Guru

Reviewer: James van Maanen
Rating (out of 5): *** ½ (graded on an "exploitation" curve, of course)

NoShame Video lives up to its name (and then some) with its release of the little-known (on these shores, at least) Story Of A Cloistered Nun, a 1973 Italian variant on sexsploitation by way of nunsploitation and lesbiansploitation. This tarted-up treasure also manages some nifty Jesusploitation, Marysploitation and Godsploitation plus a bit of babysploitation and Spartacusploitation to wrap things up. (I think this is some kind of record.) But who cares: you'll laugh, cry (from laughing too hard) and then howl, as the end credits proclaim that, although the main character in this "true story" (full of sex, sin, bondage and floor-cleaning-via-tongue) dedicated her later life to the poor, she was never named a saint! (The Catholic Church at least got that one right.)

Reviewer: Alex Brinkman
Rating (out of 5): ****

Tim Blake Nelson, better known for his hilarious role as Delmar in O Brother Where Art Thou, made his directorial debut in 1997 with the fine independent film Eye of God. A man gets out of prison and marries his correspondence sweetheart; the rash decision to get married turns out to be a bad call(that's not the surprising part of this imminent train-wreck film). Martha Plimpton plays a young wife surprised by the more possessive and violent nature displayed by her recently born-again, ex-convict husband. Meanwhile, an already troubled young man (played by Nick Stahl of Carnivale and Sin City) witnesses a terrible murder. A jumpy chronology arcs this dual story in a mix of flashbacks and seemingly random scenes all brought together by the kind of tragedy that leads to anger, regret and a sense of hopelessness. In Eye of God redemption comes and goes fleetingly reflecting in a naturalistic manner the true tragedy of life, death and humanity's darker side. As an examination of evil, the film succeeds with a frightening accuracy, granting humanity to a murderer, indicting all of us along with him. Eye of God rises above political issues to express its view of a human condition that can only be heard as a song of lament; longing for something better, an expression made all the more hauntingly beautiful by its asymmetry.

Reviewer: James van Maanen
Rating (out of 5): ***

For obvious reasons, Go for Zucker, a German Jewish comedy (three words not often linked over the last half century), is something of a landmark. This very funny dysfunctional-families farce appeals by setting a number of people and plots in motion and then spinning them nearly (but not quite) out of control.

Headed by a performer new to me but evidently quite popular in Germany - ex-East German Henry Huebchen - the cast is particularly well-chosen. Each member comes through with a fine performance that captures the humor and the humanity of his/her character. Director/co-writer (and sometimes actor: La Repetition) Dani Levy does a commendable job of balancing the rollicking comedy with bits of reality that keep cropping up to catch us - and his characters - off guard. Indeed, while this movie qualifies as "feel-good," it reaches its goal in a sometimes surprising and circuitous path. And since it keeps you laughing consistently along the way, you should enjoy the trek.

Reviewer: Craig Phillips
Rating (out of 5): **½
In theaters now.

To me, Al Franken is like an uncle who has an amusing, if corny, sense of humor, whose politics you admire and agree with, and who often repeats himself to the point of tedium.

In many ways Chris Hegedus and Nick Doob's new documentary about, and starring, the comedian/author, Al Franken: God Spoke [official site], is a film in search of a story. But if one thinks of it as a character study framed by politics - and, obviously isn't a right-winger who has Franken on their public enemies list - then the doc is an entertaining, fitfully amusing watch.

Reviewer: James van Maanen
Rating (out of 5): ****

Who is The Uninvited Guest? This question, along with a number of others, may stick with you after viewing this rich, engrossing Spanish film that does not easily give up its secrets. The first full-length feature from writer/director Guillem Morales (he's done a number of short films), the movie is a visual stunner, beautifully composed, and with a musical score that captures mood without being overly intrusive. Intellectually, it stimulates and teases. Emotionally, it pulls you quickly in then jerks you back and forth between acceptance and rejection. If you are looking around for something somewhat scary and original (very!) for Halloween - yet not a blood-and-gore fest - this might be your movie.

Reviewer: Erin Donovan
Rating (out of 5): ***½

With not even enough national wins under their belt to count on one hand, why wouldn't three of the top-paid American political consultants franchise out their brand of vague market-driven democracy and export it around the world? The fascinating documentary Our Brand is Crisis dares to ask, what's the worst that could happen? The film recounts the 2002 Bolivian presidential race when Bolivian-born political exile Gonzalo "Goni" Sanchez was elected with the help of GCS, an American political consulting firm started by Stan Greenberg, James Carville and Bob Shrum.

