I'm Not Going To Sundance, But...

Of course, I'm not going to Sundance. I wish that I could, but I can't. Maybe in 2009, and maybe with a film of my own. Fingers crossed.

But... let's pretned that I am about to pack my bags and head off to Sundance. Which films do I most want to see? Let's keep this to three films. My top three picks of the Sundance line-up in ascending order - based purely on the films' pedigrees, pre-release promotional materials and any clips or trailers I may have been able to find.

Third position goes to Craig Brewer's Black Snake Moan. Elisabeth has already reviewed the film for this blog, and she certainly did a good job of fanning the flames of anticipation, but I've been counting down to this film ever since the opening credits of Hustle and Flow. That's when I was first convinved that Brewer not only knew what he was doing, he cared deeply about it too.

Terence Howard pretty much nailed a tricky part in Flow, but the roles dished out to Samuel L. Jackson and Christina Ricci in Black Snake Moan appear to require an even more precarious tightrope walk. By all accounts, however, at least one of them has pulled it off, and with flair. It's going to be good to see Jackson take on a solid, complex part again after a few years playing in the actors' sandbox.

Overall, this one gives me the impression of a sweatier Holy Smoke, dressed up in trampy, stained clothes and raging like a manic street preacher.

Second position goes to Fay Grim, Hal Hartley's sequel to Henry Fool. Critics who have been lucky enough to see the film already - it premiered in Toronto - have generally disliked the film, accusing Hartley of treading water and having nothing new to say. If that's their criticism, we have nothing to worry about. It's obvious from some of the stills, and certainly clips of the film, that Hartley has taken a new approach in the cinematography, using digital cameras mixing a little bit of German Expressionism into the mise en scene; and, as regards the content, his irreverent spy caper seems nothing if not timely.



I'm sure Parker Posey, Jeff Goldblum and James Urbaniak haven't had anything so fun to really get their teeth stuck into for quite a while. Here's hoping this film's release reinvigorates press coverage of Hartley and pumps up his profile once again.

And, so, finally, first position.

If you've been paying attention to film ick, this won't surprise you. My number one choice of the Sundance line-up (bearing in mind that I've only seen a handful of the films being screened - and that none of those made this list) is undoubtedly Son of Rambow.

There's been a wave of films about young people and their imagination-saturated inner lives of late, from Mirrormask to Tideland to Pan's Labyrinth, even maybe Little Miss Sunshine (in part, at least). It's fair to say that Son of Rambow follows in this line, but certainly not in the same style. And not only because this time it's a young boy, and a young boy's imagination, in the spotlight.

I first read about Son of Rambow some years ago when it was, I believe, set to be the debut film from Hammer and Tongs - director Garth Jennings and producer Nick Goldsmith - but since then, they've made, released and been criminally underrated in regards to The Hitchhiker's Guide to the Galaxy.

Generally brilliant though it was, I'll agree that Guide was an inarguably flawed film - but almost everything wrong with it is also wrong with the source book, TV and radio shows so that can't be pressed hard against Jennings and his collaborators. Looking at how Jennings designed, staged and directed many of the scenes, it was abundantly clear that the wit and imagination that overflowed in his music video and commercial work was intact and married to the necessary subtle craftsmanship. We were obviously dealing filmmaker who thought in genuinely cinematic fashion but had no desire to wow with hollow flash - and they're far too rare a breed.
Son of Rambow comes from a story by Jennings himself, and while it isn't clear just how autobiographical the film might be, the temptation is to assume that the answer is 'quite a bit, actually' - with no foundation for that supposition at all, of course. The lead character is Will, a young lad being brought up in a Plymouth Brethren family during the 1980s. He's denied TV and music as part of his upbringing, so when he meets rabble-rousing classroom-terrorist and bizzaro-mondo home movie maker Lee Carter at school, he's in for quite a culture shock. Before long, they're forging a friendship and collaborating on a video - Lee is directing, Will is the stuntman lead, the movie is Son of Rambow.



This seems to mix elements you might find War of the Buttons, Be Kind, Rewind, Oranges Are Not the Only Fruit and the true story of 'those kids who famously restaged Raiders of the Lost Ark' but under Jennings' direction, it's bound to be something brand new and full of wonder. I asked him about the film being included in the Sundance line-up and here's what he had to say:

I am flattered that Son of Rambow is your choice film for Sundance een though you haven't seen it yet. In fact, I haven't seen it totally finished yet either. I'm sitting in the dubbing theatre mixing the final reel of the film as I write this and despite nearly shattering my ear bones during a big action sequence, it's going extremely well. This time last year no bugger would finance this film so being given a premier slot at Sundance is quite a triumph for us. Nick and I are so proud of the film. I really don't know if we've ever captured so closely what we imagined before. Directors often talk about their films as being their 'baby' and if this is the case, then ours would have all it's fingers and toes, always smile - even at strangers - never need it's nappy changed and would be called Jesus (which would make Nick and I Mary and Joseph. Maybe I should have thought this stupid analogy through first!).

Hopefully, Son of Rambow will secure a nice, big distribution deal at Sundance and be hyped onto screens worldwide in the next few months. I can't wait to see something of it - there's hardly even a still out there so far, let alone a trailer or clips - and as soon as I do, I'll be updating you.

Anybody out there who sees any of these films at Sundance - or any others - please drop me a line and let me know what you thought.

