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Posts Tagged ‘aronofsky’

lawn

Lawn Dogs: I am not entirely sure what director John Duigan wanted to convey through Lawn Dogs. It is the equivalent of reading a Patrick McCabe novel. You are not entirely sure about what’s going on, but somehow you are moved by it. Throw in some over-the-top symbolism and a haunting musical score and you’ll be lucky not to be squatting naked on your bathroom floor, clutching your knees, sobbing while dealing with a migraine by the end of the film.

Alright, maybe I exaggerate a bit (certainly not about McCabe though, try reading Mondo Desperado), but seriously, the ending freaked me out. And I want that beautiful piece of music that pierces through the climax more than I want chocolate shavings on my double-scoop sundae.

lawn dogs

Sam Rockwell once again gets on every critic’s good side with his commitment to his character’s eccentricities. Even in Hitchhiker’s Guide To The Galaxy, he played the role of Zaphod Beeblebrox with the perfect level of silliness and assholishness (I don’t get paid for this, you know). In Lawn Dogs, Rockwell plays Trent – a free-spirited, slightly insane trailer park reject who makes a living by mowing lawns in the nearby sophisticated housing development. Enter Mischa Barton, who plays Devon Stockard – a ten-year-old girl who feels so burdened by society’s imperfections that she hardly feels the need to let her mind wander within hundred feet of reality. They have something in common – the urge to keep running away until normalcy is all but a tiny dot.

Of course, the other residents misconstrue certain events, which leads to many awkward moments and by the end, a few disturbing, violent ones between these two lawn dogs and the rest of the world. Like I said earlier, I don’t think Lawn Dogs ended the way that would have probably catapulted it to greatness (or at least what I conceive to be so), but it did leave me with a feeling that it could never be replicated again. That’s more than I can say for most of what artists across different medium spewed forth during the Nineties.

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Donnie Darko: Dam…I should have watched Donnie Darko a few years ago. Not that I didn’t enjoy it a whole lot, but something tells me that I would have just stopped short of persistently drooling if I had watched it then. See folks, if you want to make a film about teenagers getting messed up by peer pressure, social alienation and all that, this is what you do. You hire a competent actor (Jake Gyllenhaal is exactly that), give his character a vague emotional crisis, weave a plausible storyline around his life and then boldly going where few films about stressed out teenagers go  – a dark alley where different genres of film meet up and shake hands.

doniie darko

Donnie Darko does that to science fiction; often teasing to cross paths with time travel, but never obliging to say more than a kind word. I’ll stop before I confuse you further by talking about everything else than the storyline. So, go watch Donnie Darko. It is directed by Richard Kelly and features solid performances by Maggie Gyllenhaal (whom I think can do no wrong) and Holmes Osbourne. Oh, Patrick Swayze is remarkably sleazy and awesome in his role as the motivational speaker. No wonder he almost managed to save Niall Johnson’s Keeping Mum with similar creepiness.

followingFollowing: This one is Christopher Nolan’s first full-length feature film and with the exception of Memento, it also happens to be his most satisfying work. Surprisingly, most its uniqueness stems from the fact that the storytelling in Following hardly bears to any resemblance to any of his future endeavors that brought Hollywood to its knees. Before I go on raving about this and that, you should know that the narration is presented in a disjointed format; meaning that Christopher Nolan – the cinematographer – had more of an impact on this film than Nolan – the director or the writer.

Shot in a grainy 16 MM camera, it gives us a glimpse into the life of ‘Bill’ (Jeremy Theobald) – a writer who one day decides to follow people in order to understand more about them. An encounter with a sharp dressed thief (Alex Haw) leads ‘Bill’ and us, the audience, into a journey of fractured self-discovery. So, is this film noir? Perhaps, but with muted words replacing dramatic silence.

Pi

Pi: And this one just happens to be Darren Aronofsky debut film (both of which are available, excellently packaged at Rainbow DVD store in Old Parsons Complex). This too has been shot in murky black and white with the inconsistent camerawork working to its benefit. As horribly cheesy as the tagline – searching for patterns in all the wrong places – is, it perhaps is the most accurate description of Aronofsky oddly intense debut.

Pi has Sean Gullette playing Max Cohen – a New York-based mathematical theorist who believes that numbers can solve universal complexities and provide a definitive answer to the biggest problem of all, life itself. With the help of Euclid (his homemade supercomputer), he looks to find patterns that could give him control over the stock market. Like Following, the protagonist’s life changes after a strange encounter with an even stranger man – in this case, Lenny Meyer (Ben Shenkman), an orthodox Jew who theorizes on Torah (Judaism’s original religious and legal texts).

Pi

Now look, I have absolutely hated mathematics as long as my memory permits. Nothing made me sadder as a kid than to know that solving a problem involving numbers held the key to how close I was to a righteous asskicking from my dad. Despite that, I enjoyed the tricky arithmetic of Pi; mostly because the director didn’t suck the life out of it by taking away the element of human error.

Pi is splendid mostly because we pity Max Cohen more than anything else.

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There are millions of films that have been released over the past few decades that I really wanted to see but haven’t yet had the opportunity. By millions, I mean hundreds. So it’s going to be quite awhile before I start completely salivating at the prospect of new film releases. For now, I shall restrict the excitement levels to mild frothing.

Film: W

Director: Oliver Stone

Cast: Josh Brolin, James Cromwell, Richard Dreyfuss

Synopsis: Supposedly, it chronicles the series of incidents that led George W Bush to the bottom of the bottle and consequently into the limelight as the President.

Why I Care: I felt sympathetic towards a pedophile in Woodsman; I can’t wait to see if I even have an ounce of it for Dubya.

Film: House

Director: Robby Henson

Cast: Michael Madsen, Leslie Easterbrook, Allana Bale

Synopsis: Two stranded couples. Three expected survivors. One crazy-ass Alabama psycho.

Why I Care: In the trailer, the psycho claims to have “killed God after he let Him into his house”…verbal viral marketing? Nice.

Film: Synecdoche, New York

Director: Charlie Kaufman

Cast: Philip Seymour Hoffman, Catherine Keener, Jennifer Jason Leigh

Synopsis: Hoffman plays a director neither at the apex of his career nor his marital life, who now embarks on his theatrical masterpiece – a life-size replica of New York inside a warehouse.

Why I Care: Two reasons. Hoffman and Kaufman.

Film: The Wrestler

Director: Darren Aronofsky

Cast: Michael Rourke, Marisa Tomei, Evan Rachel Wood

Synopsis: Supposedly, a tale of an independent wrestler rising up the ranks to face his nemesis.

Why I Care: Aronofsky’s return to Indie films, and Mickey playing a wrestler? I am going to end up watching this film at least six times.

Film: Saibogujiman Kwenchana (I’m A Cyborg, But That’s OK)

Director: Chan-Wook Park

Cast: Su-Jeong Lim, Rain, Dal-Su Oh

Synopsis: IMDB says, “A girl who thinks she is a combat Cyborg checks into a mental hospital, where she encounters other psychotics,” and falls for a man who thinks he can steal people’s souls.”

Why I Care: Didn’t you read the synopsis? Also, Park is the twisted mind behind Oldboy and Sympathy For Lady Vengeance.

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