NYFF51 Centerpiece Review: The Secret Life of Walter Mitty (2013)

by Tony Dayoub

It is clear that The Secret Life of Walter Mitty represents a huge leap for Ben Stiller as a director. Not since his first film, Reality Bites, has Stiller turned his preoccupation with pop culture iconography into emotional signposts for the inner life of his characters. That's not to say that there isn't a vague sense of detachment when one sees this fantasy about a self-marginalized man who dreams of connecting with the people in his life, a work crush (Kristen Wiig), and ultimately himself. For a movie about forging such bonds Walter Mitty is curiously devoid of emotions for much if not necessarily all of its lengthy 114-minute running time. Still, this is the closest Stiller comes to creating a moving work, so it's easy to see why its filmmakers have award aspirations for it.

After the Triumph of Your Birth

by Tony Dayoub

First films. You can usually lump them in one of two categories: watered-down retreads of a pick-your-genre kind of movie or amateurish stabs at revealing something personal (but not particularly interesting) about its creator. Jim Akin's first film is neither. After the Triumph of Your Birth is a beautifully photographed, ambitious foray into the American psyche, replete with resonant musical interludes featuring Akin, his wife Maria Mckee (formerly of Lone Justice) and star Tom Dunne. Fusing Paul Thomas Anderson's sense of the absurd with David Lynch's skewed perspective on Americana, Akin turns a hairy eyeball toward the disconnectedness of the archetypal loner encouraged by our popular culture.

Now It’s Dark

From prose to poetry: the Blue Velvet: 25th Anniversary Edition Blu-ray

by Tony Dayoub

The first thing that comes to mind when I think of Blue Velvet, surely one of the most significant films of the last 25 years, is something rather ordinary for a movie with so many shocking and memorable images. It is the opening shot. Not the saturated opening shot of the red roses against the white picket fence of the film proper, mind you. I mean the fade up into the image of blue velvet flapping as if being blown by some mysterious wind. Composer Angelo Badalamenti’s timpanists roll right into the plaintive violins of his main theme, paving the way for a solitary clarinet repeating their melody. Initially, the clarinet’s crisp intrusion into the lushness of the violins is as transgressive as that of the film’s main character, Jeffrey Beaumont (Kyle MacLachlan) into the nightmarish beauty of his sleepy hometown, Lumberton. But eventually, the clarinet blends in with the violins, achieving a harmonic unity not unlike the one the naïve Jeffrey does when he gets simpatico with the twisted underbelly of his innocent-looking small town and its frightening denizens.

UPDATED: Blue Velvet 25th Anniversary Blu-ray Giveaway

by Tony Dayoub

One of my all-time favorite films, Blue Velvet, is now available for the first time ever on Blu-ray. A week from today, I should have a review up at my other outlet, Nomad Editions: Wide Screen, where I'll focus on the 50 minutes of lost footage that appears on the disc as a bonus feature.

To celebrate this release, I am happy to give away a free copy of the new 25th Anniversary Blu-ray (courtesy of Twentieth Century Fox Home Entertainment and Metro-Goldwyn-Mayer Studios, Inc.) to each of the first FIVE people who can correctly answer a question related to the bonus footage (hint: if you go back through some of my recent tweets you can easily find the answer). But first, the rules:

Invoking the Spirit of the West

How DVD extras enhance the experience of viewing the animated Rango

By Tony Dayoub

It’s unusual to see my annual list of best movies and not find some animated piece by either Pixar or Disney or both in a prominent position. Stranger still is finding that slot occupied by a first-time offering from an upstart animation company. But 2011’s offerings from the House of Mouse are weaker than in years past. Cars 2 is a hackneyed attempt to capitalize on the franchise’s licensing longevity, repositioning an annoying secondary character — popular with kids — as the new star of the series while jettisoning any of the emotional content that made the first film palatable to adults. And though the new Winnie the Pooh redo is an earnest stab at satisfying adults’ appetite for nostalgia, it adheres a little too closely to tradition to have the broad appeal of most recent Disney/Pixar movies: You’re not going to see Junior shutting down the PlayStation to go check out the cool, new animated designs of Tigger, Eeyore, or Piglet at the multiplex with his friends. No, for that there’s Rango (Paramount Home Video), just out on Blu-ray and DVD...

CONTINUE READING AT NOMAD EDITIONS: WIDE SCREEN

Blu-ray Review: Videodrome (1983)

by Tony Dayoub

What's got two thumbs, hosted the Cronenberg Blogathon, and has never seen the director's most representative film, Videodrome? A week ago, I would have responded, "This guy." But Criterion sent me a review copy of their new Blu-ray of Videodrome last week, and I can now say I've seen all of Cronenberg's feature-length films. And boy, did I wait too long to catch this one! Criterion's wonderfully appointed package is a mixture of featurettes concentrating on the physical effects by the legendary Rick Baker (An American Werewolf in London), extended sequences which appear as pirated S&M transmissions in the movie, and a fascinating panel discussion featuring Cronenberg, John Carpenter and John Landis (with then-unknown Mick Garris), all supplementing a high-def transfer supervised by cinematographer Mark Irwin. Part surrealist nightmare, part political satire and more, Videodrome is clearly the key film in the Canadian filmmaker's oeuvre.