Black Snake Moan Review

Black Snake Moan was a film that I thank BNAT 8 for "forcing" me to watch. I knew very little about it and what I had read turned me off. I knew only that Christina Ricci played a Southern slut and that Samuel L. Jackson played a fiery Christian who chains her to a radiator to reform her. The promo posters and the title led me to believe this would be one sweaty piece of exploitation.

It’s not. Not at all. And while those promotional posters are a lot of fun, I hope they make a subtle change in the marketing because a lot of people who would really enjoy this movie will be turned off by them. Then again, maybe there is something to be said for encouraging people to take a risk.

Black Snake Moan is, to borrow a really apt observation from Buttnumbathon, something out of Flannery O’Connor. The film is drenched in the humid and desperate poverty of the South, those tiny towns you can’t believe really exist. But the comparison only goes so far, Black Snake Moan is O’Connor if she had written with more of a heart and less of the grotesque. That’s not to say the grotesque doesn’t play a bit of a part—Christina Ricci’s “itch” leaves little to the imagination and the town is full of hick stereotypes. But there’s also a lot of tenderness and goodness and while the ending isn’t a fairy tale one, you’re left with hope that these people are all going to make it.

This film boasts the best performance I have ever seen from Samuel L. Jackson. Again, the promotional material sells him as a terrifying individual and that’s simply not true. He’s a genuinely good man, and while flawed and unpredictable, he is still utterly likeable. There’s not very much of the “badass motherfucker” in this film, he may threaten a reverend with a rifle, but he also makes up a gift basket with ginger scented lotion for his lady friend. You are actually rooting for him to chain her to that radiator. If there’s one person who can help the town slut, it’s Samuel L. Jackson. He really should get an Oscar nomination for this film, if only for the taunt scene where he plays the blues to Ricci. There’s your Oscar clip right there.

I would venture to say this is one of the best roles I have seen from Christina Ricci as well. For me, Ricci has the reputation of one of those actresses who believes a daring part is something of pure shock value. This may not be true--I confess, I’m lazy and haven’t seen much of her recent work. I was ready to lump Black Snake Moan in with that. The film even sets you up to expect this—we first meet her having sex with Timberlake and strutting around in hot pants and crop tops. She’s the town bicycle that you just hate. And then the film hits you with who she really is—a sad and self-loathing girl who has had a truly horrible time of it. Cliched? Maybe, but it’s also a tragic reality for far too many women. That’s what is so great about Ricci’s performance. It may start out as a bit of a caricature, but she shines through as someone very real and deserving of your pity.

And Justin Timberlake! Who knew he could act? I did not even know he was in this film and barely recognized him onscreen. He looks like a sad little Army boy and he plays one to perfection. There’s no musician swagger, this is a boy (and I emphasize boy) who has no other option and is just trying to find a way out for himself and his girl. His character suffers a lot of heartbreak in this film and there isn’t one forced or theatrical moment. I am incredibly impressed.

Black Snake Moan is a long way from a sexy, exploitive film. It’s funny, it’s touching and even packs a few scary moments. Every time you think it’s going in a certain direction and will land in cliche, it veers off and surprises you. This will be one of the best films of 2007 and should get double the attention Hustle and Flow did.

Black Snake Leak

bigscreenlittlescreen Ted (not to be confused with either Big Ted or Little Ted of Playschool fame) has popped up an apparently-leaked Black Snake Moan trailer, and personally, I found it quite persuasive, thank you.

Sundance Gems

Here are my picks from the non-competitive Sundance 2007 line-up:

Son of Rambow. Garth Jennings new film, oft covered here at film ick and likely to be on of 2007's best films. It's yet another coming of age story, sure, but looks to be a very original one and Jennings is a very gifted filmmaker.

Craig Brewer's Black Snake Moan, with Sam Jackson and Christina Ricci. After Hustle and Flow, Brewer's got a Sundance rep to live up to, but this film seems certain to disappoint. I'm not saying that because I expect it to be bad, mind - just that I expect it to be rather different to Hustle and that's going to be enough to disappoint some people.

The Go-Getter has a great young cast - alumni of Thumbsucker, Contact and Almost Famous.

Written and directed by the late Adrienne Shelly, Waitress also has a great cast - this time featuring alumni of Serenity, May, Schizopolis and... er... Matlock. Actually Matlock from Matlock, too.

Fido is about keeping a zombie as a pet. If only it were a how-to documentary and not fiction, this would rocket to the top of my list.

Its Fine! Everything is Fine! is co-directed by Crispin Glover, and co-written by Glover and Steven C. Stewart. Stewart suffers from the severe cerebal palsy and this autobiographical film will explore how this has effected his relationships with the opposite sex. Countercultural with a capital C, if Glover is to be believed.

Fay Grim is Hal Hartley's semi-sequel to Henry Fool and stars Parker Posey - what more do you need to know?

Bob Shaye's The Last Mimzy was co-written by Bruce Joel Rubin who, until now at least, has written scripts far, far better than the films they became - Ghost, My Life, Jacob's Ladder.

There will also be some films I've already seen, such as Longford, as in Lord Longford, and with the lead played by Jim Broadbent. The film was directed by Tom Hooper from another superb script by Peter Morgan. It screened on Channel 4 here in the UK, and I enjoyed it very much indeed - the script was better, certainly, than The Queen, Morgan's other film this year, but, sadly, Hooper is no Stephen Frears.

Luc Besson's Angel-A is one half of the director's comeback pair and, though I found it a little uneven, it was certainly imaginative and enjoyable enough to give me hope for Arthur and the Invisibles, even in the face of it's dreadful cgi.