Jette Kernion's blog
With the slightest excuse, I can go on and on about how Some Like It Hot is truly the perfect comedy if not the perfect movie. Billy Wilder and I.A.L. Diamond's script has a perfect symmetry -- every setup is paid off, every gag is repeated bigger, better and often with a kind of lyricism ("we have the same type blood, type O"). The timing of the maracas scene is breathtakingly brilliant. People like to gossip about director Wilder's difficulty in working with Marilyn Monroe but you see none of that onscreen. Most importantly, I've seen the movie countless times but it's still funny, every single time.
Recently I've been interested in -- and vastly entertained by -- comedies that aren't perfect, and that don't quite work for one reason or another. The thin, ridiculous plot is just an excuse for strings and strings of gags. You can see the joins where the movie was recut for one reason or another. Casting choices threw the movie out of balance. You get the idea. And yet they are still marvelous in many ways.
For example, a few years after Some Like It Hot, Wilder directed Kiss Me, Stupid, a film that provided a sharp and smutty contrast to the pastel-colored "sophisticated comedies" of the time. Instead of Rock Hudson and Doris Day flirting on gorgeous sets, you get Ray Walston and Kim Novak in harsh black-and-white, bargaining in a quote-roadhouse-unquote.
Just in time to be entirely irrelevant in terms of Oscar predictions, the Slackerwood contributors have voted on their top ten 2014 films. I think our picks are much better than the ones the Academy nominated for Best Picture (they didn't even pick ten this year, did they).
Our criteria were very laid-back -- it is called Slackerwood, after all. Eligible films included movies released in Austin in 2014 and movies that had a limited release for awards purposes in 2014. Ten contributors (including myself) each submitted a top ten list, and I tallied up the votes. No, I did not stuff the ballot box, as you can see by the absence of Snowpiercer on the list.
The first and second movies on this list were one point away from one another in the final tally. And of the ten films on the list, only two had votes from five contributors -- the first and fourth. Everything else had four or fewer votes. The list includes one movie shot in Austin, one movie directed by a former Texan, and one movie co-starring/produced by a former Austinite. Here we go:
10. Nightcrawler (pictured at top)
"... a slick thriller, even though it plays out like a gritty B-movie. ... The world of Nightcrawler is not exactly firmly grounded in reality, but it takes a slightly elevated, pitch-black look at a world where having questionable morality is celebrated as long as it increases the bottom line." -- Matt Shiverdecker (full review)
My criteria for movies to include in "best of the year" lists are very loose, as compared to various critics' organizations and other film-awards groups. For example, I would never disqualify Birdman from Best Score because it includes music from other composers. (Otherwise I'd never be able to qualify my all-time favorite score, from The Bad News Bears, but I digress.) The point is to present an interesting list of notable movies I saw in/around 2014, not to nitpick.
So my "notable films of 2014" list includes movies that were released in 2014, no matter when I saw them, as well as movies I saw in 2014 even if they haven't had a theatrical release. And, you know, whatever the hell else I want. If I'd done a 2013 list I probably would have topped it with A New Leaf (1971) because that was by far the best movie I saw that year. (It's on Amazon Prime and Blu-ray. It's funnier than anything else I'll mention in this article. Go watch it now.)
I planned to only include a few films because I never feel constrained by "top ten" or other numbers, but excellent and enjoyable movies kept popping onto the list. These are sort of in order -- my favorite is the one at the top -- but once we get past that, I can't really quibble about whether this one is better than that one. I'd recommend every one of them, is the point.
Have you been to the "The Making of Gone with the Wind" exhibit at the Harry Ransom Center yet? Whatever your opinion of the film, it is truly amazing. I've been once and I feel like I caught about 60 percent of it before my feet gave out -- I need to go back again. The exhibit runs through Jan. 4, and admission is free (although parking near UT probably won't be), so take a long lunch break and check it out. Your mom's visiting for Christmas vacation? Bring her there for a treat.
