacre is plain, greedy and fantastical; the sort of man who sees himself not only as a corporate hero in any one Michael Crichton novel but also reflected in the Tom Cruise who embodies those righteous corporate ethicists on the big screen. He has ideas and big plans, ones that he believes could be jeopardized at any moment by a random tapped phone.


And yet, he is, as several people involved with the real Whitacre have opined, a sort of national hero. A biochemist who had to "learn business," Whitacre supplied hundreds of tapes -- audio and visual -- to the FBI between 1992 and 1995 that fueled the Justice Department's case against ADM leading to the agribusiness conglomerate paying well over $500 million in settlement and class action cases. The catch, of course, was that while playing avenger, Mr. Whitacre forgot to disclose kickback funds that may have reached more than $11 million. Faithful to his wife of 20+ years, the father of two adopted children and one of his own, he is a liar and a thief but it would seem, in Mr. Soderbergh and screenwriter Scott Z. Burns' eyes, that every good corporate man has an accepted level of corruption going in; even the ones who want to clean up the joint.

Scored by Marvin Hamlisch in what, at first, seems like a bid at kitsch, Damon's guileful do-gooder opens the film by explaining, both to the audience and his child, how corn is in everything you eat, touch and steal. At ADM, his work has largely focused on lysine, the amino acid that his company frames their price-fixing scam around. It's his wife Ginger, dutifully played by Melanie Lynskey, who prods him into confessing the price-fixing scam to Special Agents Shepard (Scott Bakula) and Herndon (Tony McHale). Professional if just a bit zealous, the Agents sum up Whitacre as both brave and boring. In a brilliant bit of screenwriting, the action and dialogue are repeatedly overshadowed by Whitacre's voice-overs, delivering monologues on an array of throwaway facts including polar bears, being kind and tie sales in whispery chatter reminiscent of Godard's hovering prognostications from his 60s salad days.


An extension of these monologues, Soderbergh's aesthetic is a marvel of bourgeois bad taste. Made with the washed-out precision of cheap 80s television, editor Stephen Mirrione and production designer Doug J. Meerdink work with director/cinematographer Soderbergh to invoke the nausea of upper-class lethargy. But despite this bravura tribute to mediocrity, The Informant! Is not a sweet movie nor is it a placid one. Whitacre embodies the mindset of the current business construct: I'll open the closets as long as you don't stare at my skeletons.

Softened ever-so-slightly by the admittance of bi-polar disorder, Whitacre's infuriating inability to own up to his own malfeasance may not have been sold so easily if not for Mr. Damon who has rarely been so clever and never been as funny as he is here. Seeing as he is constantly surrounded by a rogue's gallery of lawyers and co-workers, Soderbergh pulls a masterstroke by casting many of the smaller roles with stand-up comedians and television actors -- Patton Oswald, Tom Wilson and Tony Hale all show up in minor roles. It plays directly towards Soderbergh's central premise: The characters primarily responsible for our current crisis are so off-the-chart self-serving, greedy and absurd, that you really have no choice but to laugh at them.


Even as it points to our current state, The Informant! also contemplates the grand lunacy of how we pick our heroes. Is Whitacre to be admonished or celebrated? Despite his presumptuous greed, he helped bring in one of the great monopoly schemes in history and remains, to this day, a good father and husband. As we begin to heal from the bruises of the Bush era and weather the outlandish accusations made against honest reform, The Informant! speaks to a generation where the concept of honesty has an 80% mark-up.

Chris Cabin is the resident film critic. You can catch him at AMC's Filmcritic.com. Or win a pair of Yo La Tengo tickets to their Roseland Ballroom show next week by commenting on his recent Cab-tion contest.

Wednesday, July 15, 2009

Resident Film Critic Chris Cabin - Top 10 Movies of the Year So Far

Our resident film critic Chris Cabin weighs in on his top 10 films of the year thus far (since we’re a little over half way, and because awards season seems like it never ends with all that patting on the backing and what not). Here it is, complete with trailers for each. Never heard of these films? Find out more at IMDb and get crackin'! The KCB is particularly interested in Hunger fo sho.

01. The Headless Woman: A work of concentrated discombobulation and exacting mood. A woman runs over something in the road, hits her head and for the rest of the film she doesn't know what's going on. Neither do we really, thanks to the young Argentinean master Lucretia Martel's lean, focused formalism but that's what makes it one of the best films of the year. It's a mystery film where the questions posed by the narrative are engulfed by the provocations made by the filmmaking.

02. Silent Light: Like Martel, Mexican troublemaker Carlos Reygadas holds nothing back on his third masterfully crafted film. An agrarian staging of Dreyer's Ordet? Or just a Mennonite ethnographic study with a script? Reygadas has been cast-off as pretentious but what else would you expect from a filmmaker bold enough to attempt greatness?

03. Hunger: The debut of the year by a country mile. British video artist Steve McQueen's highly photographic retelling of the last weeks of IRA martyr Bobby Sands is brilliantly fragmented, awake with inciting clamor and at war with the clarion beauty of its compositions. A step forward from Paul Greengrass' excellent Bloody Sunday, McQueen has located the fight rather than the folklore of the IRA.

04. Summer Hours: Long past prolific, Olivier Assayas' latest is arguably his most refined and clearly his most personal film to date. Globalization hits home when three siblings decide to sell the family house following the death of the family's matriarch. French to the bone, this surpassingly delicate tale finds Assayas cozy at home after years in techno-espionage and turning his camera into a fluidly expanding family tree.

