Martyrs (2008)

 
 There are no words to describe how f**ked-up this movie is. I have not seen "A Serbian Film," which is supposed to make "Martyrs" look tame in comparison, but I truly do not know how it's going to top this. I've seen "Antichrist," "The Human Centipede II," "American Mary," but nothing like this. This movie is spirtually and physically sickening, which is exactly how the filmmaker,Pascal Laugier, intended it.

   Okay, I'm probably just riling up you gorehounds, so I'll cut to the chase. To say that this movie is nauseating is not to say it's bad. It's actually very well-made and well-acted from start to finish. Actress Mylène Jampanoï does a great job as the frightened victim turned infuriated perpetrator, and Morjana Alaoui is also terrific as her enamored friend.

   Although Anna (Alaoui) harbors a lesbian crush on Lucie (Jampanoï,) her sexuality isn't a huge part of the plot. Instead, the movie is about the giving and receiving of physical punishment (not the least bit pleasurable; sorry, BDSM enthusiasts,) and just how far the rich and selfish will go to secure their own peace of mind, with no regard to the people they hurt.

   Maybe comparing the premise of this movie with current class issues is a long shot, but damn it, it sounded smart to me at the time. Lucie is inexplicably held prisoner as a child and subjected to physical pain. Young Lucie (Jessie Pham, in a performance worthy of her grown-up counterpart,) runs away and ends up in an orphanage, where she meets Anna (played as a child by Erika Scott) and forges a close bond.

   Anna seems determined to help Lucie no matter what squirrels reside in her attic and continues to be a faithful friend and companion when Lucie grows up and, P.O.-ed and dangerous, takes a shotgun to a couple she believes participated in her torture and their teenaged children.

 

 This movie is super brutal and fairly realistic, and establishes itself as such in the home invasion scene. Unlike a American movie, Lucie runs out of shotgun shells and needs to reload, and the reaction of the family radiates terror, but perhaps, not surprise. The movie a sick (let me rephrase that- sicker) turn after Anna is captured by Lucie's tormenters.

   The ending is a 'What the Hell?' moment and will leave you thinking about what it all means. The cinematography is very professional and overall well-done. The scenes involving Anna's entrapment last a little too long, frankly. How many times can we watch a woman be smacked around and degraded when it doesn't advance the plot?

   The movie makes the decision to focus on young Lucie rather than her captors in the flashbacks, which is a good cinematic choice considering Lucie is traumatized by the experiences and initially doesn't remember her victimizers. In many of the later scenes with Anna, we see her abusers very clearly, constrasting with with the earlier scenes with Lucie.

   I thought this was a very well-made movie, but only watchable for people with very strong stomachs. It's not a popcorn movie, and neither does it intend to be. I liked it, but I don't think I could watch it again anytime soon.

                                Rating-
                                       7.5/10

A Cat in Paris (2010)

Cat lovers who wonder where their beloved pet wanders off to at night will be surprised and delighted by "A Cat in Paris," a highly enjoyable, however brief, 2-D animated film. The decidedly strange animation is admittedly a little off-putting at first, but grows on the viewer with it's bright merry colors and distinct characters.

   Young Parisian Zoe hasn't talked since the death of her father, a detective, by mad criminal Victor Costa (voiced by JB Blanc in the English-dubbed version.) With her distracted mother Jeanne (Marcia Gay Harden,) who is also a detective, fighting to hunt down Zoe's father's killer, Zoe is often left in the company of her cat, Dino, who by night is the accomplice to a jewel thief (Steve Blum,) a big-hearted rogue with a passion for danger.

My Afternoons With Margueritte (2010)

"My Afternoons With Margueritte" is a sweet, touching, and somehow innocent love story that makes you want to discover the joys of reading all over again. I myself haven't read a book cover to cover in years, due to a visual tracking problem that has plagued me since childhood, but Germain (Gérard Depardieu)'s discovery of books reminds me of how much I enjoyed reading before it became so difficult. It makes me want to get out and read, damn it!. And while I'm at it, it makes me want to go out and meet a friend like Margueritte.

   Dyslexic gardener Germain Chazes is considered a simpleton by his so-called friends, and driven to despair by his nasty old bag of a mother (played by Claire Maurier as an old woman and by Anne Le Guernec in the flashbacks). The only joy in his life is derived from his kind, much-younger girlfriend Annette (Sophie Guillemin,) the dubious companionship of his friends, and his hobbies and simple joys.

The Phantom of the Opera (1925)

The second of many film adaptations of Gaston Leroux's novel (the first being a 'lost' and mostly forgotten film, "The Phantom of the Opera" is mostly famous for Lon Chaney's very physical performance as the titular phantom, a hideously deformed man who lurks the halls of the Paris Opera House, circa 19th Century.

