Yearly Archives: 2012

The Reel Deal Goes to Cannes Update #10: Two More Reviews

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I may have left Cannes today, but the discussion about the Festival hasn’t ended just yet. 


My last day at Cannes marked what might have been the most depressing double feature known to man.

After a cheery morning of “Angel’s Share,” I moved right along to Michael Haneke’s “Amour.” Austria’s Michael Haneke, one of the most provocative directors alive today, has once again subverted all audience expectations. “Amour” tells one of the simplest of stories in a complicated two hours that feels closer to four. It is slow and rewarding. While I believe that “Rust & Bone” or “The Hunt” deserved the Palme D’Or, “Amour” is a fitting winner.

“Amour” is the story of an old woman (Emmanuelle Riva) who is slowly, slowly dying as her husband (Jean-Lois Trintignant) struggles to take care of her. That’s about it. However, the unique part is how long this story is drawn out for. Haneke spares no details, which is what makes this portrayal so vivid and realistic. Every scene and every shot is stretched out longer than it ever should go in order to arouse discomfort. The events occurring in the world of the film feel so immediate because there is no escaping them and they have the choice to stay as long as they feel. As a film, “Amour” enters territory where it begins to transcend script and rise into the realm of pseudo-reality.

I see it now that Riva will hear her name called come Oscar nomination time for her heart-wrenching work. “Amour” is the kind of film I encourage everyone to sit through once, and no more. It is like a bad series of events that can’t be looked away from, and don’t need to be viewed again, as they are engrained so well into memory. “Amour” is at times unbearably slow, but if you know the premise, then you know what will happen in the end. So, why rush death?

Next: Thomas Vinterberg’s “The Hunt”


“The Hunt” is equally as upsetting, but in a very different way. I mean it when I say that it may be the best film of the festival, and I do not exaggerate when I say that it was one of the most intense film-going experiences of my life. Even the best of films can lose you at certain points. “The Hunt” grabbed me from the beginning and wouldn’t let me go until the end credits rolled.

“The Hunt” stars Mads Mikkelsen (better known for his villainous turn in “Casino Royale”) as Lucas, a good parent and upstanding citizen who’s life is turned upside down following a child’s accusation that she was molested by him. Everyone in town immediately believes the young girl, and Lucas is immediately turned into a social outcast. From there, his whole life eventually spirals out of control.

While watching “The Hunt,” I recalled this year’s Oscar winner for Best Foreign Language Film “A Separation,” in the way it unflinchingly questions what truth we are supposed to believe, as well as the overwhelming power of a lie. Another film it reminded me of (and believe me, I don’t use this comparison lightly) is “A Clockwork Orange.” Throughout “The Hunt,” there is still that sliver of doubt towards Lucas’s innocence. Whether or not he is innocent, it is impossible not to feel bad for the mistreatment Lucas faces because he is helpless. When someone can’t defend themselves, hitting them while they’re down is just cruel. Or, as the film’s overarching metaphor puts it, it is like hunting a deer when you have a gun and they have nothing. “The Hunt” is about Lucas turning from hunter to hunted.

Like “Amour,” “The Hunt” constantly plays with viewer expectations. Just when it seems to have that kind of ending where everything wraps up too nicely, the illusion is shattered. The main difference between America and European cinema is that while the former tends to give you everything you expected (there are many exceptions, of course), the latter hopes you leave getting the experience that you didn’t think you’d get.

If “The Hunt” ever plays in a theater near you, you would be doing yourself a favor by going to see it.

The Reel Deal Goes to Cannes Update #9: Getting Your Film into Cannes in Five Easy Steps

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I can’t believe that today is the last day of the festival. I might need a little break from intense film marathons, but I wouldn’t complain if I was stuck in the south of France for the rest of my life. It’s very nice here.

The last day is reserved for repeats of all of the films in competition. I plan of an intense double feature of “Amour” and “The Hunt” later today, but I started the day off strong with Ken Loach’s “Angel’s Share.” Most films that screen during Cannes are not happy affairs. So it was refreshing to see a comedy in competition. This British film is light-hearted yet very smart. It’s shot like a drama, yet written like a comedy. It’s a caper about a group of bumbling criminals who try to steal a cask of rare whiskey. Hilarity ensues.

