"Venus in Furs" by Roman Polanski...and then Some Misses.
"Venus in Furs"
starring: Emmanuelle Seigner and Mathieu Amalric
directed by: Roman Polanski
written by: David Ives (play) Roman Polanski (film)
Kudos to Roman Polanski for returning to film with full-force and really tackling a great story that I recently saw as a read-through for local theatre here in Portland where a friend of mine read the part of Vanda. As I listened on that night, I couldn't help but visualize the story as I heard it unfolding on the stage and I was left with a desire to see the actual play. Then, I found Roman Polanski's adaptation on Netflix and was intrigued, because of all directors I knew Polanski was the right man to tackle the job. I also found it an interesting choice that he cast his French wife, Emmanuelle Seigner in the lead role as Vanda, because I honestly pictured a younger actress in the titular role, but after viewing the film, I can say, she blew me away (having only seen her in another Polanski film, "The Ninth Gate" years ago).
Having sat for a read-through of the entire play, I was enthralled but I also felt like I was in the middle of a mind-bending (okay, okay, mindfuck) experience, which left me wanting to know more, to read a more in depth understanding of the meaning behind the play, because although I left thinking I knew what it was about and what it was trying to accomplish, I was looking for justification.
Frustrated by the younger “idiot” actresses who earlier read for the female lead in his adaptation of Leopold von Sacher-Masoch’s scandalous 1870 novel of sexual domination and subjugation, a veteran playwright and novice director (Amalric) is about to head home when a bedraggled woman with wet hair and runny mascara (Seigner) announces her late arrival at the back of the theatre. At first glance, this older, slightly voluptuous, and somewhat trampy female – she’s wearing a dog collar in the spirit of the play’s S&M premise – is all wrong for the part, despite the coincidence (or not?) she’s named Vanda, similar to the stage character. This Vanda is a brash and uncultured Loire Valley girl past her prime, more dumb blonde than sophisticated lady in the eyes of a sexist whose misogyny informs his view of women. Blinded by his objectifications, however, he fails to see what you immediately see: The audition began the moment Vanda walked through the door. As a giant, phallic cactus from the closed production holds silent vigil, the two characters instantly engage in a tug-of-war for power and control, flip-flopping between the dramatic text of the written page and their dialogue in real life. Let the mindfuck begin.
I was happy with Emmanuelle Seigner's performance, even though I could have seen a different, younger actress play the part (although, whom exactly could step into Vanda's shoes or laced-up leather, high-heeled boots, is a question I'm glad I do not have to answer. Instead, I pose the question to you, after you watch the film, because Siegner's Vanda is nearly perfect. It's like watching a cat play with a mouse for hours before killing it and devouring it right in front of us, and enjoying every single minute of it all. This Vanda clearly enjoys playing with her clueless, yet not so innocent, prey as she carries out her feminist agenda which we need to decide is either personal, political, or both.
I was hoping for some classic Polanski flare in this deeply erotic and questioning film, but unfortunately he does not really put his touch on the film, minus the very noticeable presence of the phallic symbolism of the cactus at center-stage.
................................................................................
"Affluenza"
starring: Ben Rosenfield, Gregg Sulkin, Nicola Peltz, Grant Gustin, Steve Guttenberg, Samatha Mathis, Valentia de Angelis, Carla Quevedo, Danny Burstein
written and directed by: Kevin Asch
I think what bothered me the most about this film is its portrayal of the teenagers who are presented as hapless, innocent victims of their parents' terrible morals and decisions which led to our country's banks and Wall St. induced recession. Of course, it's a fictionalized story, but the way these terrible affluent teenagers act out their lives like nothing matters to them, like the lesser teenagers do not matter other than to be pawns in their games is just downright disgusting. In my personal life, I haven't really made it any secret that these types of people disgust me to no end.
And hey, want to talk about nepotism and affluence- there's a story that explains why Nicola Peltz was in the most recent "Transformers" franchise film with Mark Wahlberg-- because apparently her father was one of the producers and he made sure that the deal included his daughter being the new lead actress. She's no Megan Fox!