   The Phantom (or Erik, as he'd rather be called, though no one ever does) is obsessed with one singular goal, winning the love of the beautiful Christine Daae (Mary Philbin), an opera singer who he idolizes. Willing to do anything to make her a star and earn her affections, Erik pulls strings to make her a leading lady, but his obsession comes with deadly consequences.

Mini-Review: Code Unknown

I admire Haneke's ability to blend so many layers into a narrative. This is a story of fractured relationships and social injustice, highlighting our inability to communicate on the level of personal relationships, communities, or nations. I also admire this filmmaker's ability to convey so much, in quiet, still moments, with few words.

Monday Round-Up/Homeschooling With Tarantino

This week we found ourselves inching back into a "normal" routine after the holidays. Trisha was VERY excited to get back to school. She attends a small private school, part time, as a homeschooler.

Film Review: Caché

Year Released: 2005

Written & Directed by: Michael Haneke

Review by: Steph

My Rating: 5/5 Stars

Weekly Round-Up: Books, Films & Homeschooling (No Zombies)

There has been a little too much crazy around here lately. Sometimes I feel like Bill Murray's character in Groundhog Day. Waking up every day to the same old mess, hoping something changes yet powerless to make it happen. :-P Things are starting to look up, though.

Film Review: Au Revoir Les Enfants

Au Revoir les Enfants (1987) Written and Directed by Louis Malle
viewed in French with English  subtitles

An Infinite Tenderness

"An Infinite Tenderness" is a beautiful piece of fiction, disguising itself as a documentary, exploring the world of brain-damaged children. It has no A-listers and no dialogue, but is probably more moving than any other film you'll see this year.

The Siren of Paris by David LeRoy

Born in Paris and raised in the United States, 21-year-old Marc Tolbert enjoys the advantages of being born to a wealthy, well-connected family.. Reaching a turning point in his life, he decides to abandon his plans of going to medical school and study art in Paris. In 1939, he boards a ship and heads to France, blissfully unaware that Europe -- along with the rest of the world -- is on the brink of an especially devastating war.

However the story begins at the close of Marc's life. In the opening lines of this novel, we find ourselves at a graveside, in 1967, as Marc's spirit watches the living pay their final respects. Surrounded by the ghosts of men lost in the war, Marc sees snippets of his life flash before him. Before he can leave this world in peace, he must reconcile the sadness and guilt that burden him.

Soon we meet Marc on his carefree voyage to Paris, a place that seems far removed from the looming Nazi threat to Eastern Europe. When he arrives at l'École Nationale Supérieure des Beaux Arts, more ominous signs surface. There are windows covered with tape, sandbags shielding the fronts of important buildings, whispers of Parisian children leaving the city, and gas masks being distributed. Distracted by a blossoming love affair, Marc isn't too worried about his future, and he certainly doesn't expect a Nazi invasion of France.

Marc has a long journey ahead of him. He witnesses, first-hand, the fall of Paris and the departure of the French government. Employed by an ambassador, he visits heads of state, including the horribly obese gray-haired Mussolini and the charismatic Hitler. He witnesses the effects of the tightening vise of occupation, first-hand, as he tries to escape the country. He also participates in the French resistance, spends time in prison camps, and sees the liberation of the concentration camps. During his struggles, he is reunited with the woman he loves, Marie, who speaks passionately of working with the resistance. Is she working for freedom, or is she not to be trusted?

I've read many kinds of historical fiction. In some historical novels, the setting and events unfolding are merely a backdrop for the characters and story the author has created. In The Siren of Paris, the historical setting and events are the story. While the characters and their lives are important, the exciting and horrific events of this period drive this novel. Carefully researched, well chosen details bring these events -- from pre-World War II France through the liberation -- to life. While I generally gravitate toward more character driven novels, I was absorbed and fascinated by the book.

The author's meticulous historical research really shines. Events are described in incredibly vivid detail and in a very personal and human way. For example, we see detailed news footage of the German invasion of France. We see people cramming themselves into and piling on top of train cars, trying to escape the country. We experience the destruction of an ocean liner, are drawn into the intrigue of the French resistance, and feel a character's psychological deterioration in a prison camp. The novel also touches on the post traumatic stress the protagonist suffers after the war.

I also liked the spirituality that runs through the novel. We see a priest who is well versed in dogma and without compassion contrasted with a loving, spiritual man of God. This story explores themes of faith, despair, betrayal, guilt, forgiveness, redemption, and the pivotal choices that make us who we become. There are also lightly rendered paranormal elements and interesting dream/hallucination sequences as well as a wise, thoughtful moment, at the end, where Marc's spirit realizes what he needs to achieve peace.