Tomorrow night (Wednesday, Nov. 19) at 7 pm, head over to HRC to hear author and film critic Molly Haskell discuss her book Frankly, My Dear: Gone with the Wind Revisited. It focuses on both the novel and the movie. Haskell is probably best known for her book on women in film, From Reverence to Rape. I've heard her speak before and can't recommend it enough. If you can't make it to the HRC, a live webcast will be available.
I've read Frankly, My Dear and enjoyed it very much -- in fact, I bought the book at HRC after visiting the exhibit. I've read maybe a half-dozen books over the years about Gone with the Wind, because back in high school I was a huge raving fan of the novel. I'm less so now -- over the years the racism has bugged me more and more, and I've always felt Scarlett is essentially an overgrown teenager. But somewhere around here I believe I even have a book of producer David O. Selznick's infamous memos (he would have loooved social media and email), many of which concerned his great 1939 epic film. So I went into the exhibit, and Haskell's book, with plenty of background information.
I grew up in the greater New Orleans area, I have minors in political science and history from LSU ... I even worked in the Louisiana State Capitol for awhile. But it wasn't until I saw 61 Bullets at Austin Film Festival that I heard a viable alternative theory about Huey Long's death. (Sure, I heard speculation, but I gave it as much credence as alternate Kennedy assassination theories.) 61 Bullets not only presents the case for this theory compellingly, but it brings in the personal -- the family of Dr. Carl Weiss, accused of assassinating then-Senator Long.
For those of you who haven't had to learn this for a pop quiz, who haven't poked their fingers in the bulletholes in the State Capitol wall, here's the background: In 1935, former La. Gov. Huey Long was shot in the State Capitol. The story we learned is that Weiss leaped out from behind a pillar and started shooting. Long's bodyguards peppered Weiss's body with 61 bullets (thus the documentary's title), and rushed Long to the hospital, but he died several days later. The rationale generally provided for why Weiss did it is that he was mentally unhinged, and perhaps had a beef with Long over Weiss's father-in-law possibly losing a judgeship.
However, many of Weiss's relatives have never quite accepted this theory, it seems. They believe the political ambitions of the Long family (which indeed are legendary) are a big reason behind the concealment of the facts. For example, a federal investigation of the incident never took place -- everything was handled locally, information is missing, etc. Long's body is buried under so much concrete in the Capitol that an autopsy would be impossible, and his surviving descendants/relatives still believe Weiss assassinated him.
Here are a couple of capsule reviews from my time at Fantastic Fest this year: When Animals Dream and In Order of Disappearance. Both movies are set in winter in Nordic regions, so an overly air-conditioned movie theater is the ideal viewing experience (at least if you're in Austin).
When Animals Dream (Når dyrene drømmer)
I went into When Animals Dream almost completely blind, and it's hard not to encourage you to do the same. The Danish film premiered at Cannes and is the feature directorial debut for Jonas Alexander Arnby.
Sonia Suhl stars as Marie, a teen girl just starting her first job in a fish-processing facility. She's drawn to a cute boy, and getting pranked by a total jerk. Her mom is nearly comatose, for reasons that slowly become evident. Marie has found a rash on her body and as the movie progresses, hair grows on the rash and in other incongruous places, and she has spells of snarling short temper. No one ever uses a word like "werewolf" ... because no one has to.
This movie unwinds very carefully, giving the audience pieces of information one at a time, presenting the tale in a spare way. Everything feels stripped down: Marie's unmade-up face, her economy with dialogue, the barren atmosphere of the small port town. And yet the movie is almost mesmerizing.
I've heard people comparing the movie to Let the Right One In, possibly because both are deliberately paced Scandinavian films about the undead's effect on everyday life -- a minimum of fantasy in what is often harsh reality. And yes, it's a fair comparison, although When Animals Dream does not feel derivative.
I'm about to head right out the door again for the second day of Fantastic Fest, but thought I'd share a couple of photos from the Q&A at last night's opening-night film, Tusk. Kevin Smith and Justin Long were game enough to participate in Tim League's crazy opening rap before the movie, but sadly, I don't have any photos of that. Yet.