The screenplay, which sets its story during a lazy summer just before the Great Recession, squanders nearly every opportunity it gets to register a comment or observation on the ruling class with anything approximating personality, opting instead for a cautionary melodrama of the young, spoiled, and beautiful that's utterly standard-issue.
The story follows: A blank-faced audience surrogate named Fisher Miller (Ben Rosenfeld) guides the film through its menagerie of mini-aristocrats, a schlubby weed dealer armed with a fancy vintage camera. Staying with his bellowing stockbroker uncle (Steve Guttenberg) in the Hamptons for the summer, Fisher is an oddity to his cousin, Kate (Nichola Peltz), and her lunk-headed, fedora-clad neighbor, Dylan (Gregg Sulkin.) Fisher has ambitions of going to art school, and Dylan offers to (inexplicably) help him get admitted in exchange for a shot at Kate, with whom he's infatuated.
This could have been a better film, a social commentary of sorts, especially during such an important time in our society's history-in-the-making. But, unfortunately, the film is utterly generic and boring. It simply works to magnify the emptiness in these peoples' lives. It's just an unrealistic mess of a disaster that only works to piss you off even more, because it showcases that these people are heartless and literally get away with anything, for the most part, even though the film ends with the factual refusal by the government to save Lehman Brothers.
....................................................................................
"Let Us Prey"
starring: Liam Cunningham, Pollyanna McIntosh, Bryan Larkin, Hanna Stanbridge, Douglas Russell, Niall Greig Fulton, Jonathon Watson
directed by: Brian O'Malley
Here's an Irish horror/supernatural film that I had hopes for, that showed potential, especially with a first time director, Brian O'Malley, because visually the film works and looks great. It's the story and meat within the sandwich of the film that is totally lacking for anything that is otherwise intriguing to the viewer. The whole story drags itself out in a rather boring fashion that honestly left me looking for a magazine or book to read in between scary scenes where I felt the need to pay attention- otherwise, my focus was elsewhere.
The action sequences are certainly bloody and brutal when they need to be without being too excessive.
Liam Cunningham is good as a mysterious, probably evil—probably very evil—man who lets the blankness of his expression speak volumes about what he's really doing, pulling the strings of those around him to commit unspeakable acts. Pollyanna McIntosh is strong and capable here even if it is a disappointment to see her playing a role that's more or less the straight woman and doesn't do enough to mine the depths of her talent. Her character comes into focus the more and more the movie progresses, whittling down side and supporting characters down (usually via very bloody means) until only a few remain. The conclusion of her arc might just be the best scene in the movie. It's too bad it ends just a few seconds later.
It seems like a long episode of "The Twilight Zone" though especially with its explanations and information given out via the characters interactions with Cunningham's creepy dude in the prison. There's definitely shades of familiarity with other films like "Assault on Precinct 13" and another horror/supernatural film reviewed on here "Last Shift" (which I liked way better) and the supernatural aspect begs of a bit too much "Constantine."
Unfortunately, the story doesn't resonate or sit for very long, which is too bad because it does go deep and heavy towards the end.
......................................................................................
"Peace, Love, and Misunderstanding"
starring: Catherine Keener, Elizabeth Olsen, Jane Fonda, Ann Osmond, Marissa O'Donnell, Nat Wolff, Jeffrey Dean Morgan, Kyle MacLachlan
written by: Christina Mengert and Joseph Muszynski
directed by: Bruce Beresford
Jane Fonda was a mega-star in her heyday and then in the 1990s she decided to retire, only to return halfheartedly and for some reason with Jennifer Lopez in "Monster in Law" along with some smaller roles in a couple more films. She found her acting ground again, perhaps with the help of this small, indie film that is by all other definitions and purposes a "chick flick" about middle-aged coming-of-age and existential crisis, in which Fonda plays the hippie mother to Catherine Keener's character. Fonda then went on to star as a CEO on the HBO series "The Newsroom."
But, for this review, I will focus on "Peace, Love, and Misunderstanding" in all its glory because it's actually a rather enjoyable film if you know exactly what you're looking for, a bit of a darker side to rediscovery in the face of an imminent divorce.
