EVERYONE ELSE Now Streaming On Netflix Instant

EVERYONE ELSE (Dir. Maren Ade, 2009)

Lars Eidinger and Birgit Minichmayr as a couple of young newlyweds on a Mediterranean vacation are one of the most believable screen couples to come along in some time.

Believable because they are neurotic, suspicious and thoroughly mixed up yet still seem to have convincing affection for each other. However as our time with them ends and the credits roll it appears to be undeniably a doomed affection.

This is a largely formless film that basically just follows the copule as they flow through a few days - eating, drinking, making love, and endlessly making vague banter that hints to a poorly hidden sadness.

They run into another couple (Nicole Marischka and Hans-Jochen Wagner) and reluctantly try to socialize with them, but it only brings about insecurities about Eidinger's middling architectural career and their undefined class status.

"It's not embarrassing not to have profound dreams" Minichmayr offers at one point, and while she means it to comfort, it can't help but sting.

When the film explores the awkward yet affable dynamic of the 2 couples its easy to think a BOB & CAROL & TED & ALICE thing might ensue, but don't worry - it's so not that kind of movie.

Though it drags slightly, the beautifully shot "Everyone Else" feels achingly real from the tense exchanges of the leads to the sex scenes which add to the voyeuristic appeal in that they look too real to be faked.

Those who fret about subtitles and small scale character studies will likely be bored, but EVERYONE ELSE will do for those looking for an emotionally engaging film about people you might actually know, or in some cases might be.

More later...

View the original article here

RESTREPO Now Out On Blu Ray, DVD, And Streaming On Netflix Instant

RESTREPO (Dirs. Tim Hetherington & Sebastian Junger, 2010)

You really feel like you're in the middle of combat in this intense war documentary by Sebastian Junger (author of the book "The Perfect Storm" and British photojournalist Tim Hetherington.
Opening titles tell us: "In May 2007, the men of second platoon, Battle Company, began a 15 month deployment in the Korengal Valley of Eastern Afghanistan." Hetherington and Junger spent a year filming the troop as they build an outpost in the valley which was dubbed "the deadliest place on the planet" by CNN. One of the first casualties shortly after deployment was a well liked medic - Private First Class Juan "Doc" Restrepo.

Once venturing into the treacherous terrain ("where the road ends is where the Taliban begins" says one soldier) they establish a fire base and named it Restrepo in tribute to their fallen friend.

The men constantly get fired upon by insurgents in the hills which we never see, but that's completely understandable under such dangerous circumstances. It's amazing enough what we do see particularly one scene in which a cameraman captures from inside a army humvee when it runs over an IED and explodes.

In another harrowing sequence following the Company into what's called "Operation Rock Avalanche" we see a soldier emotionally break down after another death.

Addressing his men, Capt. Dan Kearney tells them "to mourn then get over it and get back to work."

Interviews conducted later with principle platoon members help the narrative thrust, most in extreme close-up, and are full of painful memories yet a stirring proudness still remains. Much of the footage is grainy and shaky (the sunlit scenes fare the best aesthetically of course) but this obviously could never be a polished portrait - the reality of its penetrating rawness is precisely the point.

Like many other recent war documentaries RESTREPO will likely be ignored by the populace. Most folks like to look away from such harsh and devastating non-fiction.

However those who pony up to watch it will find it impossible to ignore.

View the original article here

Lars von Trier's ANTICHRIST Now Out On DVD And Streaming On Netflix Instrant

ANTICHRIST (Dir. Lars von Trier, 2009)

This abstract horror film begins with a vivid black and white sex scene opening in which it looks like Willem Dafoe and Charlotte Gainesbourg are actually doing the deed. As a married couple copulating, Dafoe and Gainesbourg writhe in slow motion unaware that their baby boy (Storm Acheche Sahlstrøm) has gotten out of bed and is walking around their apartment.

Their son climbs to the ledge of an open window. He falls to his death in the snow below.

From there the film changes into color, but it's not that colorful. Dafoe and Gainesbourg Pale light bathes Dafoe and Gainesbourg's skin with gray tones setting the mournful mood.

Gainesbourg is going out of her skin over her son's death while Dafoe, a therapist, tries to tend to her with his cold and clinical methods. Dafoe decides they should retreat to a cabin in the woods because nothing says horror like a cabin in the woods! I half expected them to find the "Book Of The Dead" there.

Shadows and light move through many gothic shots of the nature surrounding them and yep, strange evil things start to happen such as Gainesbourg calling their surroundings "Satan's garden" and a fox with a voice out of THE EXORCIST saying "choas reigns" to Dafoe.

Many other weird and disturbing things happen to the couple, none of which I feel like relating.

Sexual madness is an overriding theme with excruciating scenes of genital mutilation. Gainesbourg had been working on a thesis about genocide in the same cabin the year before so there's that too.

ANTICHRIST is full of incredibly lucid cinematography and excellent acting by its 2 leads (who are the only people in the film after the son's death), but it's a disgusting and dreadful work that I could not see the point of at all.

Director von Trier has previously made thought provoking and vital films like DANCER IN THE DARK and DOGVILLE, but this is a wretched work that I wouldn't wish upon anyone - even the former co-worker of mine that recommended Paul Haggis's CRASH to me.

However Criterion deemed the film worthy enough to add to their mighty collection, and I see many folks on the internet calling it a masterpiece, but I felt absolutely assaulted by it. To each their own I suppose.

The Criterion Collection edition contains the following special features: an audio commentary by von Trier and professor Murray Smith, interviews with von Trier and the leads, a collection of video pieces delving into the production, a documentary called "Chaos Reigns at the Cannes Film Festival 2009", and a booklet featuring an essay by film scholar Ian Christie.

Or you can watch it with no frills on Netflix Instant. Just don't say you weren't warned.

More later...

View the original article here