“Angel’s Share” is certainly different than what you will usually see at Cannes, as there is, in a way, a certain “Cannes film.” After watching enough of them, I can say that I’ve found a sort of criteria. Despite the prestige of Cannes, getting a film in the festival isn’t as hard as you might think.* Based on my observations, here is my criteria of how to make a Cannes Film Festival entry in five easy steps:

1. At least one, overly long, and awkward sex scene.
See: The Paperboy, On the Road, Excision, Rust & Bone

2. At least two hours in length (exception: .

3. If it’s an American film, set in the South.
See: Lawless, Killing Them Softly, The Paperboy, On the Road (certain parts)

4. Cast an actor looking to be “taken more seriously.”
See: Robert Pattinson (Cosmopolis), Shia LaBeouf (Lawless), Kristen Stewart (On the Road), Zac Efron (The Paperboy)

5. Cast Brad Pitt or Matthew McConaughey
See: Killing Them Softly, The Paperboy, Mud

*Note: Getting a film into Cannes is not actually this easy.

The Reel Deal Goes to Cannes Update #8: Don’t Go Back in the Water

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Film festivals are a great place to catch films both new and old. Even if you’ve seen a film a million times before, a new setting can make a world of difference.

Last night, in perhaps one of the most perfectly planned events I have ever been to, “Jaws” was screened on the beach. If “Jaws” wasn’t scary enough already, the beach element really helped. It made the horror of the man-eating shark much more intimate, and way too plausible for comfort. Spielberg’s film has not aged a day since its release, and in fact gets better with each passing year. Despite its status as a classic,  a film like “Jaws” would have trouble getting made today. Unlike today’s usual horror films, it is filled with long stretches of no action. Yet, the long stretches create more buildup and more suspense, which is why “Jaws” is still one of the scariest films ever made.

The audience also partly made this experience so special. Multiple moments garnered thunderous applause, including the moment when (SPOILER!) Quint (Robert Shaw) is eaten by the shark. Is that because everyone wanted him to go, or because it is such a memorable moment? I think it is much more of the latter. The reason a good theatrical experience can triumph any other way to watch a film is because audience participation means so much. It guides your expectations, and the laughter, cries, or applause act almost as a second soundtrack.

A memorable moment from the “Jaws” screening was meeting Benh Zeitlan, the very young director of the much buzzed about “Beasts of the Southern Wild.” Clearly, he is not fully adjusted to fame and being recognized yet, as he was kind and even a little reserved. He told us that “Jaws” is his muse, and this screening was beyond  a special experience for him. Here lies the beauty of a great film festival: it is the intersection of films old, new, and future. It is a film convention, showroom, and marketplace. And Cannes is its king.

After the Jump: Jacques Audiard’s “Rust & Bone,” and Marion Cotillard’s possible next chance of winning an Oscar.

“Rust & Bone,” the latest film from French director Jacques Audiard, is yet another film about nefarious undersea creatures. But this is not a horror film. It is a drama containing a collision of different stories both devastating and uplifting. There is so much I don’t want to give away, but what I will say is that it is about a man named Ali, who forms an unlikely friendship with Stephanie (Marion Cotillard), a whale trainer at a Sea World-type place who’s world is turned upside down after a horrible accident. No, this is not the plot for a Lifetime movie.

“Rust & Bone” inadvertently proves the limits of American movies in its frank portrayals of sex and violent brutality. I can picture an angry studio executive now, bickering about the impossibility of marketing a movie about a disability and blah blah blah distribution rights. But I digress. “Rust & Bone” hits you so intensely in the end with such emotional fervor because it happens so suddenly, and follows two hours of ups and downs both sad and uplifting.