Moderated by League, Smith and Long (okay, mostly Smith) held a lively discussion after the film that was simulcast not only to other theaters at the fest but to other Drafthouse theaters in other cities. My favorite part was Long's eerily accurate Marty McFly imitation (don't even ask how we got there). I had to leave a little early but no one had asked any dumb questions up until that point, although admittedly the questions were being filtered beforehand.
Everyone knows that places like Torchy's Tacos and In-n-Out Burger have secret menus, for a given definition of "secret." Slackerwood has done much in-depth research (okay, I asked on social media) and can now offer you a guide to customizing the Alamo Drafthouse menu. This can definitely come in handy during film festivals when you don't have time to rush over to a nearby fast-food joint and find yourself facing the same menu for the fifth day running. Especially if you are a Drafthouse regular anyway.
The best advice I have: Order off the kids' menu. It's okay for grownups to do this. The chicken strips are especially flavorful and you can add more if two aren't enough. The milkshakes come in simple flavors, like chocolate and vanilla. It's not the most healthful food on the menu (although you can get fruit as a side!) but I really like the smaller portion sizes.
Filmmakers Aaron Katz and Martha Stephens, who have teamed up for Land Ho!, have individually premiered all of their previous features at SXSW Film Festival. They're each known for films where characters are deep in exploration -- about themselves but also perhaps, a mystery (Cold Weather, Passenger Pigeons) or even a landscape (Brooklyn in Quiet City, Kentucky in Pilgrim Song). In Land Ho! (which premiered at Sundance this year), the same type of exploration takes place -- this time in Iceland -- with two primary characters who are gentlemen in their retirement years. It's a change for Katz, whose characters are usually in their late teens/early twenties.
No matter what the age of the characters, however, Stephens and Katz sustain the audience's interest in the type of story that sounds terribly slow and dull when explained in print, but is very rewarding as it unfolds onscreen. Two retired brothers-in-law, Mitch (Earl Lynn Nelson) and Colin (Paul Eenhoorn), couldn't be more different. Mitch is a brash New Orleans doctor who loves talking to people -- and he has no filters -- smoking pot and unabashedly admiring women. Colin is a quiet, thoughtful Australian, frequently embarrassed or annoyed by Mitch. The two embark on a trip to Iceland together, beginning in Reykjavik and heading to less populated locales.
The focus of Land Ho! is the relationship between the Mitch and Colin, and how they affect one another, and where that leads over the course of the movie. The chief entertainment value is Mitch's dialogue, which is often outrageous and eye-opening (I had never heard steak compared to the female anatomy before). Of course, the film's best moments occur when he's not that way, but the conversation is never dull.
One of my favorite movies so far this year has been The One I Love. I was going to preface the film's title with a summary of its genre -- for example, "the delightful romantic comedy" or "the taut suspense thriller" but as you know if you've heard anything about the movie, the less said the better. It defies genre, and is just as twisty as last year's smart horror-comedy The Cabin in the Woods. Check out Marcie's vague but heartfelt review for -- well, not details exactly, but at least a recommendation.
Director Charlie McDowell and actor/producer Mark Duplass were in Austin last month to promote the movie, which opened in Austin at Alamo Drafthouse South Lamar last Friday and will continue through next Wednesday, at least. You can also catch it on various online VOD outlets. As you probably know, Mark and his brother Jay Duplass used to live in Austin, back in their Puffy Chair days, so I couldn't resist the opportunity to sit down with these gentlemen and talk about the film ... to the extent that is possible without spoiling it. We also talked about release strategies and at the end, Austin itself.
Slackerwood: The biggest question on my mind is ... how do you talk about this movie in public, in interviews and so forth?
Mark Duplass: We've become experts. We talk a lot about the themes of the movie, and we talk about the process, and we talk a lot about what it's been like -- trying to market a movie with limited information in a marketplace where you're just trying desperately to get people into the movie theater, so you're saying more and more and more and more ... and how can you do it when all you can say is very little? All kinds of ways to talk about it.