Reviewer: James van Maanen
Rating (out of 5): ****½

I have long despaired of finding an American movie as politically incisive and coherent as, say, the French film Human Resources. Now, along comes Kill The Poor, which seems almost a small miracle because it's a political film that does not have a political agenda. Unbelievable? See it and decide for yourself. It addresses gentrification circa the 1980s in Manhattan's Alphabet City from a host of viewpoints: socialist, poor, middle class, artist, businessman, gay, immigrant - all just trying to make things work, mostly for their own comfort, of course, but not without some thought and feeling for "the other guy." But how to serve the "other guy"? That's the question the movie implicitly asks, finding no easy answer. While I have had little contact with Alphabet City since I lived there back in the early 60s, I did live in NYC's Spanish Harlem during the 80s, where I observed and was part of the attempt at "gentrification without destroying the neighborhood." This was mostly unsuccessful, probably for reasons similar to those found in this thoughtful, bracing and immensely entertaining movie.

• The Omega Man (1971).
• Dead Alive (Brain Dead) (1992).
• Shaun of the Dead (2004).
• 28 Days Later (2002).
• Re-Animator (1985).
• The Serpent and the Rainbow (1987).
• Zombie/Zombi 2 (1979).
• Land of the Dead.
• Bio Zombie (2001).
• Junk (1999).
• Return of the Living Dead (1985).

Reviewer: Craig Phillips
Rating (out of 5): ***½

Keane stars Damian Lewis, most famous here previously for his portrayal of the earnest American captain in the WWII series Band of Brothers (he's actually British). Lewis gives an absolutely brilliant, wrenching performance as a man desperately searching for his missing daughter - or does she exist at all? Director Lodge Kerrigan, who also explored madness in his first feature, the memorable Clean, Shaven (just out on DVD from Criterion), and the filmmaker is in full command of his craft here, using a single camera for street-level, first person immediacy. And because of this, be forewarned: it's a challenge to at first stick with it through Keane's disturbed babblings while he wanders through New York. But as the film unfolds, and Keane befriends a similiarly down-and-out mother (played by The Wire's Amy Ryan) and daughter, it slyly works its way in surprisingly heartrending fashion, while never failing to keep things emotionally true. Cassavetes would be proud. Textbook stuff, in more ways than one.

Would make a good double-feature with the new doc Unknown White Male and especially, of course, Clean, Shaven.

Reviewer: Craig Phillips
Rating (out of 5): ****

There's something about Kelly Reichardt's minimalist film Old Joy that puts one at ease, as if reminding us that there are places we can go - mentally as well as physically - to take some comfort in a world that's essentially gone insane.

Old Joy's plot is hardly enough to hang one's hat on - two old friends connect for an overnight camping trip and a search for a hidden hot springs - but needless to say, the plot is not the thing here. Actor-musician Will Oldham (whose unique, haunting singing voice has garnered him global recognition) plays Kurt, a drifter who drifts back to Portland, Oregon, and looks up his friend Mark (the willowy Daniel London). While Mark is on the precipice of a more domestic life - his wife is pregnant - Kurt is clearly more frail, child-like, but both men are grappling with their roles in an increasingly alienating world. It's to the film's great credit that both characters feel immediate, like people we know - or maybe even are - even if the actors are not completely polished. Their conversations together as they wander around the Cascade Mountains serve as the spine of the film. With the confines of the story comes an intimacy rarely achieved; even rarer, for American films at least, to see that intimacy expressed between two men. While it's of that uniquely American genre, the road movie, Old Joy is more European in sensibility.

Reviewer: Craig Phillips
Rating (out of 5): ***½

Criterion's edition of Fiend Without a Face is a wonderful transfer of an oft-neglected little creeper. Whereas the previous DVD edition looked no better than what you would have seen on late night television twenty years ago, the new anamorphic edition was put through the usual Criterion care and feeding to look as sharp as it likely ever has. There is also some truly outstanding audio commentary with producer Richard Gordon and expert horror film writer Tom Weaver that isn't just about the film itself but also about producing films in the 1950s. It will make you want to watch the whole thing all over again.

The story: People in a small town seem to be losing their minds - literally! Could radiation, and telepathy, be involved? It isn't as silly as it sounds (okay, it's a little silly). Like the original Invasion of the Body Snatchers, this film came at the height of Cold War paranoia and could be interpreted in several ways - some of them silly. But cinematically it has its champions, too; many critics, and film buffs, claim that Fiend Without a Face was a direct influence on such low-budget horror classics as Night of the Living Dead and some of John Carpenter's films. Given the time the film was made, it's particularly surprising how relatively gory the film is in spots - this too, was surely an influence on Romero and others. Makes one wonder if there was a disclaimer provided with the film upon original release - "Warning! This film contains crawling brains being splattered!" But fear not (or perhaps, fear yes!) for this classic cult film, ignoring its clunky science, has surprisingly good effects and is full of scares - and, okay, a few unintentional chuckles, too. Either way, it's the perfect movie for a Halloween treat.