Forty-two years after Woodstock, the Flower Power movement is still blooming in upstate New York, where Fonda’s hippie-dippy Grace plays mother hen to the town’s tie-dye crowd. Though honorary matriarch of the entire town (as well as its matchmaking fertility goddess and free-loving grass dealer), Grace hasn’t spoken to her own daughter, Gotham lawyer Diane (Catherine Keener), in 20 years, and consequently has never seen her two grandkids, Zoe (it-girl Elizabeth Olsen) and Jake (Nat Wolff).
Diane (Keener) needs a few days to collect her thoughts before signing her divorce papers, so the action trundles off to Woodstock, where the long-awaited reunion occurs less than five minutes into the pic. With an actress as gifted as Fonda, one might want the pain of that separation to register when she first puts eyes on her estranged brood. Instead, Grace tells a jokey story about a dream she had the night before. It’s a typical emotional cop-out in a script that’s intelligent, even clever at times, yet seldom perceptive.
Elizabeth Olsen is one of my newest/latest crushes in film. The girl has a pair of intoxicating eyes and delicate facial features. There's heartbreak in her eyes throughout this entire film.
No sooner does the family arrive in Woodstock than the film introduces locally grown, mostly recycled love interests to distract them. For vegetarian Zoe, it’s a handsome butcher named Cole (Chace Crawford). An aspiring filmmaker always seen with camcorder in hand, Jake focuses on coffee-shop sweetheart Tara (Marissa O’Donnell). As for not-yet-divorced Diane, the understandably conservative (in matters of the heart, at least) right-winger catches the eye of guitar-strumming Jude (Jeffrey Dean Morgan).
The fact that Diane falls so quickly for Jude is quite unbelievable since she came to Woodstock in the hopes of jumpstarting her marriage when she returns. You know, the whole, he'll miss me when I'm gone and when I return he'll change his mind, type of thinking. So, why does the story put Jude there other than as a distraction from reality for Diane?
If this is a film about realization and love interests, each character is a bit too thin and not exactly fully developed in order for us to really care too much about them. Jake is a budding and inspired filmmaker who completes a project and enters it into a film contest back in New York City. The film seems to divulge all the interesting pieces of wisdom, which he'd been collected on the family's retreat.
Zoe: Conflict isn't interesting. It's painful.
"What's your film about?" Jake is asked at one point. His answer: "That's the wrong question. What is any film really about?"
Touche.
.........................................................................................
"Last Shift"
starring: Juliana Harkavy, Joshua Mikel, J. LaRose, Natalie Victoria, Sarah Sculco, Kathryn Kilger
written and directed by: Anthony DiBlasi
Juliana Karkavy really shines in this film that has her pretty as the sole character in the majority of the film. Juliana is coming off a recurring role in "The Walking Dead" as Alisha during the season where they are confined to the abandoned prison.
This is a horror film released this year and streaming on Netflix, absolutely worth your attention for 90 minutes.
New police officer Jessica Loren (Juliana Harkavy) is showing up for what should be an easy first day at work. All she has to do is stay at the now closed local police station to wait for a team to remove the last of the evidence stored there. What Jessica doesn’t know is that the station is thought to be haunted by the ghosts of a Manson type family led by John Michael Paymon (Joshua Mikel). When Jessica begins seeing things she must fight the urge to walk off the job, a position that her father also held until he was killed on duty.
Unless you scare easy, this is not the type of horror film that will make you jump out of your seat, but it will definitely make your walk in the dark at night a bit more intense.
With this film, we have a character that has been created for us to root for, an absolute necessity in the horror film genre. Someone/something seems to be constantly lurking behind or around her throughout the whole film and the production value of the film doesn't make it a cheap thrill for the audience to be exposed right Jessica.
starring: Emmanuelle Seigner and Mathieu Amalric
directed by: Roman Polanski
written by: David Ives (play) Roman Polanski (film)
Kudos to Roman Polanski for returning to film with full-force and really tackling a great story that I recently saw as a read-through for local theatre here in Portland where a friend of mine read the part of Vanda. As I listened on that night, I couldn't help but visualize the story as I heard it unfolding on the stage and I was left with a desire to see the actual play. Then, I found Roman Polanski's adaptation on Netflix and was intrigued, because of all directors I knew Polanski was the right man to tackle the job. I also found it an interesting choice that he cast his French wife, Emmanuelle Seigner in the lead role as Vanda, because I honestly pictured a younger actress in the titular role, but after viewing the film, I can say, she blew me away (having only seen her in another Polanski film, "The Ninth Gate" years ago).
