PRIVATE EYES

The past is in the past, buried in time and fleeting away. But for former investigator Benjamin Esposito, he can’t move on without dragging with the past along. Now retired, he’s intent to write a fictionalized version of a rape and homicide case he was worked on. He asks his former boss, the American-schooled Irene Menéndez-Hastings, for advice, but she seems reluctant to unearth the 1974 case.

The victim is Liliana Colotto, a pretty 23 year-old schoolteacher. When Benjamin arrives at the crime scene, her corpse is naked, bruised and, thrown off from the bed. Had this occurred today, a swab of DNA might conveniently revealed the perpetrator. Instead, the best deduced estimation is that she probably knew the killer because there was no force-entry on the door. Eventually, a silly hunch breaks the case open. Among Liliana’s photographs, Benjamin notices a suspicious young man leering at the victim. What could possibly be the secret in his eyes?

In the midst of watching this Argentine movie, I asked myself if this is any better than your typical crime procedural TV drama. Based on the case alone, the film looked weak. The investigators are going by a gee-whiz guess. A suspect is apprehended without substantial evidence. I’d be more impressed with forensic proficiency and some old-school Holmes-style deduction.

However, as the film progressed, “The Secret of Their Eyes” proved to be a nuanced mystery breed. Oh, don’t be fooled. The seemingly inconspicuous screenplay is so intricately woven that when by the film’s end, you won’t realize how much you’ve been pulled in its web. I don’t think I have ever been impressed by a third act since “The Lives of Others.” If it isn’t perfection, then it’s pretty damn close.

It’s not that the other film parts are boring or unbearable. The ensemble are in fine form and there’s even a cinematic wow of a chase scene that takes place in a soccer stadium. But overall, the first two acts can be contemplative and tend to have lingering shots. But once you look back, they’re vital building blocks in providing the film’s powerful and resonant conclusion. And that’s pretty much the big secret on what my eyes can reveal. Give the film your patience – it’s worth it in the end.

This review is part of AROUND OF THE WORLD movie series.
“The Secret in Their Eyes” represents the country of Argentina.

Grade: A-

CAST Ricardo Darín Soledad Villamil Guillermo Francella Pablo Rago Javier Godino Mariano Argento José Luis Gioia Based on the novel La Pregunta de Sus Ojos by Eduardo Sacheri Written and directed by Juan José Campanella

THE BOYS IN THE BAND

The Beatles run from a stampede of girls in the opening sequence of “A Hard Day’s Night.” The boy band tries to elude them by hiding inside telephone booths, behind newspapers, and facial hair. It’s a silly scene and it rightly sets the jovial spirit of the film. It’s a welcome attitude compared to today’s grandstanding singers. There is no whiff of self-importance. There is neither cliche proclamation of “living the dream” nor display of bling-blinding indulgence. If one forgets that the Beatles are a cultural phenomena, the film simply shows four mischievous boys, running around as they perform one song after another.

The plot is indeed thin as we follow John Lennon, Paul McCartney, George Harrison, and Ringo Starr in their casual misadventures. Tagging along are their babysitting manager and Paul’s grandfather, who is a clean old man (as opposed to dirty). Watching the film definitely changed my impression of the band members. Growing up, I have always known them as legends who are responsible for classic songs. Lennon and McCartney are considered songwriting geniuses; their lyrics quoted as if they’re Shakespeare. But the problem is I have always envisioned them old.

“A Hard Day’s Night” captures their youthful flair and it is the first time I finally understood their mass appeal. Who knew that four shaggy-haired British lads, singing earnest songs of love, could rock the world in hysteria? Indeed, some of the film’s best shots are female fans in orgasmic frenzy.

In contrast, the boys undermine the hype and keep their personalities naturally cheeky. Lennon is charismatically loony; McCartney a boyish goof. George is amusingly straight-faced and that head-bobbing Ringo is fussy about his drums. It’s not surprising that the boys are natural performers. They pull off offbeat dialogues written by screenwriter Alun Owen and embrace the madcap comedy of director Richard Lester. Plus, the camera absolutely loves them or, more specifically, the camera loves chasing them around.