Reviewer: James van Maanen
Rating (out of 5): ****½

How odd to discover Tickets the same day that Terence Rafferty's interesting piece on "auteur-itis" appeared in The New York Times (as referenced on Greencine Daily). Rafferty tells us of the war between the director (Alejandro Gonzales Iñárritu) and the screenwriter (Guillermo Arriaga) of Babel and 21 Grams over the question of who's really the auteur. Perhaps this tiresome twosome can muster the intelligence and humility to watch Tickets, an auteur-less inspiration that makes use of three different directors (Ermanno Olmi, Abbas Kiarostami and Ken Loach), three different writers (Olmi, Kiarostami and Paul Laverty) and three different cinematographers (Olmi, Mahmoud Kalari and Chris Menges) to create a surprisingly seamless film that parcels out four stories amongst these nine world-class moviemakers (including the writers and cinematographers here).

Reviewer: David Hudson
Rating (out of 5): ***½

Anyone looking for just the right way to kick off the Halloween season can hardly go wrong with The Diabolical Doctor Z (1966), a delightful black and white brew of Expressionist lighting and camera work, a B-movie storyline and just a dash of 60s-era European art film pretension. And that story? Well, it was a dark and stormy night... No, really. From there, it's all winding staircases in secluded castles and foggy streets, mind control, murder and revenge.

Now playing at GreenCine Daily:

DK Holm scans coverage and critiques of recent DVD releases, including a very thorough survey of the long awaited DVD release of Warren Beatty's Reds. Give it a read!

Reviewer: Craig Phillips
Rating (out of 5): **½

The British-made fake documentary Death of a President, opening in a limited theatrical release tomorrow, has a premise just built for controversy - an investigation of the assassination of President Bush - but in fact it's a well-crafted, thoughtful, even eerie piece of work, the main drawback of which is a certain lack of punch. While writer-director Gabriel Range's work here harkens back to Peter Watkins' films of the 1960s (Punishment Park, The War Game), Watkins was more of a provacateur.

The fake interviews here are much more believable than many in similar films - such as CSA: Confederate States of America (although recognizing the mom from Freaks and Geeks as the president's special advisor and James Urbaniak - well cast - as a forensics expert was momentarily jarring for me) and it seamlessly weaves in new, recreated footage with existing footage of the President - including a (perhaps too lengthy) segment of Bush's speech to the Economic Club of Chicago prior to his "assassination" - along with other real life "characters" to give the film an immediacy. Chicago makes an unsettling location for the crime, too, with the Chicago police in full riot gear and mayor Richard M. Daley, son of Richard J., reminding of the chaos that ensued at the Democratic convention in 1968.

Reviewer:Jonathan Marlow
Rating (out of 5): ***½

"Nine killed her, nine will die!"

Robert Fuest is one of the greatest directors you've never heard of. From his days as helmsman for a handful of episodes on the ground-breaking television show The Avengers, on to his brief attempt at Eurotrash with the fabulous And Soon the Darkness and even until his last feature, the surprisingly explicit Aphrodite, the man was an exceptionally crafty filmmaker. Over a two-year period (1971-2), Fuest released among the most original pair of horror pictures ever made, both starring the legendary Vincent Price as Anton Phibes: The Abominable Dr. Phibes (amazingly, Price's 100th movie appearance), and the less successful Dr. Phibes Rises Again. In the original, organist Anton uses the ten plagues of Egypt (as described in Exodus) to kill the nine doctors responsible for his wife's demise. With a supporting cast of Joseph Cotten, Terry-Thomas, the stunning Virginia North and an array of talented character actors, the first Phibes is a masterpiece. The sequel, continuing in the black-humor vein, still has the systematic death element (even if it isn't worked into the plot quite as cleverly), still has significant guest stars (Robert Quarry, Peter Cushing, Terry-Thomas again -- didn't we kill him off in the first one?) but lacks the spark of the original. Yet despite the fact that it feels rushed into production to capitalize on the success of the first film, the sequel is terrifically entertaining. When Price died in 1993, it temporarily killed my dream of making a third Phibes film. "Temporarily" because, as you'll note when you watch these films, Vincent's character can be replaced -- he has no face. Someday, someday...

Reviewer: Erin Donovan
Rating (out of 5): ***½

At last - a DVD release of the movie young, feminist film-makers spent their formative years trading bootleg VHS copies of: Born in Flames. Made in 1983 and touted as "feminist science fiction, Lizzie Borden's Born in Flames is set in the grimy streets of a pre-Giulliani NYC but ten years after a peaceful social revolution that had ostensibly made all Americans equal. However, women are still facing a disproportionate level of violence that the police and local government don't acknowledge ("after all, ladies, you already had your revolution!")