Ultimately, “Rust & Bone” is about two damaged people giving each other a renewed purpose for living, and life it is full of. Marion Cotillard is already my choice for Best Actress at the Oscars. Her reaction after first discovering her new ailment is so devastating and perfectly in line. Yet, she never does seem to give up on her self. She wants to do everything, yet needs the boost. Ali is her physical boost, and Stephanie his emotional one. “Rust & Bone,” from Stephanie’s angle, is all about coping with the world trying to give up on you.

 http://static.guim.co.uk/sys-images/Guardian/Archive/Search/2012/5/17/1337251427481/Rust-and-Bone-008.jpg

“Rust & Bone” consists of multiple story lines, with Stephanie’s being the film’s lifeblood, until Ali’s story really kicks off towards the middle and third act. Audiard also directed “A Prophet,” which I am told is a masterpiece. I can’t compare the two, but it is obvious that Audiard has a commanding voice in the director’s chair, and the substance would be empty without his style. For example, the use of Katy Perry’s “Firework” would usually come off as trite and pandering. Here, it is shockingly awe inspiring.

Few films I’ve seen in theaters have had such a large emotional impact that stays after I leave the theater. The strangest part is, it was a feeling that I couldn’t pinpoint. Was it happiness, sadness, or something else in between? All I can say is that I will be seeing “Rust & Bone” again when it comes to America, and you should, too.

Yes, I will be reviewing this again in the future.

The Reel Deal Goes to Cannes Update #7: Film Hopping

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There is no middle ground in Cannes. If a film is bad, it is an insulting piece of trash. If it’s good, it’s a masterpiece that redefines cinema. At least that is how the critics feel.

The Cannes Film Festival is infamous for the “boos!” that greet a bad film. This only occurs during press screenings, as journalists at Cannes do not hold anything back. Also, and this goes without saying, it is rude to boo at a film in which the cast and crew is at attendence. I experience booing for the first time ever this morning at a screening of “The Paperboy,” the new film from “Precious” director Lee Daniels. While I certainly wouldn’t go as far as to boo with them, this didn’t seem to occur without justification.

Next: My thoughts on “The Paperboy” and “On the Road.”
When your big break is a film like “Precious,” expectations are obviously going to be unrealistically high. If you can’t deliver perfecty, then at least deliver something. “The Paperboy” had potential, and it even had some very good parts to it. Ultimately, it is the most misguided film at the Festival. It has too many ideas, but no clear idea of how to execute them.

“The Paperboy” is following a trend of southern-based American films premiereing at Cannes this year, after “Lawless” and “Killing Them Softly.” It is set in the late 1960s, and chronicles the investigation of the murder of a racist sheriff in Florida. Not Miami or Palm Beach County, but an area I assume to be on the Panhandle. Journalists investigate the conviction of the accused killer, and many twisted violent and sexual crimes pursue.

It is surprising to see such poor performances, especially because Daniels directed the actors of “Precious” to such heartbreaking performances. Zac Efron tries hard to break away from his past life as the star of “High School Musical.” However, his character should have been played by somebody of a much more awkward demeanor. He looks too clean cut to be an average southern kid from Florida. His most serious moments produce unintentional laughter, especially in what should be a suspenseful chase through the woods. Meanwhile, John Cusack was not meant to play a villain. He should stick to playing deadpan, chronically depressed characters in comedies.

Matthew McConaughey does his best in a role that isn’t so great. I am convinced though that he only does good work when he can speak in a Southern accent. The recent film “Bernie,” in which he had a somewhat similar role, is much more worth your time. Nicole Kidman steals every scene she is in. She is the only one who really dissappears inito her role. She feels like a trashy grindhouse character with a little bit of soul.

Speaking of grindhouse, “The Paperboy” has the style of a grimy B-grade 70s movie. This I enjoyed. However, this is a bit too serious of a story to be made like that. Well, at least how they told it. If you want to make schlock, go all out.
I remember seeing “Precious” for the first time at Sundance when it was still called “Push.” It was one of the most moving films I had ever seen. “The Paperboy” does not create that same magic. It has is moments, but the uneven and conventional ending offsets all of them. “The Paperboy” could use another trip to the editing room before its official theatrical release.

