Geo-Politics, Car Chases, and Keri Hilson Rhapsodies in 'The Rover'

Glenn here looking at a film from my homeland. As I sat watching David Michôd’s The Rover surrounded by a room of American film critics, I began to think about politically-motivated cinema and how it is perceived by audiences who do not have a distinct knowledge of the subject at hand. Like many “new waves” that come about (which is basically a fancy term for “look, we’re finally paying attention to you!”), these films are usually the result of angry artists using their form to critique a government or regime. Some do it with unmistakable blunt force, while others take the allegorical road. In the case of The Rover, it’s the latter. So as I sat then more-or-less engrossed (more on that in a little bit) and admiring what Michôd was saying about Australian geopolitics (intentional or otherwise), I couldn’t help but think that – quite frankly – a lot of people aren’t going to get it.

People that I asked seemed to be aware that the film was working on a level higher than mere outback action fodder, but would be hard-pressed to explain what it was all about. I don’t blame them – I wouldn’t want to follow Australian politics either right now if I weren’t personally invested in it. It's truly depressing. Furthermore, it’s not like I can claim to know the impetus behind any number of film movements, political or not. However, with The Rover I think it’s a tougher case to decipher because Michôd and his collaborators have made a very sparse film. These thoughts I was having came about during one of The Rover’s quieter scenes, of which where are many. It's film that surely could have been wound tighter in the editing room (although the work of newcomer editor Peter Sciberras is still effective, especially in the film’s impactful and exciting opening act) and perhaps a little more forthcoming with its details, if only to allow the international audiences that it’s bound to attract after the Oscar-nominated Animal Kingdom more of an access to its themes.

Michôd, Pearce, & Pattinson on set of 'The Rover'

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A Great Big Weekend in Movie Theaters

What a delicious crop of movies to take us through the weekend! I'm tempted to just sit in the theater and play hooky from the blog till Monday. Two highly anticipated sequels in 22 Jump Street and How To Train Your Dragon 2 (the latter of which I've seen and loved) will surely crush the box office but there's a whole mess of movies worth seeing in arthouses right now, many of which we've already written up from festivals. If you're in the big cities here are just a handful of many choices.

I like this poster• Hellion (Sundance review) starring Aaron Paul as a grieving widower who's losing control of his sons. Juliette Lewis plays his sister-in-law
• Borgman The Netherland's Oscar submission last year
• Obvious Child (Sundance review) a romantic comedy that's getting a lot of attention due to its filthy mouth and abortion plotline
• The Rover (Cannes review) David Michôd's follow up to his outstanding debut Animal Kingdom is another crime drama. This one stars Guy Pearce again and Robert Pattinson.
• A Coffee in Berlin - this comedy was a huge hit in Germany. It used to be called Oh Boy! 
• We Are the Best - a girl band 80s-set movie from the great Swedish director Lukas Moodyson (Together, Lilja 4ever). I've only heard wonderful things and I have to stop putting it off.

Are you going to the movies this weekend? I'm off to see Edge of Tomorrow right at this moment (I'm late I know) due solely to the surprise of those extremely positive reviews. The premise, at least as delivered in the trailer, held zero interest so if I hate it I'll have to seek vengeance on the nation's film critics somehow. 

Yes No Maybe So: Birdman

How did we end up here? In this dump. You were a movie star, remember?

Surely one of the year's most intriguing features in concept and casting alone, is Alejandro Gonzáles Iñárritu's Birdman. The director collaborating with the great cinematographer Emmanuel Lubezki (fresh off his Oscar win for Gravity) trains the movie camera on the best Batman (I'm with Seth Rogen's in Neighbors on this one) as he plays a has-been movie star famous for playing a character named "Birdman". Now he's on stage years later trying to rejuvenate his career.

Concept and casting alone were enough for a "maybe so" tilting yes. And then came advance word from test screenings that the film really delivers across the board in performance so "yes". And then came the teaser which begins with a 41 second continuous shot like its asking me to marry it. So now I'm at 'Yaaaaas! I will. I will. I do!"

Making the traditional Yes No Maybe So a more lopsided formality than is healthy after the jump...

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Tim's Toons: How to animate your dragon

Tim here. This weekend sees the release of How to Train Your Dragon 2, the first of just two major animated features coming out this summer (and having to imply that Planes 2: The Plane Fight Fire Now is a “major” film tastes like ash in my mouth). More importantly, it’s the sequel to a four-year-old film that’s broadly regarded as the best movie DreamWorks Animation has ever made. And there have been many appreciations advanced through the years as to why How to Train Your Dragon is so good – a comic tone that never trumps the basic sincerity of the story, John Powell’s gorgeous, Celtic-tinged score, the first actual decent animation of normal humans in the studio’s history – I can tell you pretty easily why it’s my own personal favorite: it’s the best movie about cats ever made.

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Throwback Thursday FYC: 1964 Oscar Ads

The only ones I could find. We'll start with three pre and post-nomination ads aiming for the actual gold. This first for Anne Bancroft in The Pumpkin Eater is possibly just a poster but those sometimes double as FYC's when they're focused enough and this one is.

Three more ads and Oscar trivia after the jump...

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