As much I appreciated the movie, the story is bare and the characters are not fleshed out. It seems like you had to be knowledgeable of the era and of the band’s history to fill out the film’s inadequacy. To put it another way, I don’t think the film would be that successful if the viewer has never known the Beatles. Maybe it’s just my misfortune to be from another generation. Oh well, it is what it is. To quote a Beatle – let it be.

Grade: B

CAST John Lennon, Paul McCartney, George Harrison, Ringo Starr, Norman Rossington, Victor Spinetti, and Wilfrid Brambell Written by Alun Owen Directed by Richard Lester

CALL OF DUTY

It’s most kind of you to take this time and read the review. I am by no means an expert in film criticism, but I’m much obliged for sharing my humble view. I promise to do my utmost best. And if I have executed my job suitably, you should be able to judge whether this movie is worth a look. I, myself, could not remember as to why I have chosen to watch it, but by the end of it, I was thoroughly pleased to have done so.

Based on the novel by Kazuo Ishiguro, “The Remains of the Day” is about James Stevens (Anthony Hopkins), a dignified, dutiful butler in the English estate of Darlington. In the film, he recalls a crucial time in his service, circa 1930s, right before the second World War. He has hired a first-rate employee – a lovely Miss Kenton (Emma Thompson) in the role of the housekeeper. The woman proves to be sharp-eyed, confident, and poised. However, she can be outspoken when it comes to conduct and rules. And while this challenges his authority, Mister Stevens is secretly amused by her restrained rants.

Both staff members are in service of Lord Darlington, a good-hearted diplomat who is eager to mend Britain’s relationship with Germany after the first World War. During this time, the British lord invites international dignitaries to his home for a conference. He champions peace, which is really the most noble of goals. Why must Germany be harshly penalized indeed when it barely recovers from its faltering economy? Britain must forgive and let bygones be bygones.

The butler Stevens has no political leanings, but he knows of the importance of the event. He might not partake in war discussions, but in keeping the estate in its tip-top shape, he is, in his own way, changing the course of history. It is his duty, a call which he takes in all seriousness. Even when death claims a close relative, Stevens stubbornly attends to his master and his guests before dealing with his own affairs. His dedication, while highly admirable, do come at a price. And I surmise that Stevens is not even aware of this at the start. He seems to be a man stupefied by his feelings.

The role is difficult to portray and yet, Sir Anthony Hopkins is acutely perfect as the butler. He is not stereotypically stiff or puffing with arrogance. His Stevens is obsessed with servitude and refined manners. While the man lack a vivacious personality, Hopkins is unafraid to play him internally and it makes the character more curiously tragic. I would not be surprised if some viewers will find him a bore. I suspect that you must drive some considerable mileage in life to understand his journey. As we mature, sometimes a twinge of nostalgia swells as the beloved past grows distant in our rear view mirrors.

“The Remains of the Day” is beautifully photographed and exquisitely produced by Merchant-Ivory team. From its top-notch acting to its exquisite production values, it has admirably performed its duty well and I’m blessed to have benefited from its service.

Grade: A

CAST Anthony Hopkins Emma Thompson James Fox Christopher Reeve Hugh Grant Ben Chaplin Based on the novel by Kazuo Ishiguro Written by Ruth Prawer Jhabvala Directed by James Ivory Rated PG

NEV’S ENDING STORY

While the film shows no actual fish, “Catfish” is one fishy movie. It asserts itself to be one-hundred-percent true documentary, but there are times when you doubt its authenticity. Its premise involves an affable photographer named Nev. As documented by his two camera-ready roomies, we see him expound on his unlikely correspondence with a child painter named Abby.

