Arts This Weekend at the Movies
posted by April 20 at 16:05 PMon
First, the news. The Cannes lineup has been announced. We probably won’t see these movies for a long time—in most cases, SIFF, which comes right on the heels of Cannes, can’t get its hands on anything. Last year, I believe only one film, A Scanner Darkly, showed at both festivals, and at SIFF it was a sneak preview screening. SIFF 2006 did, however, have a handful of Cannes 2005 films, mostly lower-profile or Eastern hemisphere stuff that hadn’t opened theatrically. So read it and drool.
There’s some loud buzzing around the fact that Cho Seung-Hui might have gotten the idea for his hammer photo from Park Chan-wook’s Oldboy. (Here was Andrew Wright’s 2005 review.) Not to point out the obvious, but if Cho had tried to imitate the hammer scene with an actual hammer, the carnage would have been significantly diminished. (See also response from Dave Kehr and Richard Corliss, via GreenCine.)
Opening this week:
Charles Mudede writes up The Wind That Shakes the Barley, a Cannes 2nd prize winner from last year: “The political message is here reduced to the function of being nothing more than a stage for the real star: the exceptional beauty of Ireland itself.”
Andrew Wright assesses Hot Fuzz, the newest from the Shaun of the Dead team of Edgar Wright and Simon Pegg. Seems it’s kinda slow for an actioner.
And in On Screen this week: Year of the Dog (Bradley Steinbacher says it’s “comedy built mainly upon loss,” and it’s surprisingly good), Fracture (Lindy West finds it GUILTY! [tchung tchuung!]), The Cats of Mirikitani (you’ve never seen the story of the Japanese internment told like this before), The TV Set (saved by an excellent—“most likely overqualified”—cast, says Andrew Wright), After the Wedding (bourgeois dreck dressed up as an anti-bourgeois Oscar contender, say I), and In the Land of Women (it’s all about the cancer stick, contends Christopher Frizzelle, forgetting to mention that its star Adam Brody played a bit role in Thank You for Smoking).