“On the Road” was a much more rewarding experience. Jack Kerouac’s classic of Beat Literature was seemingly unfilmmable. The film does well in turning a listless narrative into a coherent story driven by characters, not plot. The film is more focused on Sal Paradise’s (Sam Riley) relationship with Dean Moriarty, than his relationship with America. That is an interesting element that is unfortunately lost, but the two lead actors make this interpretation just as good.

“On the Road” is beautiful to look at, with its panaromic views of the parts of America rarely seen. It picks and chooses the characters and side stories to be portrayed well, with many scenes making me beg for more.

“On the Road” is not perfect, but it pulled off a nearly impossible feat. And no, I’m not talking about making Kristen Stewart seem interesting. It made a story with no real plot points interesting. For once, a film is carried by people, not just events.

My review of “Killing Them Softly,” which I saw yesterday, will be up soon.

The Reel Deal Goes To Cannes Update #6: There’s a First Time For Everything

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The less glitzy side of The Red Carpet.
“Hitting the wall” is the Cannes related phenomena in which a while’s worth of no sleep comes together in spectactular fashion.

I have not quite hit the wall yet, but I feel that I am on course for collision.

Today was yet another rainy day, yet it was also a day of many lessons. I learned that Macedonia has a film industry, the Czech Republic gives out generous amounts of free wine, and that the end of “Inception” is (SPOILER ALERT) undoubtedly reality. This is a fact that most people probably knew about three years ago. More on that coming up. 

After the Jump: Meeting IMDB’s creator, Col Needham, and walking out of a movie for the first time. 

One of the main highlights of my trip occured today. I met a man wearing a jacket with an IMDB pin on it. I asked him if he worked for the site. His response was something along the lines of “actually, I created it.” 

Col Needham created IMDB for the exact reason you’d expect: he was a film buff who needed a convenient place for all things film. He told me about the experience of seeing “Aliens” in theaters for the first time. And that “Inception” thing. In every scene in which DiCaprio is wearing his ring, it is a dream. When he isn’t, it’s reality. At the end, he is not wearing his ring. While this ruins the fun of the ambiguity, it made me appreciate the film much more, as this displays Nolan’s attention to detail. I still maintain though, that the real point of the ending is that it doesn’t matter whether or not the top fell, all that mattered is that he was exactly where he wanted to be. I now proclaim the “Inception” debate officially over [Editor's Note: I'm being told that it ended two years ago].


Unfortunately, I come with few new screenings to share stories of. “Rust & Bone” is the most talked about film around, but good luck finding a seat for it. After an unsuccessful attempt at seeing that, I decided to be a little impulsive and see a screening with basically no prior knowledge of it. I landed on “White Elephant.” All I heard in advance was “Argentinian movie about drug cartels” and I was sold. I still can’t even decide if it was actually about that. Don’t get me wrong, I like slow-burning films, and Cannes is the perfect place for that. However, there is slow, and then there is too slow, and “White Elephant” falls into the latter category. Nothing happens for a while, and when it does happen, I just felt myself shrug, and want to go back to sleep.

That is another thing about “the wall”: it can hit at anytime, during the events you don’t want it to happen during. It is usually hardest to fight it once the lights go off in the cinema. It can be resisted by seeing “Lawless” and not “White Elephant.”

“White Elephant” marks a sad turning point in my life, as it was the first film I ever walked out off. I don’t plan to indulge in this behavior normally, but walking out of a film early feels nornal at a film festival. Once again, slow and tortorous are two very different things. I will review “White Elephant” no further, as I did not see the second half, and it is entirely possible that I could have missed something worthwhile. Also, a film must be reviewed as a whole. Missing any of it and the intended bigger picture is sullied.

The only reason I feel less terrible for walking out is that this seems to be a commonplace action in Cannes. I have never seen this many walkouts per capita in my life over the span of the Festival. While there is usually value to seeing a bad movie, as it makes you realize what it takes for a movie to be good, there is just so much to see at Cannes that any amount of time spent in a bad film feels like time wasted. As the phrase that I never wish was invented goes, “YOCO” (You Only Cannes Once).*


*I strongly reccomend never using this in daily conversation.