The girl, miles away in Michigan, has seen one of Nev’s published photographs. She contacts him, expresses her admiration, and sends him her paintings inspired by his work. Touched to have a fan, Nev communicates with Abby mostly through cyber. Soon, in Facebook, he also befriends her appreciative mother Angela and hot half-sister Megan. He becomes intimate with the family as the correspondence grows through text messages, phone calls, and songs. Then one day, Nev decides to surprise them by driving to Michigan. And the surprise! – the supriser becomes the surpisee. The movie depends on this revelation and if you have not watched it yet and plans to, I warn you that the following might splash some spoilers.

I admit I had an inkling where the movie was heading. At the time, I had no idea this was a documentary. I thought the filmmakers have seen the doc “My Kid Could Paint That” (about a so-called child prodigy) and read the novel “The Night Listener” (about a man’s strange correspondence with a boy). I surmised they developed a story of the same breed and for budget’s sake, they approached it pseudo-docu a la “Cloverfield.” I was convinced it was all fabricated. When Nev arrives in Michigan however, the movie unhinges itself and opens a new realm of reality. I was not surprised at the not-all-what-it-seems discovery but its unreal honest portrayal did.

What Nev uncovers is indeed startling and his story can simply be viewed as a cautionary tale. In this social network age, the moral is — don’t judge a Facebook by its profile pic. But if we really take this to heart, we must go beyond this superficial lesson.

“Catfish,” is, at its core, a human story. We are a species with a natural tendency for connection. It’s such a simple goal and yet, sometimes, highly evolved as we are, we can be complex in our attempt. An imaginative character appears on the film and he/she demonstrates that the human mind can be an unspeakable wonder.

Yes, the film is entertainingly awkward and creepy. There are priceless scenes of cloud-nine expectations, bare-naked deceptions, and clumsy plummet of fancy. The movie can spark conversations about the current state of society plugged in on the Internet. But I think as high-tech our communication has become, it is not as fascinating as the ancient human network, wired with emotions, ideas, and dreams.

I don’t want to dwell on whether the documentary is purely authentic. Some of the presented facts are believable, some are dubious. Maybe some scenes were probably manipulated or recreated. And I just went with it. I am just grateful it pushed the right buttons and spun the right cogs in my mind. It mechanically made me feel like a human.

Grade: B+

FEATURING Nev Schulman Ariel Schulman Henry Joost Angela Pierce Vince Pierce Abby Pierce Directed by Henry Joost Ariel Schulman Rated PG-13 for some sexual references

SING AWAKENING

I have watched “The Sound of Music” numerous times as a young kid. After childhood though, I only have seen bits and pieces. When I heard of its 45th anniversary, I thought about watching its entirety for old time’s sake. But frankly, I was afraid to see it with a critical eye. I heard it described as one of the worst “Best Picture” winners. I seriously don’t want to taint a fond childhood memory.

Fortunately, my thoughts of doom and gloom withered within seconds. The film begins with a breathtaking aerial view of the Alps. Talk about a pick-me-up. “The Sound of Music” literally starts on top and the energy picks up as the film descends onto the hills. And then behold, there’s Julie Andrews preparing for her iconic twirl and sing “The Sound of Music.” My ability to critique came tumbling down and I just wanted to sit back and watch in awe like I have done in the past.

The musical centers on Maria (Julie Andrews), a nun-to-be who seems too wild and spirited to live a monastic life. Her Mother Superior pushes her out into the world, by sending her out to be a governess to a Captain Von Trapp (Christopher Plummer) and his seven children. She seems at odds at first. She finds the Captain strict and emotionally distant. The children, though appearing to be disciplined, are unruly pranksters. Like the governesses who preceded her, it seems like Maria’s tenure is short-lived. But ah, with her plucky charm and irresistible voice, she will eventually win them over.

Not surprisingly, I was won over too. Could it be that Julie Andrews was my first cinematic crush? She gives a sensational performance for the ages. She’s not just anybody. The short haired and tomboyish Maria can be adventurous, a flibbertigibbet, a natural spirit. Other times, she is a woman, a nurturing presence. I was envious of the kids on the screen. I too wanted to be comforted during the storm. I too wanted to run around, exposed to the beautiful things the world has to offer. And darn it, even if I was no singer, how badly did I want to belong in a harmonious group like the Von Trapp family.

