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Michael Giltz
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Inspiring Funny Hot Scary Outrageous Amazing Weird CrazyCannes 2011 Day Two: Angry Kids,
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Critics remain in a very friendly mood, I must say. No
film has broken out with huge buzz, but everyone seemsto want to cut them slack and look on the bright side.
And you thought critics just couldn't wait to get their
digs in! (Actually, critics see so many movies they arealways desperately hungry for something even remotelygood and entertaining. That impulse is only heightenedwhen you see four or five movies in a day for 10 days ina row.) Here's my video report on the first day and a halfat the fest followed by full reviews of every film I've seenso far.
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WE NEED TO TALK ABOUT KEVIN ** 1/2 out of ****
Director Lynne Ramsay has a marvelous eye, a gift for strong visuals and a hunger for dark material. She
was a bold but smart choice to adapt We Need To Talk About Kevin, the best-selling novel by Lionel
Shriver. The book is nominally about a school shooting in America. But it's really about a reluctantmother (played with uncompromising skill by Tilda Swinton) who from the moment her child is born
simply doesn't love him, simply isn't flooded with the emotions everyone assured her she would feel
because "it's different when it's your own." For her, it's not different. It doesn't help that the baby seemsto reject her too, refusing to even breast feed a drop. She never stops trying to connect or understand thechild even as she sees him growing into a disturbingly unempathetic little boy. Did she feel no love forhim because he was born this way or did he become this way because she couldn't offer him the maternallove every baby deserves? Here's a clip showing her overwhelmed by a baby she believes is intentionallycrying long after its needs have been met because the child doesn't like her (and, more to the point, justdoesn't like living).
This emotional journey is fitfully captured in the film, which is inevitably dominated by the school
shooting itself and Swinton's miserable life afterwards in the community and her repeated visits to herson in prison where he remains unrepentant. Is he human or just a monster? And is she a monster fornot being able to love him? All of this is addressed visually and intellectually in the film, but the dotsaren't quite connected emotionally. The film misses the career as a successful travel writer andbusinesswoman that Swinton sacrificed (it's alluded to briefly) and loses some of the impact of the climaxby ditching the novel's narrative decision to have the mother address her husband in letters talking about
their son. It's a film to admire, but not one that quite wrenches your heart out the way it should. And the
horror of the killings (echoed too often with the color red dominating the film's palette) just doesn't let usfocus on what made the book more than just a fictional Columbine: the horror of a mother who fears shenever should have become pregnant in the first place.
RESTLESS * 1/2
Moment to moment, I didn't mind this romantic weepie directed by Gus Van Sant. It stars two very
appealing actors -- Mia Wakowska (who looks like a young Mia Farrow here) and Henry Hopper (the son
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of Dennis and so handsome and CW-ready it reminds you how good looking his dad was in the days of
Rebel Without A Cause ). The plot is a shameless update of Harold & Maude , but with a sexier male lead
(all apologies to Bud Cort, who had a genuine charm all his own, but Hopper is Tiger Beat -ready) and
instead of an old coot/Holocaust survivor bored with life, what about a sexy young female with a terminalillness? So Hopper is an orphan who is scared of cars because his parents died in a horrible accident. Hegate-crashes funerals and Wasikowska bravely battles cancer (looking smashing every step of the way)
while teaching him to embrace life again. As if the twee-ness weren't already off the charts, Hopper -- in
a truly absurd bit of whimsy -- is befriended by the ghost of a young Japanese kamikaze pilot. Yep.
Hopper has no fascination with World War II or flying to explain such a bizarre conceit, but there you
are. The use of pop music is impeccable -- ranging from current tunes to Nico -- and both "troubled"
teens look dreamy when they're in love, dreamy when they're fighting and dreamy when they're dying or
watching someone else die. It's perfect for the teens waiting for the next Twilight . But if you're a genuine
outsider, Harold & Maude is still the one to watch.
POLISSE ** 1/2
Actress Maiwenn Le Besco (now going simply by Maiwenn) leaps into the majors with her entertaining ifsuperficial look at a Parisian Child Protection Unit of the police force. It feels essentially like a very goodTV pilot. We're introduced to a large, sprawling cast of characters and follow them as they do the verydifficult job of catching pedophiles and trying to rescue children in danger. The stress of the job is so highthat many of their relationships are rocky. One member of the team leaves her husband, egged on by afemale partner who says all men are scum. Another male member leaves his wife and finds himselfattracted to the female photographer assigned to their unit to capture the work they do. Two others are inlove and so on. Some of the vignettes are terrific -- a teenage girl who admits offering blowjobs to teenboys to get her phone back is puzzled when a cop says she shouldn't trade sex for a cell phone. "It was asmartphone," she responds, as if that explains it. A mother blithely tells the cops she can't get her baby to
sleep because the social worker told her not to give it handjobs any more. (She still does that with the
older boy; it always works.) Best of all is the scene where a female Muslim officer berates a Muslim manand demands he show her in the Quran where it says a woman shouldn't work; watching her rising angerand the way her teammates both keep violence from escalating but let her vent is hilarious and touching.
