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Category: Movies Page 43 of 48

Jane The Bachelorette In “Jane the Virgin”

Shes a VirginSo far I’m indifferent to My Crazy Ex-Girlfriend.  Jane the Virgin is crazy enough, for all its soapy conventionality.  In the most recent episode, a Jane doppelganger called Bachelorette Jane shows up, pleading for our heroine to hurry up and choose which man to marry.  She isn’t a shadowy doppelganger, though; she’s a lively reality-show doppelganger, and the gag is extended far enough to show Jane’s suitors, Michael and Rafael, being interviewed re the virgin miss’s response to them.

The gimmicks continue.  At any rate it was a decent episode, better than the one two weeks ago.  Poor Petra has to put up with men again, the caricatures Scott and Lachlan, but, well, she’s also culpable for throwing a major scare into Rafael.  My crazy ex-wife!

A Provocative Flop: The ’95 Film, “Amateur”

Amateur (film)

Amateur (film) (Photo credit: Wikipedia)

Hal Hartley’s Amateur (1995) stars Isabelle Huppert, who wanted to work with Hartley after seeing his good film Trust, as a former nun who helps and is attracted to a man with amnesia and a very ugly criminal past which he naturally can’t remember.  This ex-nun, a ridiculous character, now writes pornography (!) but at least this establishes her resemblance to another woman who, instead of writing the stuff, acts in it, in porno movies.  She does this unhappily; she wants a changed life.  It transpires that she is married to the man with amnesia (!), who has treated her abominably and is the cause of her becoming a porno star in the first place.  Why this parallel between the actress and Huppert?

First let me comment that I do believe Hartley’s film, despite its childish and inept comedy, has something to say—namely, that outside any kind of religious milieu, redemption is very difficult, slippery, something to grope for.  We’re just amateurs at it.  Huppert believes she is a nymphomaniac who nevertheless sensed it was God’s will that she enter a convent.  Now she thinks God’s will is that she fulfill some sort of mission apart from the convent, which mission just may be her saving the porn actress, Sofia by name, from her amnesic but formerly brutal husband.  But this is amateur thinking.  It is true that Sofia and her spouse do not get back together, but Huppert has nothing to do with this.  Neither does she herself get together with the amnesiac even though she has fallen for him:  the film, you see, ends in tragedy.  God’s will is often known only imperfectly and often not at all, which is something else the movie says.  Sofia, too, does some amateur thinking with respect to redemption, and she ends up getting a man tortured and herself shot!  No will of God in this, is there?

Then again, perhaps we should ask whether cosmic retribution figures here.  A number of characters besides Sofia get shot or fall out of high windows; could it be they all deserve it?  Does Sofia get plugged (though not killed) because she is not only a porn star but also a blackmailer?  True, the amnesiac, who also gets shot, is not now brutal and he tells the ex-nun, “I don’t know what I’m sorry for, but I am sorry.  That’s got to mean something, right?”  But it may mean nothing at all if the fellow’s memory returns and, seeing what he’s missing, he returns to a life of crime, which is surely what would happen.  Hartley teases us with possibilities—doing so, I’m afraid, in a flimsy film.  Trust and Surviving Desire are the successful Hartley pictures (of those I’ve seen).

Paris By Way Of South Korea: The Movie, “Night and Day”

Night and Day (2008 film)

Night and Day (2008 film) (Photo credit: Wikipedia)

In the Hong Sang-soo film, Night and Day (2008), Seong-nam is a soiled Korean fellow who is in Paris after fleeing the police (the crime was smoking pot) in Seoul.  A painter, he meets several young Korean women affiliated with the Paris art scene and, though married to a wife in Seoul, eventually commits adultery with one of them.  The movie, both directed and scripted by Hong, is about Life, period.  Related to this, of course, are Hong’s themes: sexual desire in an alien country, the fluctuations in human connections, the concept of sin (Seong-nam is a Bible reader), and when even a middle-aged person lacks a real occupation—and a direction in life.  What’s more, Night and Day slowly becomes an absorbing love story, including between Seong-nam and his wife.

Hong is a talented man who savvily depends on medium and medium-long shots, and is an imaginative writer.  Plus he works well enough with his performers that the acting ranges from good to very good.  Kim Yeong-ho is very good as the main character.

On The Downey Jr. Vehicle, “The Judge”

judgeI don’t know much about defense attorneys, but I don’t completely buy the depiction of them, or of one of the prosecutors (David Krumholtz), in David Dobkin’s new film, The Judge (2014).  There’s something utterly specious here.  Still, although this legal drama is not terribly good, it isn’t terribly bad—or even plain bad—either.  It has Robert Downey Jr., Robert Duvall (as convincing as ever), Vincent D’Onofrio (full of depth), and Billy Bob Thornton.  Critic David Edelstein is right about its “picturesque” outdoor shots.  It has a story of very limited strength, but at least some strength is there.

That said, allow me to comment also that I like old movies (significantly old) because they were prohibited from showing the kind of gross vomiting and diarrheal excreting that The Judge gives us.  Ugh!

English: Actor Robert Downey Jr. promoting the...

English: Actor Robert Downey Jr. promoting the film “Iron Man” in Mexico City (Photo credit: Wikipedia)

Oh, Those Critics And That “Immigrant” Movie

the-immigrant-posterThat critics would fervently praise a mediocre film like James Gray’s The Immigrant (2014) points up that movie criticism is still in the same dismal state it has always been in.  No, it’s in a worse state, for, after all, we used to have the fine criticism of John Simon, Stanley Kauffmann, Charles Thomas Samuels, Dwight MacDonald, Vernon Young and—well—Pauline Kael.  No more.

Re The Immigrant, it’s an unpersuasive period piece which I refused to watch to the end.  No one is paying me to view these films; the expense is mine.

 

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