DVD Roundup: Waking Dreams

by Tony Dayoub

I'll be brief today on the subject of two surrealist DVD releases which debuted in the last couple of weeks. One is based on a cult series of some renown. The other has quickly developed its own small following.

Movie Review: Synecdoche, New York - Charlie Kaufman as Auteur

As an auteurist, it is difficult for me to assign even a screenwriter the role of creative force behind a film. But when that screenwriter is Charlie Kaufman, it's hard not to. Now that Kaufman has made his confident directorial debut, it becomes academic. His newest film, Synecdoche, New York, is most assuredly of a piece with the rest of his oeuvre, solidifying the argument. Like in Adaptation (2002), the protagonist in Synecdoche is a writer, a playwright in this case. Caden Cotard (Philip Seymour Hoffman) is also depressed, pessimistic, and completely self-centered. His wife Adele (Catherine Keener) absconds to Berlin with their young daughter, Olive, ostensibly to promote her art show (she paints tiny thumbnail-size portraits). But in reality, she is setting up house with her maybe-more-than-friend Maria (Jennifer Jason Leigh). Just like Nicolas Cage was playing a version of Charlie Kaufman (literally, as that was the character's name) in the earlier film, Hoffman seems to be channeling the same spirit. His self-absorption manifests itself in the form of severe hypochondria; a lack of self-esteem that somehow makes him more charming to women, not less; and his greatest enemy seems to be a lack of confidence in his writing. While Cage's character felt a block at the idea of adapting another writer's work, here Cotard's impediment is mounting an autobiographical play that will have enough scope to rival the enormity of his life. Cotard may lack self-esteem, but he doesn't lack artistic hubris. This is where we start to realize that Cotard inhabits a surreal world not unlike that in another of Kaufman's films, Being John Malkovich (1999). You'll recall that as the film where John Cusack's Craig, a schlub puppeteer, ends up working as a filing clerk at a company whose offices are on the 7 1/2 floor of a Manhattan office building. In Synecdoche, Cotard purchases the largest warehouse one can ever imagine, and proceeds to mount a play with the largest cast ever assembled in what will eventually be a life-size version of New York City. Yeah, don't worry. Just like it made sense to find a portal into actor John Malkovich's consciousness on that 7 1/2 floor, it makes a weird kind of sense when you see Cotard's play being staged in this movie. Synecdoche's world is an odd one where it's not unusual to hear a former flame of Cotard's, Hazel (Samantha Morton), tell him that she's got to leave to meet her husband and the twins, and she proceeds to rattle off three children's names instead of two. When Hazel goes house-hunting, she buys a burning house because it's more affordable. The picture above is of Hazel entertaining Cotard in said house after she's moved in. Surrealism is not used simply for the sake of piling on non-sequiturs. There is a moral dilemma being explored here through the prism of surrealism, just like in Kaufman's most accessible work, Eternal Sunshine of the Spotless Mind (2004). In that film, Joel (Jim Carrey) was dismayed to find out that his former lover, Clementine (Kate Winslet), was so over their relationship she decided to have the memories of it erased from her mind. Consenting to the same procedure as an act of revenge, he instead finds he does not want to lose the memories. Synechdoche's dilemma concerns introspection. It asks, at what point does self-examination become more than a way to improve oneself, and become instead, a way of exiling oneself from one's own life and its significant events? Cotard is so fearful of dying of some disease he ambitiously tries to capture the meaning of life in his grand play, ignoring every event or person that would give his life the importance he seeks. This is a theme that runs through all of Kaufman's work, the denial of elements in one's persona in the pursuit of answers to the mystery of same. Whether it's Joel discovering this trap a little too late into his memory-erasure of Clementine; or Craig's decision to hide behind John Malkovich's appearance in order to both advance his career as a puppeteer and win a woman's attention; or Charlie trying to gain personal redemption in adapting someone else's story; all have Kaufman's distinct imprimatur. Synecdoche, New York is our first opportunity to see Kaufman's unexpurgated vision of reality unfold before us, and it is a resounding success.

DVD Review: Lost Highway - David Lynch's Disturbing Film Finally Makes It to DVD

by Tony Dayoub


Lost Highway, one of my favorite David Lynch films, has just been released on DVD for the first time since its theatrical release 11 years ago. It was the last of his films that was left to be released on DVD. This effort is one of his weirder ones, but I love it because of how revelatory it is of Lynch, the artist.