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The film stumbles with a very awkward, unearned "dramatic" ending and a scene of corruption where a
pedophile with high connections happily confesses to raping his daughter but they're forced to let him off
scot-free. It's completely unbelievable that a team of eight people would all agree to letting that happen
without at least going to the papers. Still, Maiwenn keeps a lot of balls in the air for most of the movie. If
it was the start of a TV series, I'd be sure to keep watching. As a standalone film, it feels a tad superficial.
But there's genuine talent here and a solid cast.
LA FEE/THE FAIRY ***
The team behind The Fairy also made the charming L'Iceberg and Rumba, which was fun it not quite as
assured. This falls in the middle of the two others, but there's no question this writing, directing and
performing team are a wonderfully original trio delivering the slapstick pleasure of silent comedy and a
romantic vision of life that is buoyant and delightful. In this tale, Dominique Abel works the night shift of
a tiny hotel. In walks Fiona Gordon (a gawky delight that echoes Shelley Duvall). She says she's a fairyand offers him three wishes. The rest of the film shows the result of his wishes and how the two of themquickly fall in love. Mixed in is a man who smuggles his dog into the hotel inside his luggage, whichforces him to say things like "Have you seen my bag?" when his dog goes missing. Three men hope toillegally emigrate to the UK, two not-so-bright cops want to end the wacky goings on and so on.
The heart of the movie are their comic set pieces. The fairy walks along the back of our hero to massage
out the pain after he's taken a tumble -- that means we see a close-up of her feet traveling up and downhis spine, squeezing here, playfully fondling there and suddenly jumping into the air to flip around orcross them and hold in the air like a ballerina before landing again an impossible ten seconds later. It's asimple little effect, but the willing suspension of disbelief it calls for puts you right in the mood for therest of the film. It's a bauble, a trifle, filled with oddball touches. When the fairy needs a new pair ofshoes she just walks into a shoe store and finds a good pair of high heels. "I'll take them," she says andthen asks if perhaps they have a pair of running shoes? She puts them on, says "I'll take them" too andthen rushes for the door, arms akimbo. The saleswoman chases after her -- despite being in high heels --and somehow manages to nearly track the fairy down. Then the race cuts to a main street where the fairynearly bumps into another thief who is fleeing on foot from the butchers he stole from. They jog in placewith a painted backdrop giving the illusion of movement, introducing themselves and shaking hands
politely (all while being chased) before each peels off in a separate direction. That's the sort of nutty,
weird little touches this movie relishes. If you like Buster Keaton and Harold Lloyd, there's no reason youshouldn't also take pleasure in the movies of these two (and their collaborator Bruno Romy). They're in aworld all their own and it's a sweet one.
THE SLUT **
In this drama written and directed by Hagar Ben-Asher, a single mother of two girls enjoys sex. She has
three men on call and though they often do things for free (like fix a flat tire), it's clear everyone is havinga good time, and the casual sex is just that. This relatively happy arrangement is thrown into turmoilwhen an old friend of hers drops in, a veterinarian she clearly has a fondness for. Their sex isn't quickand good-natured; it's passionate and deeply satisfying. Almost against her better judgment, our heroinefinds herself falling in love. But can she actually enjoy being with just one man? And exactly how patient
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is he going to be as she figures this out? To complicate matters, he's becoming a real presence in the lives
of her two girls. And then she gets pregnant. This is a quiet, well-made film, if a bit slow. It's hard todiscuss because the major bones of contention I have with the movie come towards the very end. Thefinal scene is vivid and believable but the major twist before that is completely unconvincing. Vagueenough for you? Let's just say these are decent if confused people. Anything is possible (nice people cando terrible things and terrible people can have moments of humanity) but for a movie to work we mustbelieve those moments truly happened for those particular characters. That doesn't happen here but Ben-Asher does create characters believable enough to make us resent when he pushes them into newdirections.
*****
Thanks for reading. Michael Giltz is the cohost of Showbiz Sandbox, a weekly pop culture podcast that
reveals the industry take on entertainment news of the day and features top journalists and opinion
makers as guests. It's available free on iTunes. Visit Michael Giltz at his website and his daily blog.
