Big release this week? Well, probably We Bought a Zoo, but fuck me, look at the trailer:
Man quits job in dramatic fashion! Tousle-haired moppet jumps up and down and goes ‘Yay!’ Hoppípolla! ScarJo in a Christmas jumper! Matt Damon had better be playing an amnesiac assassin who accidentally buys a zoo, that’s all I’m saying.
In lieu of a MostlyFilm post, why not read this excellent treatise on the correct order in which to watch the Star Wars Films? No reason, I just happen to agree.
Or you could read a MostlyFilm post. There were four this week:
Turkish director Nuri Bilge Ceylan’s latest film was the joint winner – along with the Dardennes’ The Kid With a Bike – of the Grand Prix at last year’s Cannes film festival, and has since been widely acclaimed as his masterpiece. At the very least it is his most thematically expansive and formally ambitious work since his international breakthrough, 2002’s Distant. But as always with Ceylan, I find myself stranded uneasily between admiration and scepticism, dazzled by the technical mastery, unable to shake the suspicion that there’s less to the film than meets the eye, yet on some level aware that the failing is probably mine.
Just before Christmas, the issue of film release scheduling was brought up as part of the ugly contretemps between New Yorker film reviewer David Denby and Girl with the Dragon Tattoo producer Scott Rudin. While Denby’s claim that he had to break an embargo he’d agreed to because of release schedule madness (in this case, keeping all of the films aimed at a literate, adult audience to be released at the same time) was clutching for a proverbial drinking device, there’s a kernel of truth to the fact that most of the interesting releases aimed at an older audience do tend to be squeezed into a three month (at best) period. Continue reading Preview of 2012 – Awards and Art House→
I Wish is an absolute delight. It tells the story of two young brothers whose parents have split up; the mother took the elder brother to live with her parents, leaving the father and younger brother behind. The split was acrimonious, and so the boys must communicate by phone, in secret. The mother’s family live in a town across the water from an active volcano; its looming presence fills the sky and ash falls more or less all the time, coating the town in a dull film that has to be constantly cleaned up. It’s a state of depressed limbo that reflects the lives of the family; things are unresolved. The film centres around the elder boy’s desire to bring the family back together; he decides that if the volcano exploded it would resolve things once and for all by forcing an evacuation of his town, and his parents to reunite. He ends up leading an expedition of children, each bringing a desire of their own, on a quest to reach a magic place where two Shinkansen trains will pass each other for the first time, which the kids believe will create enough energy to make wishes come true.