Movie Review Briefs: The Lords of Salem, Trance and Bert Stern:Original Mad Man

by Tony Dayoub

One basic lesson filmmakers would be wise to learn is not to put their significant others in their movies. There are exceptions of course. Michael Powell was in love with Deborah Kerr, and yet they made two of their best films together, the The Life and Death of Colonel Blimp before their breakup and Black Narcissus many years afterwards. But we're talking about Kerr, who could enchant anyone if she were simply reading the phone book, and Powell, who could film said reading and have us anticipating the next name to be read. None of the directors of the last three films I've seen come within miles of approximating Powell's talent, nor would they claim to. However, a particular kind of hubris can blind artists both high and low. With this group, it' fairly obvious that their movies would likely improve significantly if the relationship between them and their muse were... less intimate? Read on, and see if you agree.

NYFF11 Movie Review: A Dangerous Method

by Tony Dayoub

On the face of it, David Cronenberg's A Dangerous Method, based on the play "The Talking Cure" by Christopher Hampton, seems like the perfect vehicle for the director's cerebral approach. In his films, Cronenberg is often accused of a detached, almost clinical, method of eliciting drama from circumstances in which the body turns on itself, i.e., The Brood, The Fly, and even less fantastic stories like that of Dead Ringers. So, at first glance, this story depicting the nearly filial relationship between Sigmund Freud (Viggo Mortensen) and his protege, Carl Jung (Michael Fassbender), and its eventual rupture over their contrasting approaches to mental illness, seems like the perfect marriage of artist and material.

Movie Review: Black Swan (2010)

by Tony Dayoub

I have never been one attracted to Natalie Portman much past her obvious physical beauty. With the exception of early turns in The Professional (aka Léon) and Beautiful Girls, her performance style has always struck me as perfect to the point of being brittle. So Darren Aronofsky's use of her in Black Swan stands out as an astute bit of exploitation, mining Portman's own flaws to inform her role as an overambitious ballerina. Indeed, one could apply this to the entire ensemble cast of this thriller mashing up the ballet movie with the psychological horror film.

Movie Review: Mesrine: Public Enemy #1 (L'ennemi public n°1) (2008)

by Tony Dayoub

A couple of weeks ago I caught an interview with Vincent Cassel on Charlie Rose in which, while promoting his Mesrine two-parter, he explained his approach to famed bank robber Jacques Mesrine. Chief among his demands on the film's producers was his desire to play the man as the criminal he was, not the mythical Robin Hood he portrayed hiself as in his memoir. So my expectation going into the second part, Mesrine: Public Enemy #1 (L'ennemi public n°1), was that this film would be the grittier and more overtly critical of the two films, a takedown of the roguish image depicted in Mesrine: Killer Instinct (reviewed here). Imagine my disappointment when, midway through the film, Jacques gives a 100,000 francs to a poor family who just smuggled him through a police roadblock, thanking them for their service.

Movie Review: Mesrine: Killer Instinct (L'instinct de mort) (2008)

by Tony Dayoub

Opening today in limited release throughout the U.S., Mesrine: Killer Instinct is a star vehicle showcasing the talents of its leading man, Vincent Cassel. Although quite well-known internationally, particularly for his lead roles in Irreversible and La Haine (oh yeah... and he's married to one of the most beautiful women in the world), domestically he's had to settle for character parts in films like Eastern Promises, and the Ocean's franchise. Being that Mesrine feels more like an American gangster flick than some of the notable Gallic ones, this might be the best chance for the talented Cassel to finally cross over big.