The songs by Rodgers and Hammerstein are the best collection I’ve heard from a movie musical. They are melodiously stirring and have grown into beloved classics – “Do-Re-Mi,” “My Favorite Things,” and “Climb Ev’ry Mountain” to name a few. Even the less popular ones are no less stellar. I remember hearing “I Have Confidence” before a job interview and it was just as great as a pump-me-up as “Eye of the Tiger.” In fact, the songs are so so good that it didn’t matter that the movie lacked a first-rate choreography, an element exhibited in other great musicals like “West Side Story” and “Singin’ in the Rain.” Look close at the “Do-re-mi” sequence and you’ll see simple movements such as marching, running, and hopping on steps. And yet this section is one of the most ebullient and youthful scenes ever captured on cinema.

If I am going to nitpick, I find the second half of the movie less magical. There is less music and less humor as serious plot complications hung over the characters. But stepping back and looking at the overall composition, it’s good that the film plays out a variety of notes, from comedy and romance to drama and suspense. It’s a testament to director Robert Wise’s staging that “The Sound of Music” can cover such range. And for its timeless feel and look, the movie owes gratitude to Todd McCord, the cinematographer who milks the Austrian scenery for all its worth. Heck, the film is so gorgeously shot that I never knew the depth of the Nazi malice until I saw “Schindler’s List.” How many family films out there can introduce you to the Nazi Party and still keep you innocent?

I’m happy that the movie has aged well before my eyes. In the future, it might serve well as a balloon when adulthood weighs me down towards sarcasm and irascibility. God knows the human spirit has the natural urge to sing and twirl now and then. “The Sound of Music” – one of the few of my favorite things.

Grade: A+

CAST Julie Andrews, Christopher Plummer, Charmian Carr, Nicholas Hammond, Heather Menzies, Angela Cartwright, Duane Chase, Angela Cartwright, Debbie Turner, Kym Karath, Daniel Truhitte, Eleanor Parker, Richard Haydn, and Peggy Wood Based on the musical by Richard Rodgers and Oscar Hammerstein II Written by Ernest Lehman Directed by Robert Wise Rated G

The last two weeks have been a scramble as I aimed to watch all Best Picture nominees before the Oscar telecast. Sadly, the challenge only led to viewing a disastrously weak award show. Bleh! Nevertheless, I was glad to have watched all ten and here is how I rank them.

10. The Winter’s Bone

While this is at the bottom of the list, “The Winter’s Bone” is far from a bad movie. Witnessing Jennifer Lawrence’s gutsy performance is enough of a recommendation. The movie centers on a tough and determined daughter in search of her criminal father, who may or may not be alive. The setting is a bit bleak, almost unworldly. The Ozarks, not quite the familiar movie location, is one of those places that itself becomes a character too. I’m glad I visited, but I don’t know if it’s worth revisiting. Once its dark mystery is exposed, I was relieved to finish the movie.

9. The King’s Speech

This might be the most disappointing movie of the bunch. Even more disappointing now that it won Best Picture. I sincerely wanted to love the British drama, but it was only okay for me. Maybe its front-runner status hyped it too much for me. The last time I felt this let down was when I watched “Brokeback Mountain,” but at least I recognize that film’s cultural impact. “The King’s Speech” feels too safe and an obvious Oscar-bait. I found myself drifting off in some scenes (this included the “climatic” speech scene). This is really more in the vein of a HBO historical drama, rather than a cinematic experience. Colin Firth s-s-stammers well, but then so what. I found him a weak lead (although he does portray a somewhat weakling character). I was more engaged with Geoffrey Rush and Helena Bonham Carter in supporting roles. These actors have the usual flair for eccentric characters, but it was refreshing to see them adeptly sustain more modest roles. I was actually secret rooting for Geoffrey Rush to win. He was the best thing in the movie.