Having sat for a read-through of the entire play, I was enthralled but I also felt like I was in the middle of a mind-bending (okay, okay, mindfuck) experience, which left me wanting to know more, to read a more in depth understanding of the meaning behind the play, because although I left thinking I knew what it was about and what it was trying to accomplish, I was looking for justification.
Frustrated by the younger “idiot” actresses who earlier read for the female lead in his adaptation of Leopold von Sacher-Masoch’s scandalous 1870 novel of sexual domination and subjugation, a veteran playwright and novice director (Amalric) is about to head home when a bedraggled woman with wet hair and runny mascara (Seigner) announces her late arrival at the back of the theatre. At first glance, this older, slightly voluptuous, and somewhat trampy female – she’s wearing a dog collar in the spirit of the play’s S&M premise – is all wrong for the part, despite the coincidence (or not?) she’s named Vanda, similar to the stage character. This Vanda is a brash and uncultured Loire Valley girl past her prime, more dumb blonde than sophisticated lady in the eyes of a sexist whose misogyny informs his view of women. Blinded by his objectifications, however, he fails to see what you immediately see: The audition began the moment Vanda walked through the door. As a giant, phallic cactus from the closed production holds silent vigil, the two characters instantly engage in a tug-of-war for power and control, flip-flopping between the dramatic text of the written page and their dialogue in real life. Let the mindfuck begin.
I was happy with Emmanuelle Seigner's performance, even though I could have seen a different, younger actress play the part (although, whom exactly could step into Vanda's shoes or laced-up leather, high-heeled boots, is a question I'm glad I do not have to answer. Instead, I pose the question to you, after you watch the film, because Siegner's Vanda is nearly perfect. It's like watching a cat play with a mouse for hours before killing it and devouring it right in front of us, and enjoying every single minute of it all. This Vanda clearly enjoys playing with her clueless, yet not so innocent, prey as she carries out her feminist agenda which we need to decide is either personal, political, or both.
I was hoping for some classic Polanski flare in this deeply erotic and questioning film, but unfortunately he does not really put his touch on the film, minus the very noticeable presence of the phallic symbolism of the cactus at center-stage.
................................................................................
"Affluenza"
starring: Ben Rosenfield, Gregg Sulkin, Nicola Peltz, Grant Gustin, Steve Guttenberg, Samatha Mathis, Valentia de Angelis, Carla Quevedo, Danny Burstein
written and directed by: Kevin Asch
I think what bothered me the most about this film is its portrayal of the teenagers who are presented as hapless, innocent victims of their parents' terrible morals and decisions which led to our country's banks and Wall St. induced recession. Of course, it's a fictionalized story, but the way these terrible affluent teenagers act out their lives like nothing matters to them, like the lesser teenagers do not matter other than to be pawns in their games is just downright disgusting. In my personal life, I haven't really made it any secret that these types of people disgust me to no end.
And hey, want to talk about nepotism and affluence- there's a story that explains why Nicola Peltz was in the most recent "Transformers" franchise film with Mark Wahlberg-- because apparently her father was one of the producers and he made sure that the deal included his daughter being the new lead actress. She's no Megan Fox!
The screenplay, which sets its story during a lazy summer just before the Great Recession, squanders nearly every opportunity it gets to register a comment or observation on the ruling class with anything approximating personality, opting instead for a cautionary melodrama of the young, spoiled, and beautiful that's utterly standard-issue.