The Reel Deal Goes To Cannes Update #5: Screenin’ in the Rain

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Some people say that Cannes is like the Florida of France. While I haven’t found a shuffleboard court or an old Catskills comedian yet, i’m starting to think it is because of the unpredictable weather. The bright and sunny morning quickly morphed into, hyperbolically speaking, a mini Monsoon. It has been this way for the past few days, and it seems to be showing no signs of slowing down.

This means that it is perfect weather for a movie.

Unfortunately, the day got off to a bad start, as I was swiftly rejected from a screening of “Safety Not Guarenteed,” despite having a ticket. This movie was a market screening, which is meant for buyers (usually from foreign markets) first, and patrons second. Guess I will have to deal with seeing it in the States when it opens later this summer.

Last night, however, was marked with a fantastic screening of the director’s cut of Sergio Leone’s gangster epic “Once Upon a Time in America.” Unfortunately, I missed the screening in which Robert de Niro and Ennio Morricone introduced the film. But if attending film festivals has taught me anything, it is that life will be full of rejections and expectations not fulfilled, so it is best to relish what lies in front of us. And how beautiful this film looked on the big screen. This version contained a newly restored print, which looked as magnificent as ever.


If anything, time has only made “Once Upon a Time in America” a better film. I was probably too young when I last watched “Once Upon a Time in America” in full (as with most films). I forgot how funny this film was. The scene in which Noodles (De Niro) and the gang switch out the babies at the hospital is like a master class at humor achieved without dialogue. Leone always showed a subtlely funny side in his past films, but it comes out here in full force. 



“Once Upon a Time in America” was Leone’s last film before his untimely death in 1989. It is his “Blade Runner,” as several director’s cuts have been released throughout the years. The original cut fell just under four hours. However, a butchered version was released in the U.S. in 1984 that ran at just 139 minutes. That version flopped and was panned by critics. A release of the original version established the film as a masterpiece. The latest director’s runs just over four hours. 


The newly restored version looks as if it could have been made today. However, the new scenes added in could not be fully restored, and look grainy and aged. However, the real significance in them is that they were found and could be added. 


“Once Upon a Time in America” is just about long enough as is, and some of the new scenes don’t necesarilly need to be there. A few have purpose and provide good background, but others, like the cemetary scene, break from the film’s smooth rhythm. Let me add that this may be the fastest four hours you ever spend at the movies. Some might argue that a lot could have been chopped down and this story could have been told effectively with a shorter running time. Some stories just need to be told with as much depth and detail as possble, and “Once Upon a Time in America” earns every minute of its running time.


Leone has always been one of my favorite directors. I always saw him as a purely visual one, and a man who put in so much close detail into his backdrops above all else. That is not entirely true, he just finds out how to reveal character motivations and emotions without saying a single word. Leone was a maestro, a true artist, and one of the last directors from an era long gone. And while this was his last film, he most certainly ended his career in film with an unforgettable bang. See it, and on the biggest screen possible if you can.

The Reel Deal Goes To Cannes Update #4: Three Screenings

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A hotel in Cannes decked out following a “Dictator” publicity stunt.

It’s been a hectic, overwhelming, and exciting week so far at Cannes. I wish I could get a post out everyday, but it’s not as easy as it seems. I have three films to talk about, all in one post, so I’ll keep this introduction brief. The last few days have included another walk down the red carpet, some delicious baguettes, and a lot of movie related business. Today, I present three films. You will definetly get to see one of these films in America. Another one could come our way. And one you probably shouldn’t see even if it does.

Celebrity Encounters:

  • Gael Garcia Bernal- Bumped into the Latin American star today, perhaps best known for “Amores Perros” and “Y Tu Mama Tambien.” He was nice enough to take a quick photo with us, and I was a bit too much in shock to even get a word out.
  • Sean Penn- He walked the red carpet for “Reality.” No paparrazi were hurt in the process. Haha good one, talk show host from 1987.
Read after the jump for the film breakdown:

Excision

“Excision” has received much buzz at Cannes for its bloody and controversial poster. However, it is also misleading. What appeared to be a “Carrie”-type thriller about a misfit teen with supernatural powers turned out to be a misguided shock-and-shlock fest that is only half ironic. It involves a series of gory and sexualized fantasies involving an abortion and another scene later on involving an organ transplant done by someone who isn’t a doctor.
This film has a few moments of genuine humor. The most priceless moment, perhaps, was the burst of laughter after the revelation that John Waters (director of “Pink Flamingos” and the original “Hairspray”) plays a priest. There is also an appearence from Malcolm McDowell, who played the most memorable creepy teenager in cinema. “Excision” has the potential to become a midnight movie classic. While I usually enjoy flawed and even hatable protagonists, “Excision” took it a step too far, and didn’t even make me want to know what Pauline (AnnaLyne McCord) would possibly do next. And oh yeah, there’s a bird dissection. Make of this one what you will.
Reality

I still cannot tell if this Italian feature is an actual film or just a series of pretty images. In the end, I concluded that it was both. 
Being at an international film festival, I decided that I had to see at least one foreign feature. This story of an average father who becomes a contestant on Big Brother, and loses his grip on reality because of it, has many features that seems distinctly American (including a mall). It displays perhaps some of the most breathtaking tracking shots I have ever seen, some which start from the sky and don’t stop until they’ve reached their destination. Many of the surreal scenes will invoke Italian Neorealist maestro Federico Fellini. But, just as with my biggest problem “8 1/2,” some of the most thrilling set pieces don’t totally connect. There is some very beautiful symbolic images, from the ever-watchful eye of the grasshopper on the wall, to the final image of the house which seems to resemble a television set.
I may have to see “Reality” again, as there were some biases in my experience. One problem with the Lumiere theater is taht the subtitles are displayed on a small, seperate screen below the movie, and it is hard to follow both. But seeing the cast and crew sitting in the center, treated like modern royalty, made the experience so interesting, and very worth it.
Lawless

I have set to see “Rust and Bone” (the most praised film of the Festival thus far), but “Lawless” is currently my favorite film at Cannes. I have so much to say about it that I can’t fit here. So a future review (and a second viewing) seem inevitable.
“Lawless” is the story of southern moonshiners during Prohibition. Tom Hardy stars as tough but loving gangster Forrest (Tom Hardy), who is said to be invincible, and Shia Labeouf plays his younger brother Jack who, as the southern colloquialism goes, breaks bad. In an unusual twist, the villain is a detective (Guy Pearce), and the good guys are the violent law breakers just trying to maintain the family business.
This is the second time Australian director John Hillcoat has breathed new life into a very American genre. The first time was with the Outback western “The Proposition.” “Lawless,” in a way, feels like a western. It is interesting for once to see a gangster story that takes place in a very rural setting. The streets of New York and Chicago are replaced with a small town in the backwoods of Virginia.
This Prohibition-set movie manages to be closer to “Miller’s Crossing” than “Public Enemies.” Labeouf has come a long way since “Even Stevens” and Hardy is quickly becoming one of the best actors around with his mumbly way of communicating which always seems to have a strange charm to it. My one complaint is that Gary Oldman does not have enough screentime. 
It is good when a movie meets your expectations, but even better when it totally takes you by surprise. “Lawless” had a sense of humor about itself that I did not expect, and which ultimately makes the movie very unique. It hasn’t even been released in theaters yet, but I already know that “Lawless” is one of the year’s best films.
Next Up: The director’s cut of “Once Upon a Time in America.” Robert De Niro and Ennio Morricone showed up to last night’s screening. Here’s hoping they may just want to sit through their own four hour plus epic once more.

The Reel Deal Goes To Cannes #3: There’s Quirkiness in the Air (Must Be a New Wes Anderson Movie!)

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Today, The Reel Deal walked the red carpet.

Nobody asked me who I was wearing. Sacha Baron Cohen didn’t try to dump ashes on me. Something I learned when I went to Sundance that has come back to mind now that in order to live some of the most glorious moments, some of the glory must be sacrificed. However, the price was well worth it.