8. True Grit

Though based on an old novel (which also produced a John Wayne classic), “True Grit” is one refreshing Western. Maybe this is in part to newcomer Hailie Steinfeld’s presence, as the assertive teen who is gung-ho for revenge. In the film, to track down her father’s murderer (Josh Brolin), she enlists a gruff marshall (Jeff Bridges), rumored to have “true grit.” The odd duo travels into the wild and they make a suspenseful, enjoyable journey. To boot, Bridges provides a weary and nuanced comic relief. Sometimes his words sound so garbled that you don’t understand what he says. But I did become accustomed to the Western-speak and by the end, it seems so cool that I wished I had the tongue for it. There is an inexplicable comfort in Coens’ unusual sense of vision (the image of a bear on a horse). It’s really what makes their films more or less memorable. Though “True Grit” did not gun me down with emotions, it trots confidently as a well-made, solid entertainment.

7. 127 Hours

It is challenging to make a movie about a guy who is mostly stuck in one place. But Danny Boyle does his darnest to make the film move and he succeeds. He’s a visionary with a stimulating style that makes visuals pop. Just to show you that 3-D is for the lazy. Of course, a lot of praise must also be given to James Franco, who delivers a remarkable and haunting performance. He is able to convey a rush of conflicted emotions, even with limited monologues. His naturally confident Aron Ralston is not only intriguing, but a true inspiration. It is admirable that he doesn’t initially panic. He’s analytical and resourceful. He thinks his options through before he is stripped down to bare desperation. “127 Hours” is an unforgettable movie, an unflinching film. I dare you to mentally cut away from it even after the movie is done.

6. Toy Story 3

It’s common knowledge that Pixar produces first-rate films, and I truly believe that in a matter of few years, they will not only snag Best Animated Feature, but also Best Picture. My reaction has been consistent to most Pixar movies. I am smitten and amazed when I am watching them but a few months later, I vaguely remember the feeling. I can recall some great scenes, yes, but I don’t feel enraptured at the recollection. “Toy Story 3″ had me tearing up (I think you know which scene) and I also enjoyed its clever plot and nice mixture of comedy and action. But you know, I will reach that point when I have to move on and toss the movie aside. That’s just life.

5. The Fighter

In an article, Sports Illustrated purported “The Fighter” to be the best sports movie in a decade. It made me want to see the movie, but the claim also made me skeptical. Now that I have watched it, I would confirm its greatness, but in terms of knockouts, “Million Dollar Baby” wielded a better blow. If there’s a weakness, it’s its lukewarm lead. Mark Wahlberg is a capable actor but I think he got buried by a fierce supporting cast. Newly minted Oscar winners Melissa Leo and Christian Bale are great. She’s effectively domineering and he’s wonderfully odd. But my favorite is the emotionally intense Amy Adams, who plays the foul-mouthed and protective girlfriend. The movie has great boxing scenes and it is inspirational.

4. The Kids Are All Right

In terms of ensemble, I think the cast of “The Kids Are All Right” was the best. (“The Fighter” could have been a contender if not for its lead). For those looking for chemistry and how characters relate to each other, the movie is wonderfully realized. The premise seems like sitcom material: two lesbian parents raise a son and a daughter and their world turns upside-down when the sperm donor shows up. There’s curiosity as to how this “modern” family interacts and credibly, there is something innately familiar about them. Annette Benning and Julianne Moore are truly believable as the lesbian moms and Mark Ruffalo provides a wild-card energy as the sperm donor. I love how their personalities clash because of their unreal situation. But the film proves its greatness in showing the characters’ willingness to change and achieve a greater sense of peace.