05. The Hurt Locker: Kathryn Bigelow's monumental Iraq Occupation film has its roots in both action and war but it is devout to both in ways few directors could stomach. For a triptych of bomb-disposal specialists, headed by Jeremy Renner's devastating William James, war may be an addiction, an anesthetic to the complacency of real life or just something they're good at. Crafted in terms of time and clarity of motion rather than spectacle, this is Bigelow's most triumphant moment and, by a wide margin, the best film about the current mental state of our soldiers I've seen.

06. The Limits of Control: Bad-mouthed and labeled monotonous by nearly every critic around, Jim Jarmusch's latest film could be renamed Variations on a Scene. Space is a key factor in Jarmusch's entire oeuvre but here, the movement and position of actors and camera become the focus itself, accompanied by a sea storm of chrome ambience courtesy of Japanese psych-metal outfit Boris. Jarmusch has called his film Point Blank remade by Rivette but his disregard for the constraints of storytelling and devotion to the medium places him in ranks with the greats, if he wasn't there already.

07. Still Walking: The most delicate and lovely of Ozu tributes since Hou Hsiao-hsien's Café Lumiere. Two families converge on the house of their grandparents, played magnificently by Kirin Kiki and Yoshio Harada, for a 24-hour lunch and dinner and all manner of cultural and traditional tectonic plates begin to shift. Very few films have touched so fearlessly on the resentments of age and the ignorance of youth without pandering to either side. The immensely talented Hirokazu Koreeda, who we last saw directing a household of children in the superb Nobody Knows, may now be the most fascinating modern director working in Japan and Still Walking is his most refined film to date.

08. Tulpan: Buster Keaton moves to Kazakhstan? Not really but Sergei Dvortsevoy's astounding, original comedy certainly has invested itself in silence and the physicality of its actors. It's a simple story really: Boy meets girl, gets rejected by girl, falls for girl, gets rejected again and then helps deliver a newborn lamb. Ethnographic immersion played as minimalist romantic comedy, Dvortsevoy has made an exception first narrative feature coming from a life of documentary filmmaking. Life on the steppe becomes tradition's last stand while the titular tulip dreams of life at college, away from her alien birthplace.

09. Beeswax: Far from the portentous expectations of the Mumblecore movement, Bujalski now seems one of the strongest of American indie filmmakers, rightly in the same wheelhouse as Kelly Reichardt, So Yong Kim and other erstwhile Mumbler Aaron Katz. Set in suburban Texas, his latest is about early, sticky fumblings towards adulthood, typified by the social, romantic and economic hamstrings encountered by a pair of twins. Refined and more at ease with its habitats than his last two features, Bujalski's film still enjoys a good awkward moment but the scenes feel less fetishized. Neither softened nor unfocused, Bujalski is maturing while many of his compatriots are stuck in adolescence.

10. 35 Shots of Rum: Has Claire Denis given in and made something resembling a conventional narrative? You bet, but this is in no way a bad thing. In fact, it illuminates the director's most evocative gifts -- compositions of echoing desperation, her precise sense of movement and tone -- and places them in the context of artful melodrama. In this case, it's the story of a father and daughter living in the same rise as his ex-lover and her smoldering, wandering love interest. Feelings are hurt and hearts are broken but there's a harrowing mortality to Denis' world that belies the poetic lilt of the imagery. It is the director's most outwardly inviting film but it also may lay claim as her most transfixing.

10 Honorable Mentions:

Adventureland

Treeless Mountain

Tony Manero

In the Loop

Duplicity

The Beaches of Agnes

24 City

Taxidermia

Revanche

Cargo 200

Tuesday, May 12, 2009

Coming Soon....Chris Cabin Weighs In On Movies

Cabin and I, plotting something at a Brooklyn girl's birthday party only to be foiled by several beverages at what was formerly New Gate Bar and turned into Society.


So yes, I've been putting up Chris Cab-tion contests (and believe me, they'll still run until I run out of funny pictures of Chris Cabin, there's a beaut coming) and being all over the poor guy, but soon we're going to have an extra hand to massage the KCB audience with. Chris, our very own resident film critic, will be giving us his thoughts on current and past movies including the small stuff playing in the New York market (we have to have some sort of foot there don't we) that will test your brain as well as your penchant for artistic value. Y'know, all that Lincoln Center, Cinema Village, Quad/IFC/Angelika fare that is home to some really great movies and some really crappy ones, but it's all indie. Of course, Cabin enjoys the mainstream as well, so you'll get his round up of those.

In the end, his opinions are his own and not necessarily of mine. Maybe I'll even chime in....

More Bar Spotlights and the u-ge to come people, it's almost summer weather!

Monday, February 23, 2009

New Yorker Films distribution company finito!


Indiewire has updated their story about New Yorker Films closing its doors. A New York establishment in promoting and distributing independent fare, it will be missed after 43 years of business.

To read the article, click here.

To see New Yorker Films website, go here.

From the article:

"Founded in 1965 by Dan Talbot, New Yorker has a legendary legacy, boasting a long-standing track record in international film distribution, bringing a staggering number of international auteurs to this country’s movie theaters over more than four decades. The company’s crucial role in establishing a lasting film culture in this country cannot be underestimated. A New York Times profile in 1987, marking a 14-week salute to the company at New York’s Public Theater, listed an illustrious roster of filmmakers whose films were released by the company: Ackerman, Bertolucci, Bresson, Chabrol, Fassbinder, Fellini, Godard, Herzog, Kieslowski, Malle, Rohmer, Rossellini, Sembene, Wenders, Schlondorff, and many others."