Thanks to something called positive thinking (it’s amazing what it actually can do), I ended up with a ticket for “Moonrise Kingdom.” It wasn’t the flashy premiere that Wes Anderson, Bill Murray, Ed Norton, and Bruce Willis would be at, but something a little quieter also in the one-of-a-kind Lumiere Theater. It is hard to review a movie totally objectively, as one’s experience outside of the movie always impacts the experience of the movie itself. While the excitement of Cannes might have added to my opinion of “Moonrise Kingdom,” it will definetly stand the test of time (more on that in a minute).

Cannes is the kind of place where dreams meet stark reality. There will be more people surrounding a red carpet, hoping to get just one glimpse of a celebrity, than actual celebrities. And you won’t always get what you want, but if you try some time you’ll find that you can get something just as good. When attending a film festival, know that you might see some things that you never imagined you would see in your life, but also remember to set your expectations to a realistic level.

Celebrity Encounters:

  • P. Diddy standing on the ledge of a balcony over his V.I.P. party at the “Famous Club.” I put Famous Club in quotations because the title of the club is in quotations, implying it either isn’t famous or that it isn’t actually there. I can only imagine Kanye wanting to yell “I am golden God!” before jumping, only to have Kanye once again point out that he wrote the Bible.
  • Harvey Weinstein walking down the street. At this point, he is the de facto King of Cannes.

Check out a brief review of Wes Anderson’s “Moonrise Kingdom” after the jump:

Any given film from a great director will serve as a culmination point of all of their previous works. That is why it is hard for a director to have a flawless first feature, and it is also why Wes Anderson’s films so frequently succeed. “Moonrise Kingdom,” his latest effort, combines the dysfunctional family dark comedy of “The Royal Tenenbaums” with the childhood perspective of “Rushmore” and “Fantastic Mr. Fox” and the perfectly suspended reality of “The Life Aquatic.”

“Moonrise Kingdom” feels like all of the best movies I watched as a kid, but it is much wearier of childhood whimsy. I imagine it is based off of fantasies that Anderson made up for himself when he himself was a child. It is a fine example of his evolving style as a filmmaker, and a long way from when he was first telling stories of book store robberies in Texas in “Bottle Rocket.” This is both his most typical and most different movie yet.

“Moonrise Kingdom” is like an action comedy filled with inspired, gimmicky 60s style special effects. There are many out there who do not like Wes Anderson and can never be convinced to enjoy any of his movies. Well, maybe I can sell you this one by telling you that it made me think of “The Goonies.” A more romantic version of “The Goonies,” albeit.

The film of Anderson’s past have always had an affinity for vintage, so I guess it was about time he made a movie set in 1965. The first detailed location we get is Suzy’s (Kara Hayward), which looks like a giant dollhouse. The house becomes a character istelf.

Suzy is persued by Sam (Jared Gilman), a twelve-year-old who defines too smart for his own good. Sam is a foster child, and Suzy can’t stand even the presence of her parents. The two bond as social outcasts, Suzy constantly fighting with her classmates, and Sam being constantly alienated from the rest of his khaki scout troop. The two run away together and look to form a place where they can forever be away from adults. Perhaps something similar to what Holden Caufield once described.

The adults of “Moonrise Kingdom” might feel underdeveloped as compared to Anderson’s past films, but that’s only because this is the first film he’s ever done from the resentful and precocious perspective of a child. However, seeing Mrs. Bishop (Frances McDormand) and Suzy together, you can see how one was once like the other. As Mr. Bishop, Bill Murray is, well, Bill Murray. Willis is the most deadpan funny and sincere he has ever been. This might be Norton’s funniest performance since “Keeping the Faith.”

The film as a whole is simultaenously adult and childlike. It is a darker and more mature version of a typical childhood fantasy. It is as if you are rooting for and against the fantasy. Sam and Suzy become so likable, yet their love causes chaos for all who care for them.

“Moonrise Kingdom” might be Anderson’s most traditionally structured film to date. However, that doesn’t mean everything works out ever so perfectly. A main character is killed off early on, and the ending, meanwhile, can evoke tears. Anderson also twists around his usual formula and gives us the character montage tracking shot at the begginning, and the slow-mo walk long before the finale.