3. Black Swan

Sandra Bullock won a popularity contest last year. Natalie Portman won this year for a breakthrough performance. She plays an up-and-coming ballerina, who becomes unhinged as she masters her craft. While the movie provides Portman some heavy dramatic scenes, the pretty actress also shows she can acutely display subtlety. I just love these little raw moments where she’s overcome with emotions and she tries to contain them. The movie is definitely weird, in a fragmented and delusional point of view. I was expecting some grittiness as displayed in Darren Aronofsky’s prior film, “The Wrestler.” But this is more in the vein of of a lite psycho-David Lynch trip. Go and see the movie for Portman’s tip-topped performance. Stay for the trippy WTF experience, accompanied by a feverish Tchaikovsky score.

2. The Social Network

Despite the critical raves, I was doubtful of the movie based on the premise. But Aaron Sorkin delivers a solid screenplay that maintains its fascination. Very hard to do. And he does this mainly through engaging dialogue while Fincher deftly keeps the momentum forward. I think everybody knows the story by now. While Mark Zukerberg was in college, he came up with Facebook, a social network site that will soon poke millions and millions of friends. Its popularity will lead to financial disputes, ego games and emotional bruising. When I saw it in theaters, I felt for Andrew Garfield’s character Eduardo, the moral center of the film. When I saw it for the second time in DVD, I grew more fascinated by Jesse Eisenberg’s performance as the CEO bitch. I think I totally bought him in this iconic role that I had forgotten that he could play other nerd-ish roles. It’s realization I made after seeing him in “The Solitary Man.” While the real Facebook master seems more normal in real life, Eisenberg made him infinitely cooler and even more bogglingly interesting.

1. Inception

“2001: A Space Odyssey” made such a big impact on me that I have been craving for movies that boldly takes it to another level. And I think “Inception” has aimed high and hit that glorious sweet spot. Its dream within a dream within a dream premise is a mesmerizing convolution … and yet, as complex and complicated it was .. It was something that could entertain and satisfy millions and make a lot of money in the process. And deservedly so, for “Inception” is the most generous movie in a long time. There is no deficit in visual wonder, adrenaline rush, brain stimulation, and emotional impact. Christopher Nolan’s Oscar snub in film direction is really a shame. It is just too bad that the film couldn’t plant the idea in Oscar voters’ mind that this is masterpiece. “The King’s Speech” may have all the winning spark now but “Inception” (like “2001″) will be one of those movies that will prove its luster overtime.

HOW TO DEAL WITH DEEL

“Undertow” opens with its stalwart hero (Jamie Bell) smooching Kristen Stewart. By the next scene, (Click-click… Bang!) off he goes, trotting away from her gun-totting father. He dashes through the fields and through the woods. Way behind, the popping Pops hauls and calls the cops. When the chase caputs, the lad is caught, limping with a nail in his foot.

The runner’s name is Chris. Roaming and fooling around, this kid from Georgia wants escape. He’s trapped in a meager household with a staid dad (Dermot Mulroney) and a paint-eater brother (Devon Alan). His hours are humdrum, mainly hogged by minding hogs. But that’s about to change when an ominous character (Josh Lucas) drops by.

His name is Deel. He reeks of danger, even before we know he just came from prison. The father says he’s okay though. Deel’s his brother; he’s family. Therefore, he can live with them. He can take care of the boys while the dad is away.

But seriously, what is the real deal with Deel? The guy behaves so dubiously. Why did he go to prison? And why does he keeps asking about some mythic coins he’s supposed to inherit? Hmmm.

The movie can be pitched as a Southern gothic thriller. Deel is a villain, unafraid to use violence to get what he wants. To him, Chris and his younger brother are obstacles. They’re the targets (a.k.a. the ones we’ll be rooting for). But for a movie called “Undertow,” there is a hidden drama gushing beneath the thriller. If one looks deeper, one might recognize that the welcoming brother might be acting out of compunction. And the criminal brother is scary, not out of malice, but of desperation. Once you get inside their heads, there’s an anticipation of dread. Sure enough when the past is cut open, blood will be shockingly shed.

The most intriguing character for me is Deel. Josh Lucas provides him with a slimy, dodgy charm. Deel is not just downright shady, he’s also sly in the way he redirects conversations and pushes buttons (“We’re friends, right? I’m family.”). It’s a well-written role that elicits varying reactions from the audience. Another actor I liked is Jamie Bell. Walking barefoot and sporting a trucker hat, the English actor has come a long way from his “Billy Elliot” dancing shoes. Bell excels in these tough-it-out underdog roles. He is not a pretty boy by Hollywood standard. But the guy is a compelling actor; you’d rather read his face than admire it in some magazine cover.

The director of “Undertow” is David Gordon Green, who would release the comedy “The Pineapple Express” four years later. That film and “Undertow” differ widely in tone, but Green has a sense of locale for both films. In “The Pineapple Express,” I can still picture that marijuana lair in the final act. In “Undertow,” he finds odd beauty in decay via junkyards and abandoned buildings. I think he’s a bold director in his own subtle ways. Like its lead character, Green runs with what he’s got. I think he improvises without losing control. Sometimes he goes for the jugular by constricting us in suspense. Other times, he lets us breathe by pacing the movie in wide-eyed possibility. I sense him experimenting moods, finely tinkering moments. While I think he runs out of gas near the muddled end, “Undertow” gets a great mileage with him in tow.

Grade: A-

Milestone note: This movie review is the last entry in the “Project 25″ series, which I started back in 2005. While it took long to finish, I found it a rewarding experience. You can see the complete list in the Challenges page.

CAST Jamie Bell, Josh Lucas, Devon Alan, Kristen Stewart, Shiri Appleby, and Dermot Mulroney Based on the story by Lingard Jervey Written by David Gordon Green Joe Conway Directed by David Gordon Green Rated R for violence

MADNESS FOR SADNESS

I recently checked out Guy Maddin, a filmmaker whom an acquaintance intriguingly described as the Canadian David Lynch. From his 2003 film “The Saddest Music in the World,” David Lynch indeed popped into my head. This is a weird movie, filmed in great granny’s grainy black-and-white. Sometimes it’s blurry, out of focus. Sometimes even the aperture is limited. So put away the 3D glasses. The visuals might be anti-high-def, but at least the movie seems deft in its own dimension of lunacy.

Its silly pouty premise is set during The Great Depression. Winnipeg has been pegged as the sorrow capital of the world. To commemorate the “honor,” beer baroness Lady Port-Huntley (Isabella Rossellini) wants to hold a musical contest. For a grand prize of $25,000, she’s inviting countries to compete for the “saddest music in the world.” Three of the participants belong in the same family. And two of these three have a complicated and severed past with Lady P.

Fyodor Kent (David Fox), the father, represents Canada. On the stage, he knocks down the piano, because, you know, his song is dedicated to fallen heroes. His son, competing for USA, is Chester Kent (Mark McKinney), a Broadway producer donning a slimy and deceitful mustache. He thinks he’ll win it all; his show business pizazz coupled with downer songs could be just the ticket. And finally, from Serbia, there’s the cellist son, Roderick. Unlike his smiley brother, Roderick is full-on morose. The man is so so sad, it’s funny. Maybe not funny ha-ha. More like it’s funny he shares the same fashion sense as Harry Potter’s Professor Snape.

Despite the title, this movie is, from what I can tell, a comedy. It reels out its own eccentricity, laughing, winking, and elbowing the audience on the chest as if it’s saying, “It’s funny, right? Brilliantly wild, right? Riiight? Riiiight?” Well, uh – ahem! – uhmmm …

Here’s the thing. I did like it, but my appreciation for the movie is limited and indirect. I hardly responded to it right away. I found the visuals distracting, the humor initially inaccessible, and the characters sometimes gratingly outlandish. Now those are three strikes already. However, with patience and perseverance, I actually got into it. I thought a few scenes, especially the ones involving the competition, have a haunting yet quirky quality. I wish it could have been more consistent in that tone. The movie walks a fine line between funny and ghastly. Unfortunately, its walk is as tipsy as its characters. But there is no denying that “The Saddest Music of the World” is strikingly original and Guy Maddin is a talented filmmaker. I just have reservations recommending it to people. Hey, you never know. You might actually enjoy it, but you won’t blame me if you don’t like it, right? Riiight? Riiight?

Grade: B-

strong>CAST Isabella Rossellini, Mark McKinney, Maria de Medeiros, David Fox, and Ross McMillan Based on the original screenplay by Kazuo Ishiguro Written by Guy Maddin George Toles Directed by Guy Maddin Rated R for some sexuality and violent images

SHOOT FOR THE MOON

Clocking a little more than ten minutes, “A Trip to the Moon” – a French feature made back in 1902 (!) – tells the story of wizardy astronomers who hop on a large bullet, which is then shot to the moon. I know – the premise is a little absurd. The modern viewer in me can’t help but groan – “Oh boy, that was cheesy.” My science brain rolled my eyes and scoffed, “Impossible! Not gonna happen in a million years.”

But even so, the movie lover in me enjoyed the lunacy of it all. It has a go-for-broke imagination and like big budget movies these days, overindulges in special effects. Well, maybe not-so-special effects by today’s standards. But for a film more than a century old, its gung-ho spirit still lives on. It has set the course for cinema’s love affair with the impossible. So what if aliens could be snuffed out with a simple whack of an umbrella. When the moon gets hit in the eye, well, it’s amore.

Grade: A-

CAST Georges Méliès, Victor André, Bleuette Bernon, Jeanne d’Alcy, and Henri Delannoy Based on the novels “From the Earth to the Moon” by Jules Verne “The First Men in the Moon” by H. G. Wells Written by Georges Méliès Gaston Méliès Directed by Georges Méliès

SIGN OF THE CROSSED

There are many points in our lives where we don’t know what to do. We get so spiritually lost that we ask God to guide us, to give us a sign. If only prayer can be upgraded into a more direct two-way communication? What if God can text us? Befriend us in Facebook?

But then, imagine if He indeed reached out to you. How would you go about convincing people that it did take place? Or let’s turn the tables. What if someone claims to have spoken to God? Would you believe him/her?

These are the questions that lingered with me after “The Passion of Joan of Arc.” And here I thought I would get, more or less, a history lesson about the famed French saint. The movie reenacts her trial in 1431, where she is questioned by religious authorities. She claims to have been approached by God with a mission to drive the English out of France.

Honestly, I would have been a skeptic too. Joan is an odd one – a teenager with a penchant for cross-dressing. Who is she to be chosen by God? What makes her so special? And yet, as you try to be critical of her, you begin to realize that it is really God you are questioning. Who are we to judge who God choses?

In actuality, Joan hardly presents any evidence of an holy alliance, but the movie truly dares you to discredit her. “The Passion of Joan of Arc” is astute in basing the screenplay from the actual court transcript. It not only lights Joan’s innocence but also muddies the judges’ sanity. You have to observe how these ugly mob of old men gang up, double cross, and trap this frightened, inarticulate girl. The psychological aspect alone makes it an engrossing historical drama. Pride, scheming, anxiety, and martyrdom are all in feverish display.

For an early 1920s film, this is indeed an impressive feat. Filmmaker Carl Theodor Dreyer is a visionary. He produces a riveting picture mainly assembled from angular facial close-ups, symbolic images, and back-and-forth editing. At its center you can find the wide-eyed, touching performance of Renee Maria Falconetti as Joan. The movie is a miracle of sorts, not only for its decades of survival, but also for its haunting and heavenly effect. I am quite surprised to be lauding such a silent film. Witness its power. Judge for yourself.

Grade: A-

CAST Renée Jeanne Falconetti, Eugène Silvain, André Berley, and Maurice Schutz Written by Joseph Delteil Carl Theodor Dreyer Directed by Carl Theodor Dreyer The film is not rated.