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Iron Man

Superhero Action Movie

  • Written by a whole bunch of people
  • Directed by Jon Favreau

After 15 days of documentaries, serious dramas, and dark comedies at the San Francisco International Film Festival, nothing cleanses the palette like a well-made, big-budget Hollywood entertainment. Iron Man fit the bill perfectly. While not up to the quality of Spiderman 2 (still the best superhero comic-book movie ever made), director Jon Favreau and his team of writers still manage to insert all the requisite thrills into a story strong enough to support the pyrotechnics rather than get buried by them.

That story concerns weapons tycoon Tony Stark, a selfish and egotistical (but brilliant) jerk played by Robert Downey Jr. After some weeks held prisoner by some Very Bad People With Accents in Afghanistan (their exact affiliation is never made clear), Stark has a change of heart and wants to get out of the death business. But he’s conflicted about his new-found pacifism, and secretly builds the ultimate one-man weapon–an armored, flying suit with guns and missile launchers attached–to help him keep the peace.

Of course, I’m using the term “strong story” in a relative way, since we go to different types of films with different expectations. If a Mike Leigh film had a story this implausible, we’d through bricks at the screen. On the other hand, we’re not disappointed if Leigh fails to deliver great-looking action sequences.

Favreau delivers them, effectively and generously. He knows better than to fill his movie with wall-to-wall action, and always ties the fighting to the story, making it all the more thrilling. And the action is choreographed and edited to show, rather than obscure, what’s going on. Iron Man’s fights lack the spatial incoherence that hurt the equally well-written and -cast Batman Begins.

Let’s talk about that casting. With his disreputable aura and problematic personal history, Downey isn’t your garden variety action star. On the other hand, he’s perfect as an hard-living playboy who can tell a bartender “I’m famished. Bring me a scotch.” And that makes him the right choice for Stark. (Strictly speaking, Iron Man isn’t a superhero, as he has no super powers. Anyone who put on the suit and learned how to use it could do the same things. But culturally speaking, he’s a superhero because he fights crime while wearing silly clothes. The same rule applies to Batman.) Among the supporting cast, Gwyneth Paltrow stands out in the Gal Friday role of Pepper Potts, turning a poorly-written cliché into a likeable screen presence.

Stay through the end credits. You’ll be rewarded.

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This Week At the Movies

I posted a lot this week–no surprise. Go to the site and you’ll find short reviews and festival reports on Time to Die, Stranded, Orz Boyz, The Art of Negative Thinking (the best movie I saw at the festival), Wonderful Town, Shadows in the Palace, Faubourg Tremé: The Untold Story of Black New Orleans, and Up the Yangtze.

In addition, there’s a festival-inspired discussion of Films You Can See Again and Films You Can’t, reports on Robert Towne’s appearance and Kevin Kelly’s State of Cinema Address, a full review of Standard Operating Procedure, and a little something called You Know You’re Spending Too Much Time at a Film Festival When…

Without the San Francisco International Film Festival, the site…and the newsletter…can return to normal.

Blade Runner + Screenwriter Q&A, Lark, Friday, 7:00; the movie itself continues through the week. For the opening night of Blade Runner: The Final Cut (until the next one), screenwriter Hampton Fancher will be on hand for Q&A. Based on Philip K. Dick’s novel Do Androids Dream of Electric Sheep, Blade Runner is surprisingly thoughtful for ‘80’s sci-fi–especially of the big budget variety. It ponders questions about the nature of humanity and our ability to objectify people when it suits our needs to do so. Yet it never preaches. The script’s hazy at times; I never did figure out some of the connections, and a couple of important events happen at ridiculously convenient times. But art direction and music alone would make it a masterpiece. See my more extensive write-up.

Standard Operating Procedure, opens Friday at the Shattuck, Kabuki, Aquarius, and other theaters; and at the Rafael Thursday. We all know Lynndie England…or we think we do. She’s the young, seemingly carefree soldier photographed taunting prisoners in those infamous Abu Ghraib prison photos. Errol Morris wants you to see England and many of her former companions in a different light. He interviews them extensively in Standard Operating Procedure, shows us the letters they wrote home, and uses actors to re-enact some of the most gut-wrenching scenes they witnessed and committed. The result isn’t an easy film to watch. It has you squirming in your seat, trying not to turn away your eyes. It also forces you to ask yourself some very tough questions. See my full review.

The General (1926), Niles Essanay Silent Film Museum, Saturday, 7:30. Buster Keaton pushed film comedy like no one else when he made this one. He meticulously recreated the Civil War setting. He mixed slapstick comedy with battlefield death. He hired thousands of extras and filmed what may be the single most expensive shot of the silent era (then used it as the setup for a punch line told in a simple close-up). The result was a critical and commercial flop in 1926, but today it’s rightly considered one of the greatest comedies ever made. Accompanied by Jon Mirsalis on piano.

Office Space, Cerrito, Thursday, 7:00. If you’ve ever worked in a soul-killing office at the mercy of a boss who was evil-incarnate, you’ll like this one. A benefit for the Leukemia/Lymphoma Society.

A Clockwork Orange, Clay, Friday and Saturday, midnight. Stanley Kubrick’s strange, “ultra-violent” dystopian nightmare about crime and conditioning seemed self-consciously arty in 1971, and it hasn’t improved with time. But several of its scenes—the “Singin’ in the Rain” rape, the brainwashing sequence, Alex’s vulnerability when he’s attacked by his former mates—are brilliant, as is Malcolm McDowell’s performance as a hooligan turned helpless victim.

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You Know You’re Spending Too Much Time at a Film Festival When…

  • You start every conversation with “Seen anything good?”
  • Your spouse asks what you want for dinner, and you answer “The usual–popcorn.”
  • You step outside on a beautiful afternoon and run immediately back into the theater.
  • You see people on the street talking in a foreign language, and your eyes automatically drop down for the subtitles.
  • You have an irresistible urge to see a big-budget Hollywood flick with lots of explosions and special effects.

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Standard Operating Procedure

Political Documentary

  • Directed by Errol Morris

We all know Lynndie England…or we think we do. She’s the young, seemingly carefree soldier photographed taunting prisoners in those infamous Abu Ghraib prison photos. In other words, she’s the very bad apple that ruined the worldwide image of the brave American soldier.

Errol Morris want you to see England and many of her former companions in a different light. He interviews them extensively in Standard Operating Procedure, shows us the letters they wrote home, and uses actors to re-enact some of the most gut-wrenching scenes they witnessed and were involved in. The result isn’t an easy film to watch. It has you squirming in your seat, trying not to turn away your eyes. It also forces you to ask yourself some very tough questions.

And the obvious question is: Do we really need another documentary on Iraq. After No End in Sight, Taxi to the Dark Side, and I’ve lost count of how many others, what more is there to say?

Plenty? Morris lets people we’ve turned into villains tell their side of that very sad story. We learn the mistakes England made as a 20-year-old girl in love with a 34-year-old man (nothing new there). We discover how the commanding officer warned her superiors of basic problems and was told that no prisoner, under any circumstances, must ever be released. And we discover how agents from the CIA, FBI, and other government acronyms would arrive, take a prisoner into the shower or another isolated room, and do the unspeakable.

Are the stories self-serving? Of course they are. Sabrina Harman tells us that she took all of those photos, and posed in others, to document the atrocities. But she must also explain why in so many photos, including one with an obviously-tortured corpse, she’s smiling and giving a thumbs-up. And it’s worth noting that while the film humanizes and comes close to exonerating England and other notorious interviewees, the uninterviewed Charles Graner (still in prison and thus unavailable) remains a monster in the eyes of the film.

Self-serving to its subjects or not, this is an important film. By placing us into Abu Ghraib from an American point of view, it brings up serious questions of who we are as a nation, what people are capable of, and who is ultimately responsible.

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SFIFF: Up the Yangtze

Tuesday evening I caught Up the Yangtze, a documentary by Canadian director Yung Chang.

China’s Three Gorges Dam, still under construction, may be the largest hydroelectric project ever attempted, and Chang’s film takes an unusual but effective approach to examining the project’s repercussions. He focuses his camera on two teenagers working a cruise ship that takes western tourists along the river, as well as one of those teenagers’ parents–a peasant couple forced to relocate as the waters rise. This is not about a construction project, but about the millions of people who have been or will be moved because of the dam.

Chang attended the screening and answered questions after it. Among other answers, he told us how the people in his film are doing now.

You have one more chance to see Up the Yangtze at the San Francisco International Film Festival: Thursday, 8:55, at the Pacific Film Archive. But don’t despair if you miss it; its theatrical run opens June 13.

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SFIFF: Faubourg Tremé: The Untold Story of Black New Orleans

I just caught Faubourg Tremé: The Untold Story of Black New Orleans. It’s a basic, PBS-style documentary without anything truly creative or exciting technically or artistically. But the subject matter–an integrated New Orleans neighborhood which might have been the largest community of free Blacks in the pre-Civil War south. It follows the neighborhood through it’s initial days as a light of racial equality (or near-equality) at a time of slavery through war, reconstruction, Jim Crow, the civil rights movement, and the devastation of crack cocaine until the neighborhood’s destruction by Hurricane Katrina.

You can still catch it Wednesday at 9:00 at the Kabuki.

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SFIFF: Shadows in the Palace

Having missed it in theaters, I took home a press screener DVD of Shadows in the Palace and watched it last night with my wife. I wouldn’t go so far as to say I can’t recommend it, but I wouldn’t want to sit through it again.

A mystery set in the Korean royal court at some point in the past (my guess would be the 19th century), Shadows in the Palace concerns itself with a murder meant to look like a suicide, and a nurse determined to get to the bottom of the entire mess (which, naturally, is far more complicated than it first appears). It does an excellent job giving us the sense of a very foreign place and time, and that’s it’s leading advantage. But the extremely complex story is almost impossible to follow with any real detail. For instance, I’m not entirely sure if there’s a supernatural element to it.

That’s forgivable. Far more troubling are the many scenes of extremely gruesome torture. Only twice before in my adult life have I been forced too look away from the screen, and no other movie made me look away more than once. You need a strong stomach for this one.

If you still want to see Shadows in the Palace, it screens at the Kabuki on Thursday at 7:45.

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SFIFF: Kevin Kelly’s State of Cinema Address

Now I can get to Kevin Kelly’s State of Cinema Address. Kelly isn’t a movie person. He’s a technology geek, and he writes about technology. Since I also write about technology (it pays better than Bayflicks–but then, so does flipping burgers), I found this talk especially interesting. Kelly is best known for founding The Well and co-founding Wired Magazine.

This summary skips a lot.

He began by pointing out his outsider status, then hit us with an interesting statistic. More people see movies in airplanes than in theaters.

The point was that people watch movies in all sorts of places, and that the experience of watching them is diversifying. “For a long time, there were two screens: Movies and TV.” Now they’re diverging, becoming less distinguished, but they’re also getting more complicated. TV screens and computer screens are getting larger, but people are also watching movies, “much to my surprise,” on handheld devices. Screens are going to continue to get smaller, fitting on your eyeglasses, and larger, covering buildings.

Will people continue to go to movie theaters? Kelly felt that commercial theaters will remain one technological step ahead of home theaters, with 3D being the next big thing. He also pointed out other reasons. In “places like India, people go to theaters because they have air conditioning.” (Later, in the Q&A session, he acknowledged the communal experience as another draw.)

Running times will also get more elastic as distribution options open up. He mentioned Youtube, which caused an outburst in very short movies, and TV series like Lost as a very long-form film. He saw home video as making longer films possible. “When you can go back and look at what you want, the 100-hour film is possible.”

Writers, he pointed out, use the same tools whether professional or amateur, and he sees cinema going in that direction, predicting HD video on cell phones in a few years. He acknowledged, however, that pros will probably always have better equipment.

He talked a bit about getting paid for your work in a world where “Anything that can be copied will be copied.” Arguing that “Wherever attention flows, money will follow,” he offered some ways that artists can make money when their work is a free download, including immediacy (you get it quicker if you buy it), authenticity (you can be sure you’re getting the original), and embodiment (you download the recording for free, but you pay to see the concert).

He pointed out that the Web, thought an impractical dream over 5,000 days ago, has changed our lives utterly. New technologies will do the same thing.

During the Q&A, someone asked about the future of film–not as an art or a business but as a physical medium. He felt it was dying at “I say good riddance to film. I’m so happy that [everything is going] digital.”

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SFIFF: Wonderful Town

Wonderful Town has nothing to do with the 1953 Broadway musical of the same name, although a few songs would liven it up. Allegedly, this Thai drama examines the long-term psychological aftereffects of the devastating 2004 tsunami. The story concerns a young architect who comes to a small coastal town on a job involving the rebuilding on a luxury hotel. He stays at a much plainer hotel, and falls in love with the woman running the place. She’s moderately charming, he isn’t, and everything moves like a tortoise on downers. Any real statements about these two people as individuals or post-traumatic stress disorder in general never get through.

If you’re feeling masochistic, you can catch Wonderful Town at the Pacific Film Archive on Wednesday at 8:45, or catch the planned theatrical release.

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SFIFF: The Art of Negative Thinking

I started this afternoon with State of Kevin Kelly’s State of Cinema Address, but I’ll tell you about that later.

Right now I want to talk about The Art of Negative Thinking, a Norwegian comedy/drama that’s just surpassed Forbidden Lie$ as the best film I’ve seen at the festival. The picture is brutal, terrifying, and forces you to think about how you’d respond should disaster severely limit your life. It’s also devastatingly, hysterically funny.

Writer/director Bård Breien addresses a subject that we’re not supposed to laugh at: the disabled and the fully-abled people who care for them. A mostly wheelchair-bound support group, led by an incompetent yet self-righteous social worker, come to the home of a potential new member. But Geirr, boiling with rage since a car accident paralyzed him from the waist down, doesn’t want to join. When he finds it impossible to ignore the group, he sets out to disrupt the entire process.

You still have one more chance to see The Art of Negative Thinking. It screens Thursday, May 8, at 8:15, at the Clay.

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