When comparing this to the rest of Anderson’s oevure, it may not be his best. But on its own, it is still fantastic. This is the kind of movie that I just want to give a big, warm hug to. I love the gimmicky special effects, the Noah’s Ark parallel, and the surprise cameo toward the end of the film from one of the best living actors. Most of all, I love all of the little detail poured into every single shot. It is nice to see so much effort being put into something that people usually don’t give a s**t about.

I will post a longer “Moonrise” review at some point soon, as I will definetly be seeing it again. Look for many more movies to be reviewed up ahead, including a director’s cut of Sergio Leone’s “Once Upon a Time in America.” I also saw a secret screening today. I cannot reveal the title until an undisclosed later date.

The Reel Deal Goes to Cannes Update #2: This is Just a Taste

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Inside the Lumiere Theater. Apologies for “Britta’ing” this photo.

Well, the Festival officially begins tomorrow, but today, I got a good taste of what I will be taking in for the next two weeks.

I saw it all in the Palais, which is pretty accurately nicknamed “The Death Star.” It is an expansive place which has just about every theater where movies are shown. Most notably is the Lumiere theater, which puts every American multiplex to shame. The Lumiere is where the opening night screenings happen, and the stars walk the red carpet. It is where tomorrow night, “Moonrise Kingdom” will open the Festival.

What movies I will see, and when, is still a mystery. The beauty of film festivals lie in the unpredictability. You could be going to a screening one minute, and then end up in someone’s yacht party the next.

Even though the Festival has yet to begin, new things are to be learned just by looking around and listening. Perhaps the highlight of my day (I am still in awe from it all) was the hall of foreign movie posters lining the Palais. I would like to share a few of the highlights:

This is for an Indian movie. I’m not sure if the title is “House 2 Full” or “House Full 2.” If so, I still have no idea what this movie is about, and if it is either a Tyler Perry rip-off, or an Indian version of “Full House.” Either way, when does John Stamos show up?

On display here are two equally fascinating displays of poster art. The one to the left is “American Hangover,” which looks like some kind of “Scary Movie” type movie. It stars Joey Fatone. Fatone is known by some as a member of NSYNC, by others as an actor in “My Big Fat Greek Wedding,” and by everyone as that guy who stopped being famous. The poster on the right is for a movie called “Bro” which stars Danny Trejo. I mention this movie both because Danny Trejo is awesome and because I am afraid he will track down and kill me if I don’t mention it.

Without seeing a single movie yet, I have already discovered some of the great mysteries of Cannes. And there are still more to come. Here is a set of goals I have for the rest of the Festival. Some of these goals may be hard to meet, but as a wiser man than myself (MacGruber) once said, “never ever say never ever.” (List after the jump)

  • Get into an opening night movie and walk the red carpet
  • If I don’t get a ticket to a red carpet showing, show up anyway wearing a tux.
  • Witness Sacha Baron Cohen pull of a “Dictator”-inspired publicity stunt.
  • Shake Wes Anderson’s hand.
  • Bring Harvey Weinstein coffee (even though I’m not his intern). 
  • Watch the James Bond movies and “Jaws” on the beach.
  • Meet Anne Hathaway, Marion Cotillard, or Natalie Portman.
  • Make a major acquisition deal.
  • Pitch a movie idea to a studio. Preferably “Crash 2: Crash Harder.”

The Reel Deal Goes to Cannes Update #1: Insomnia Washes Over Me in an Awesome Wave

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I just touched ground in France today and could be described as a jet lagged zombie. Apparently, staying up until 10 PM (French time) is the cure to jet lag. Luckily, I have not reached brain dead level of zombie yet.

Movie watching has not begun yet. However, that will happen in the next few days. I was informed that there may be a James Bond marathon on the beach. I guess it is fitting, as Nice and Cannes resemble the kind of towns that Bond would likely frequent. A film that can be shown beyond its typical medium is a special thing. And because it is James Bond (and includes the likes of “Thunderball” and “From Russia with Love”), you can bet I will be in line for tickets.

So far, this is my first impression of France. Not too shabby:

And contrary to popular belief, the French have a very good sense of humor: