American Hustle

I do not get everybody's infatuation with David O. Russell. Never mind that the guy is reportedly an asshole but his films are mediocre, at best. Like this one. Granted, American Hustle is far superior to the last of his products that has been shoved down our collective throats, Silver Linings Playbook, but that is not saying much.

Like its predecessor, American Hustle apparently cannot decide whether it wants to be a comedy or a drama. In my opinion, it is neither. Let's just agree to calling it a crime caper. Don't get me wrong, it has its moments and Jennifer Lawrence is actually very good in this (yes, I called her very good), now that she is allowed to play something other than the defiant young woman of all her previous roles.

As for the comedy part (or attempt of it)...the actors are made to look as ridiculous as possible (unnecessarily so), except for Amy Adams, who is as scantily dressed as possible. There is a dance part and some singing (both uncalled for). The drama comes in when several love triangles develop among the characters. It gets even sappy at parts (the Amy Adams character revealing to the Bradley Cooper character that she has been using a false name but 'this, this is real'). Also, it has endless voice overs (which I don't care for).

The story itself is about a couple of con artists that get caught and are forced to help the feds con other people (including one very honest and likable politician) but actually end up conning the feds. It drags on forever and the plot gets lost in the smugness of it all.

Could have easily been a good half hour shorter. I kinda wish it had been.

4/10

...which brings us to our Best Picture Oscar nominees update:
Gravity
Captain Phillips
12 Years a Slave
American Hustle

La jetée

In post-apocalyptic Paris, the survivors of WW III live underground. There, they experiment with time travel, hoping that in the past or future they find means to assist them in the bleak present they live in.

The scientists have a hard time finding suitable subjects to send through time. They find a prisoner, who seems perfect for the experiment, as he has what they consider an 'obsessive' memory. Most consistently he holds onto a moment from his childhood, in which he saw a woman on a peer and he has a vague memory of a man dying.

After several days of experimenting, the prisoner manages to move freely in the past, where he finds the woman from his memory again and establishes a relationship with her. Motivated by the successful travel to the past, the scientists send him to the future next. There he obtains a power unit, that he brings back with him and that enables the scientist in the present to re-generate their society.

As he is now redundant, the prisoner is to be executed. The people he met in the future offer to save him by bringing him forward to their time permanently. He instead asks to be sent back to the past he previously visited. There he finds the woman again in exactly the same context of his childhood memory. He realizes that he himself is the dying man he saw as a child, his executor was sent after him into the past.

Sounds familiar?

In 1995, Terry Gilliam retold the story in the brilliant Twelve Monkeys.

This, the original 1962 version, is brilliant in its own way. Made up almost entirely of still images (once the woman is seen blinking a few times) and told via voice-over (except for the whispered German of the scientists).

8/10

Beasts of the Southern Wild

This is the story of Hushpuppy, who lives with her ailing, stubborn father in the Bathtub, a little slab of land in constant threat of disappearing through the frequent storms that flood it. A group of locals refuses to leave.

Hushpuppy gets some rough treatment from her father, because he wants her to grow up strong and survive in the world after he's gone, which is likely to happen sooner rather than later, as he suffers from a heart condition.

When the locals are forcefully evacuated after blowing a hole in a nearby levee that threatens their existence they break out of the medical camp again and return to the Bathtub. Tough group.

Hushpuppy is on a constant search for her missing (deceased?) mother while a horde of mythical aurochs roam the land and eventually face off with the little girl. But since Hushpuppy is 'the man', what chance can they possibly have?

The 9-year-old Oscar nominated Quvenzhané Wallis (and no, I have no idea how to pronounce that, either) is simply wonderful, carrying the entire film on her tiny (and then 5-year-old) shoulders.

9/10

Tabu

Tabu is a feature film by Miguel Gomes, whom we saw speaking together with Manuel Mozos at the Viennale, right after we watched a sad documentary about Portuguese film. Gomes is one of the very few 'younger' Portuguese directors that are able to actually make films.

In the media, this film has been described as 'magical' and/or 'breathtaking'. It mostly is.

Shot in (cheaper?) black and white and rather heavy on voice overs, which I am usually not a fan of, it is split into two main parts. Actually, the beginning is about a man, who - heartbroken after his wife's death - goes into the African wild and throws himself into a crocodile-infested pond. The connection to the actual film is not quite clear. Who is the man? Details that come up again later are Africa and - more specifically - the crocodile.

The first part takes part in present day Portugal. It centers around three women. Pilar, who lives alone and cares for other people more than herself or her lovelife. An elderly painter makes quiet advances, but to no avail. One of the people she is most worried about is her elderly next door neighbor, Aurora, who lives with her cook/cleaning woman/nurse Santa. Aurora's health and mind deteriorates until she starts talking about one Mr. Ventura. Pilar tries to find this man and bring him to the now hospitalized Aurora. They do not make it in time. After Aurora's burial, Venture starts telling his and Aurora's story.

This leads into the second part of the film, set in Africa a few decades before, where young Aurora is married to a wealthy man when she meets and falls in love with Ventura. They fall in love and have a very passionate affair, that could only end sadly, of course. The crocodile in the story is a pet Aurora received from her husband. The animals frequently escapes and wanders over to Ventura's house, which frequently puts him in Aurora's company. Sort of a match maker.

I absolutely loved the first part and the relationship of the three women. The second part seemed to drag on a bit. Overall the film actually has its magical moments and is well worth watching. I fear, however, that it will remain obscure and widely ignored, a destiny shared by many a small gem.

8/10

Stake Land

We enter the film after the collapse of the country has already happened. There is no real explanation as to what exactly happened or why. The plain facts are that there are the humans - some fighting, some preaching, some hoping for protection - and then there are the 'vamps' - moving like zombies, but whatever.

We follow the story of Martin, told mostly in voice-over (which I am not a fan of, ever), who was saved by a guy called Mister (yes, I know). Poor thing had to watch his whole family get killed first, though. This Mister wants to get young Martin safely to 'New Eden' (=Canada) and they travel north together, killing vamps and fighting religious nuts along the way.

The scenery and the basic story of man trying to get boy to safe haven is basically the same as in The Road. Of course, Stake Land has more action and, well, non-humans in it but as a continuous narrative The Road is far superior. Stake Land is still more interesting than most standard vampire (or zombie) movies, though.

The film also features Kelly McGillis, whom I haven't seen in a long time. She dies (just FYI).

4/10