The story follows: A blank-faced audience surrogate named Fisher Miller (Ben Rosenfeld) guides the film through its menagerie of mini-aristocrats, a schlubby weed dealer armed with a fancy vintage camera. Staying with his bellowing stockbroker uncle (Steve Guttenberg) in the Hamptons for the summer, Fisher is an oddity to his cousin, Kate (Nichola Peltz), and her lunk-headed, fedora-clad neighbor, Dylan (Gregg Sulkin.) Fisher has ambitions of going to art school, and Dylan offers to (inexplicably) help him get admitted in exchange for a shot at Kate, with whom he's infatuated.
This could have been a better film, a social commentary of sorts, especially during such an important time in our society's history-in-the-making. But, unfortunately, the film is utterly generic and boring. It simply works to magnify the emptiness in these peoples' lives. It's just an unrealistic mess of a disaster that only works to piss you off even more, because it showcases that these people are heartless and literally get away with anything, for the most part, even though the film ends with the factual refusal by the government to save Lehman Brothers.
....................................................................................
"Let Us Prey"
starring: Liam Cunningham, Pollyanna McIntosh, Bryan Larkin, Hanna Stanbridge, Douglas Russell, Niall Greig Fulton, Jonathon Watson
directed by: Brian O'Malley
Here's an Irish horror/supernatural film that I had hopes for, that showed potential, especially with a first time director, Brian O'Malley, because visually the film works and looks great. It's the story and meat within the sandwich of the film that is totally lacking for anything that is otherwise intriguing to the viewer. The whole story drags itself out in a rather boring fashion that honestly left me looking for a magazine or book to read in between scary scenes where I felt the need to pay attention- otherwise, my focus was elsewhere.
The action sequences are certainly bloody and brutal when they need to be without being too excessive.
Liam Cunningham is good as a mysterious, probably evil—probably very evil—man who lets the blankness of his expression speak volumes about what he's really doing, pulling the strings of those around him to commit unspeakable acts. Pollyanna McIntosh is strong and capable here even if it is a disappointment to see her playing a role that's more or less the straight woman and doesn't do enough to mine the depths of her talent. Her character comes into focus the more and more the movie progresses, whittling down side and supporting characters down (usually via very bloody means) until only a few remain. The conclusion of her arc might just be the best scene in the movie. It's too bad it ends just a few seconds later.
It seems like a long episode of "The Twilight Zone" though especially with its explanations and information given out via the characters interactions with Cunningham's creepy dude in the prison. There's definitely shades of familiarity with other films like "Assault on Precinct 13" and another horror/supernatural film reviewed on here "Last Shift" (which I liked way better) and the supernatural aspect begs of a bit too much "Constantine."
Unfortunately, the story doesn't resonate or sit for very long, which is too bad because it does go deep and heavy towards the end.
......................................................................................
"Peace, Love, and Misunderstanding"
starring: Catherine Keener, Elizabeth Olsen, Jane Fonda, Ann Osmond, Marissa O'Donnell, Nat Wolff, Jeffrey Dean Morgan, Kyle MacLachlan
written by: Christina Mengert and Joseph Muszynski
directed by: Bruce Beresford
Jane Fonda was a mega-star in her heyday and then in the 1990s she decided to retire, only to return halfheartedly and for some reason with Jennifer Lopez in "Monster in Law" along with some smaller roles in a couple more films. She found her acting ground again, perhaps with the help of this small, indie film that is by all other definitions and purposes a "chick flick" about middle-aged coming-of-age and existential crisis, in which Fonda plays the hippie mother to Catherine Keener's character. Fonda then went on to star as a CEO on the HBO series "The Newsroom."
But, for this review, I will focus on "Peace, Love, and Misunderstanding" in all its glory because it's actually a rather enjoyable film if you know exactly what you're looking for, a bit of a darker side to rediscovery in the face of an imminent divorce.
Forty-two years after Woodstock, the Flower Power movement is still blooming in upstate New York, where Fonda’s hippie-dippy Grace plays mother hen to the town’s tie-dye crowd. Though honorary matriarch of the entire town (as well as its matchmaking fertility goddess and free-loving grass dealer), Grace hasn’t spoken to her own daughter, Gotham lawyer Diane (Catherine Keener), in 20 years, and consequently has never seen her two grandkids, Zoe (it-girl Elizabeth Olsen) and Jake (Nat Wolff).
Diane (Keener) needs a few days to collect her thoughts before signing her divorce papers, so the action trundles off to Woodstock, where the long-awaited reunion occurs less than five minutes into the pic. With an actress as gifted as Fonda, one might want the pain of that separation to register when she first puts eyes on her estranged brood. Instead, Grace tells a jokey story about a dream she had the night before. It’s a typical emotional cop-out in a script that’s intelligent, even clever at times, yet seldom perceptive.
Elizabeth Olsen is one of my newest/latest crushes in film. The girl has a pair of intoxicating eyes and delicate facial features. There's heartbreak in her eyes throughout this entire film.
No sooner does the family arrive in Woodstock than the film introduces locally grown, mostly recycled love interests to distract them. For vegetarian Zoe, it’s a handsome butcher named Cole (Chace Crawford). An aspiring filmmaker always seen with camcorder in hand, Jake focuses on coffee-shop sweetheart Tara (Marissa O’Donnell). As for not-yet-divorced Diane, the understandably conservative (in matters of the heart, at least) right-winger catches the eye of guitar-strumming Jude (Jeffrey Dean Morgan).
The fact that Diane falls so quickly for Jude is quite unbelievable since she came to Woodstock in the hopes of jumpstarting her marriage when she returns. You know, the whole, he'll miss me when I'm gone and when I return he'll change his mind, type of thinking. So, why does the story put Jude there other than as a distraction from reality for Diane?
If this is a film about realization and love interests, each character is a bit too thin and not exactly fully developed in order for us to really care too much about them. Jake is a budding and inspired filmmaker who completes a project and enters it into a film contest back in New York City. The film seems to divulge all the interesting pieces of wisdom, which he'd been collected on the family's retreat.
Zoe: Conflict isn't interesting. It's painful.
"What's your film about?" Jake is asked at one point. His answer: "That's the wrong question. What is any film really about?"
Touche.
.........................................................................................
"Last Shift"
starring: Juliana Harkavy, Joshua Mikel, J. LaRose, Natalie Victoria, Sarah Sculco, Kathryn Kilger
written and directed by: Anthony DiBlasi
Juliana Karkavy really shines in this film that has her pretty as the sole character in the majority of the film. Juliana is coming off a recurring role in "The Walking Dead" as Alisha during the season where they are confined to the abandoned prison.
This is a horror film released this year and streaming on Netflix, absolutely worth your attention for 90 minutes.
New police officer Jessica Loren (Juliana Harkavy) is showing up for what should be an easy first day at work. All she has to do is stay at the now closed local police station to wait for a team to remove the last of the evidence stored there. What Jessica doesn’t know is that the station is thought to be haunted by the ghosts of a Manson type family led by John Michael Paymon (Joshua Mikel). When Jessica begins seeing things she must fight the urge to walk off the job, a position that her father also held until he was killed on duty.
Unless you scare easy, this is not the type of horror film that will make you jump out of your seat, but it will definitely make your walk in the dark at night a bit more intense.
With this film, we have a character that has been created for us to root for, an absolute necessity in the horror film genre. Someone/something seems to be constantly lurking behind or around her throughout the whole film and the production value of the film doesn't make it a cheap thrill for the audience to be exposed right Jessica.
Just like lead character Jessica, played perfectly by Juliana Harkavy, we’re never really sure of who or what is real. At first it’s just odd sounds that Jessica hears, but when a homeless man shows up in the police station, things begin to get a little more physical. Suddenly we’re questioning if anybody is real in the film, or if they’re somehow in on the events that are happening. Even a young woman named Marigold (Natalie Victoria), who happens to be having a smoke behind the station, seems as if she could be a ghost or just a random person in the right place at the wrong time. This confusion over what is real or not, something that Jessica must deal with as well, leaves you on the edge of your seat for the entire film.
The best moments in the film are the scares it conjures up, for sure. This is a sleeper type of film and a perfect horror film (especially if you like ghost stories or films like "The Ring").
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