Download his podcast of celebrity interviews and his radio show, also called Popsurfing and alsoavailable for free on iTunes. Link to him on Netflix and gain access to thousands of ratings and
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Inspiring Funny Hot Scary Outrageous Amazing Weird CrazyCannes 2011 Day Two: Angry Kids,
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Critics remain in a very friendly mood, I must say. No
film has broken out with huge buzz, but everyone seemsto want to cut them slack and look on the bright side.
And you thought critics just couldn't wait to get their
digs in! (Actually, critics see so many movies they arealways desperately hungry for something even remotelygood and entertaining. That impulse is only heightenedwhen you see four or five movies in a day for 10 days ina row.) Here's my video report on the first day and a halfat the fest followed by full reviews of every film I've seenso far.
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WE NEED TO TALK ABOUT KEVIN ** 1/2 out of ****
Director Lynne Ramsay has a marvelous eye, a gift for strong visuals and a hunger for dark material. She
was a bold but smart choice to adapt We Need To Talk About Kevin, the best-selling novel by Lionel
Shriver. The book is nominally about a school shooting in America. But it's really about a reluctantmother (played with uncompromising skill by Tilda Swinton) who from the moment her child is born
simply doesn't love him, simply isn't flooded with the emotions everyone assured her she would feel
because "it's different when it's your own." For her, it's not different. It doesn't help that the baby seemsto reject her too, refusing to even breast feed a drop. She never stops trying to connect or understand thechild even as she sees him growing into a disturbingly unempathetic little boy. Did she feel no love forhim because he was born this way or did he become this way because she couldn't offer him the maternallove every baby deserves? Here's a clip showing her overwhelmed by a baby she believes is intentionallycrying long after its needs have been met because the child doesn't like her (and, more to the point, justdoesn't like living).
This emotional journey is fitfully captured in the film, which is inevitably dominated by the school
shooting itself and Swinton's miserable life afterwards in the community and her repeated visits to herson in prison where he remains unrepentant. Is he human or just a monster? And is she a monster fornot being able to love him? All of this is addressed visually and intellectually in the film, but the dotsaren't quite connected emotionally. The film misses the career as a successful travel writer andbusinesswoman that Swinton sacrificed (it's alluded to briefly) and loses some of the impact of the climaxby ditching the novel's narrative decision to have the mother address her husband in letters talking about
their son. It's a film to admire, but not one that quite wrenches your heart out the way it should. And the
horror of the killings (echoed too often with the color red dominating the film's palette) just doesn't let usfocus on what made the book more than just a fictional Columbine: the horror of a mother who fears shenever should have become pregnant in the first place.
RESTLESS * 1/2
Moment to moment, I didn't mind this romantic weepie directed by Gus Van Sant. It stars two very
appealing actors -- Mia Wakowska (who looks like a young Mia Farrow here) and Henry Hopper (the son
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of Dennis and so handsome and CW-ready it reminds you how good looking his dad was in the days of
Rebel Without A Cause ). The plot is a shameless update of Harold & Maude , but with a sexier male lead
(all apologies to Bud Cort, who had a genuine charm all his own, but Hopper is Tiger Beat -ready) and
instead of an old coot/Holocaust survivor bored with life, what about a sexy young female with a terminalillness? So Hopper is an orphan who is scared of cars because his parents died in a horrible accident. Hegate-crashes funerals and Wasikowska bravely battles cancer (looking smashing every step of the way)
while teaching him to embrace life again. As if the twee-ness weren't already off the charts, Hopper -- in
a truly absurd bit of whimsy -- is befriended by the ghost of a young Japanese kamikaze pilot. Yep.
Hopper has no fascination with World War II or flying to explain such a bizarre conceit, but there you
are. The use of pop music is impeccable -- ranging from current tunes to Nico -- and both "troubled"
teens look dreamy when they're in love, dreamy when they're fighting and dreamy when they're dying or
watching someone else die. It's perfect for the teens waiting for the next Twilight . But if you're a genuine
outsider, Harold & Maude is still the one to watch.
POLISSE ** 1/2
Actress Maiwenn Le Besco (now going simply by Maiwenn) leaps into the majors with her entertaining ifsuperficial look at a Parisian Child Protection Unit of the police force. It feels essentially like a very goodTV pilot. We're introduced to a large, sprawling cast of characters and follow them as they do the verydifficult job of catching pedophiles and trying to rescue children in danger. The stress of the job is so highthat many of their relationships are rocky. One member of the team leaves her husband, egged on by afemale partner who says all men are scum. Another male member leaves his wife and finds himselfattracted to the female photographer assigned to their unit to capture the work they do. Two others are inlove and so on. Some of the vignettes are terrific -- a teenage girl who admits offering blowjobs to teenboys to get her phone back is puzzled when a cop says she shouldn't trade sex for a cell phone. "It was asmartphone," she responds, as if that explains it. A mother blithely tells the cops she can't get her baby to
sleep because the social worker told her not to give it handjobs any more. (She still does that with the
older boy; it always works.) Best of all is the scene where a female Muslim officer berates a Muslim manand demands he show her in the Quran where it says a woman shouldn't work; watching her rising angerand the way her teammates both keep violence from escalating but let her vent is hilarious and touching.
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The film stumbles with a very awkward, unearned "dramatic" ending and a scene of corruption where a
pedophile with high connections happily confesses to raping his daughter but they're forced to let him off
scot-free. It's completely unbelievable that a team of eight people would all agree to letting that happen
without at least going to the papers. Still, Maiwenn keeps a lot of balls in the air for most of the movie. If
it was the start of a TV series, I'd be sure to keep watching. As a standalone film, it feels a tad superficial.
But there's genuine talent here and a solid cast.
LA FEE/THE FAIRY ***
The team behind The Fairy also made the charming L'Iceberg and Rumba, which was fun it not quite as
assured. This falls in the middle of the two others, but there's no question this writing, directing and
performing team are a wonderfully original trio delivering the slapstick pleasure of silent comedy and a
romantic vision of life that is buoyant and delightful. In this tale, Dominique Abel works the night shift of
a tiny hotel. In walks Fiona Gordon (a gawky delight that echoes Shelley Duvall). She says she's a fairyand offers him three wishes. The rest of the film shows the result of his wishes and how the two of themquickly fall in love. Mixed in is a man who smuggles his dog into the hotel inside his luggage, whichforces him to say things like "Have you seen my bag?" when his dog goes missing. Three men hope toillegally emigrate to the UK, two not-so-bright cops want to end the wacky goings on and so on.
The heart of the movie are their comic set pieces. The fairy walks along the back of our hero to massage
out the pain after he's taken a tumble -- that means we see a close-up of her feet traveling up and downhis spine, squeezing here, playfully fondling there and suddenly jumping into the air to flip around orcross them and hold in the air like a ballerina before landing again an impossible ten seconds later. It's asimple little effect, but the willing suspension of disbelief it calls for puts you right in the mood for therest of the film. It's a bauble, a trifle, filled with oddball touches. When the fairy needs a new pair ofshoes she just walks into a shoe store and finds a good pair of high heels. "I'll take them," she says andthen asks if perhaps they have a pair of running shoes? She puts them on, says "I'll take them" too andthen rushes for the door, arms akimbo. The saleswoman chases after her -- despite being in high heels --and somehow manages to nearly track the fairy down. Then the race cuts to a main street where the fairynearly bumps into another thief who is fleeing on foot from the butchers he stole from. They jog in placewith a painted backdrop giving the illusion of movement, introducing themselves and shaking hands
politely (all while being chased) before each peels off in a separate direction. That's the sort of nutty,
weird little touches this movie relishes. If you like Buster Keaton and Harold Lloyd, there's no reason youshouldn't also take pleasure in the movies of these two (and their collaborator Bruno Romy). They're in aworld all their own and it's a sweet one.
THE SLUT **
In this drama written and directed by Hagar Ben-Asher, a single mother of two girls enjoys sex. She has
three men on call and though they often do things for free (like fix a flat tire), it's clear everyone is havinga good time, and the casual sex is just that. This relatively happy arrangement is thrown into turmoilwhen an old friend of hers drops in, a veterinarian she clearly has a fondness for. Their sex isn't quickand good-natured; it's passionate and deeply satisfying. Almost against her better judgment, our heroinefinds herself falling in love. But can she actually enjoy being with just one man? And exactly how patient
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is he going to be as she figures this out? To complicate matters, he's becoming a real presence in the lives
of her two girls. And then she gets pregnant. This is a quiet, well-made film, if a bit slow. It's hard todiscuss because the major bones of contention I have with the movie come towards the very end. Thefinal scene is vivid and believable but the major twist before that is completely unconvincing. Vagueenough for you? Let's just say these are decent if confused people. Anything is possible (nice people cando terrible things and terrible people can have moments of humanity) but for a movie to work we mustbelieve those moments truly happened for those particular characters. That doesn't happen here but Ben-Asher does create characters believable enough to make us resent when he pushes them into newdirections.
*****
Thanks for reading. Michael Giltz is the cohost of Showbiz Sandbox, a weekly pop culture podcast that
reveals the industry take on entertainment news of the day and features top journalists and opinion
makers as guests. It's available free on iTunes. Visit Michael Giltz at his website and his daily blog.
Download his podcast of celebrity interviews and his radio show, also called Popsurfing and alsoavailable for free on iTunes. Link to him on Netflix and gain access to thousands of ratings and
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