While it is packed with information, The Siren of Paris is readable and entertaining. This is an excellent living history book for adults and mature teens, and it might be a valuable resource for homeschooling families. Parents may want to know that while the violence is not very graphic, there are very disturbing elements along with some strong language and very mild sexuality.

I received this e-book, with no expectation of anything other than an honest opinion, as part of a virtual book tour through Promo 101 Book Promotion Services. For more information about this virtual book tour, please visit -- http://bookpromotionservices.com/2012/05/22/siren-of-paris-tour. For more information about this novel and author, see http://www.thesirenofparis.com/. You can also follow David on Twitter @studioleroy or on Facebook.

Rating: 4

5- Cherished Favorite	4 - Keep in My Library	3 - Good Read	2 - Meh	1 - Definitely Not For Me

Vidalia in Paris by Sasha Watson

Vidalia is going to Paris for six weeks. The young artist has been accepted to a prestigious program for gifted American students, and she will be staying with a French family for part of the summer. It offers her a chance to take a break from her needy mother, study art with an expert teacher, and spend time with a "real" family.

After she arrives in France, Vidalia struggles with a challenging art course with a gifted and demanding teacher. She is also attracted to two very different men and falls in love for the first time. And her life quickly becomes more complicated than she'd bargained for.

I enjoyed this book, which is well crafted and offers interesting characters. I particularly liked Vidalia's character. Her emotions, as she faces new challenges and falls in love for the first time, are well drawn. I could feel the rush of emotion that comes with first love and being intimate for the first time. I also felt the experience of being independent for the first time. Another thing that shines is the author's eye for detail and skillful use of imagery, as well as her knowledge of art. I thoroughly enjoyed the vivid glimpses of Paris and forays into the art world.

While I enjoyed this novel, it was not one of my favorites among the young adult novels I've reviewed. It was suspenseful, with various plot twists, yet the circumstances Vidalia found herself in strained credibility for me. I found myself wishing the writer had relied on the strength of her main character, the beautiful setting, and her compelling story of experiencing freedom, new adventures, and coming of age, instead of taking us through conspiracies and jagged plot twists.

Nevertheless, I recommend Vidalia in Paris, especially for young readers, and I will look for more books by this author.

Rating: 3

5- Cherished Favorite	4 - Keep in My Library	3 - Good Read	2 - Meh	1 - Definitely Not For Me

Them (2006)

     Horror filmmaking, a visualization of things no one wants to happen to them, can be morbidly fascinating, or even lyrical. Tomas Alfredson's Let the Right One In, particularly, told its story brilliantly and in some ways transcended the vampire genre. Them, a slight trip into depravity  advertised as "the movie that terrified the French," is not. It is tripe. The film doesn't stand as much as a worthy story with characters as a gaudy set-designed ego trip, with meticulously designed dark corners, piercing screams, and convenient pitfalls.

     When the heroine, schoolteacher Clementine, chose a place in the attic of her sprawling isolated home to escape from the home invaders of the film, of course it is an otherwise empty section with cellophane hanging in clumps from the ceiling, each one vaguely looking like a cloaked face. Of course Clementine and her boyfriend Lucas live in an isolated manor. And finally ,of course the isolation is broken by a "annoying" dog, who barks to warn them too late.

    I was warned. When a teenage girl feuding with her mother gets run off the road by a unknown being, I heard her, just as it began to rain, segueing from a irate calls to screams, more and more desperate "Maman! Maman! Maman!!!" The car? It doesn't start. The rain obscures anyone from view, as does the trunk her mother ignorantly poked around in. The cell phone shakes in her hand, and she can barely release a squeak, much less a "help."

      After the inevitable death, the film focuses on Lucas, a writer who does his best work playing arcade games, and Clementine, a frustrated primary school teacher. For a period of about fifteen minutes, the two exchange a stream of smooth and natural dialogue, in such a way I mistakenly started hoping that I would care what happened to them. After that, the script runs out of such dialogue, and settles on standard horror talk. I started laughing out loud at the banality of it, a bad sign with a film that wants to be taken this seriously.

"______!" (insert name, repeat 20-30 times.)
"I'll go check."
"What was that sound?"
"Don't leave!"

     The acting in the film is decent, the performers pounding on the one note the director brings to the table, mostly comprised of frightened shrieks and tear stained faces. The plot is a series of grotesque occurrences, putting the characters through horror and trauma. It's plotlessness is "compensated" for with a couple of jumps (it barely succeeds). The slashers are barely frightening and completely nonsensical.

Simply put, it is a series of close escapes and killings, too premeditated and shallow to provoke much reaction.  I learned something, though. Nothing about safety, nothing about human nature. I learned that a film's cool cover art, cinematic pedigree (foreign), and being spoken in a pretty language (French), does not make it very much superior to American money mongerers. Nor does it classify it as high film-making. That is all. (Rated R.)
  **