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How the hell will Jon Heder ever shake off his association with Napoleon Dynamite, this richly bizarre creation of director Jared Hess and his wife Jerusha with whom he co-wrote the random screenplay - a deadpan, off-kilter glimpse at some very unspectacular, but hilariously entertaining, weeks in the life of some very strange Idaho residents.

Napoleon lives with his nerdy older brother Kip (Aaron Ruell), who though in his 30’s has the body of a malnourished 15 year old, and has a devoted internet girlfriend in Detroit who he’s never seen but is sure is his soulmate. They both live with their Grandma (Sandy Martin) who goes off to ride a dune buggy and gets injured, leaving the boys’ Uncle Rico (Jon Gries) to look after them.




Napoleon himself is nerdy, lanky and ungainly – he’s funny to just look at or watch walk – gets beaten at school on a regular basis, carries a photo of a model in his wallet and claims it’s his girlfriend, dangles action figures out the back window of the school bus, and with grandma gone now has the family’s pet llama to feed. He has a new friend, Pedro (Efran Ramirez), the only kid in school with a moustache and their mission becomes to get Pedro elected school president – for no particular reason, it just seems like something to do and they don’t really put much thought into it other than to oppose the school’s most popular girl Summer Wheatly (Haylie Duff).

His Uncle Rico is a sleazy would-be salesman who tries to sell Tupperware to the town’s single mothers, and lives in the past, longing for the supposed glory days of his high school football exploits. But as with the other characters he’s never less than likeable and works brilliantly because he never strays into caricature; he has other sides to him as well.


The boys watch home movies with their Uncle Rico


The true genius of this film, released in 2004, lies in how it randomly strings together scenes from these people’s lives without any real compelling narrative to push it along. It succeeds because of it’s perfectly pitched tone in that there’s no outrageous or self-conscious weirdness in the way Hess has written them – these people aren’t trying to make any mark on the world or reach any ultimate moral judgements about either it or one another. There’s no catharsis or sentimental climax. Hess just places these distinctly odd characters in a vacuum of their own and we get sucked in by their endearing idiosyncrasies, laughing like fools at their cringe-worthy, small-scale misadventures all the while.

There’s no need for fleshed out back stories here, the random peculiarities of everyday life are perfect storytelling devices for a film as modest as this, and if you find yourself on its wavelength from the start you are going to laugh your head off. If you have a good look around your own street or town you'll probably find a few people not all that far removed from these 'weirdos'!

A work of accidental genius or not, Napoleon Dynamite seems sure to become a cult classic in future years, if it hasn't reached that status already.


Napoleon in hot new threads!


Napoleon and Pedro on the campaign trail
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10 Great Directorial Debuts

July 1st 2008 05:11
12 ANGRY MEN - SIDNEY LUMET (1957)

It’s hard to believe that 50 years later this man is still making relevant films, with an astounding body of work now behind him. Even more remarkable is that his debut may be close to the most perfect film ever made. I could watch it on a loop forever, just Henry Fonda and his eleven 'combatants' on a stifling New York day in a single room, with the freedom of an ordinary young man at stake. One of the greatest films ever made.

12 Angry Men



PI - DARREN ARONOFSKY (1998)

It’s a shame this brilliant young director, whose genius was confirmed in his follow-up, Requiem for a Dream, has gone on to make only one further film since. Pi, made on a shoe-string with friends over many weekends, is memorable for its unique vision and narrative, a fascinating inquiry - exploring the fine line between mathematics and madness!!


DUEL - STEVEN SPIELBERG (1971)

The ultimate road movie, and a wonderful psychological thriller as man battles faceless beast on the open highways. Dennis Weaver’s internal monologues as he struggles to understand the nature and motivations of his stalker are fascinating and Spielberg shows his adeptness at creating palpable suspense at a very early stage. Billy Goldenberg’s atonal score probes even further beneath the layers of frustration, rage and paranoia.

Duel



WHO'S AFRAID OF VIRGINIA WOOLF? - MIKE NICHOLS (1966)

Has there ever been a more stark and vitriolic paring back of the layers of marriage on screen as Richard Burton and Elizabeth Taylor let fly in this tumultuous, but never less than compelling adaptation of Edward Albee’s play. It gets ugly and uncomfortable to watch but like a car crash you can’t look away. The stunning, invasive cinematography of Haskell Wexler and Alex North’s heart-rending score compliment this masterpiece perfectly.


ERASERHEAD - DAVID LYNCH (1977)

This one has divided audiences like few other debuts ever. It’s hypnotic, infuriating, repulsive and utterly beyond human comprehension…………..and that’s just in the first few scenes!! I have no idea what it’s about – and if Lynch himself does he’s never let on in any coherent or rational way either - but it’s a surreal, unforgettable mind-trip, full of bizarre, seemingly random visuals and the most frightening proof for the merits of contraception ever shown on film!

Eraserhead



PUBLIC ACCESS - BRYAN SINGER (1993)

For his low-key but gripping debut Singer probes beneath the surface of small-town American life as anonymous revelations spiral out of control after a mysterious stranger waltzes into town and, through his new radio program, throws the doors open to the people and their previously silent black hearts. Singer would follow this relatively unknown gem with the phenomenal The Usual Suspects but a much more subtle side of his immense talent is clearly evident in this fine beginning which is well worth tracking down.



DELICATESSEN - JEAN-PIERRE JEUNET (1991)

Long before the whimsical Amelie, this debut, co-directed with Marc Caro, (his collaborator on the later City of Lost Children as well) gave the world an hilarious black comedy which is also a spectacular visual feast – a riot of energy and colour and outrageously odd characters inside a post-apocalyptic apartment house where the landlord is adding a special little “something” to his culinary concoctions! For me it’s a brilliant film but it seemingly has the power to draw either love or hatred from those who’ve seen it.




ORDINARY PEOPLE - ROBERT REDFORD (1980)

The great actor has always been choosy when stepping behind the camera and his very first project was an intimate and moving study of a middle-class family’s disintegration after one son is killed in a terrible accident, whilst the guilt of his brother eats away at his existence and threatens all their relationships. Timothy Hutton won an Oscar as the troubled son, as did Redford’s sensitive direction. The scenes between Hutton and Judd Hirsch as his psychiatrist are a highlight as is the use of Pachelbel’s Canon, which I always remember vividly.


BOTTLE ROCKET - WES ANDERSON (1996)

This brilliant, quirky debut may still be Anderson’s best work and the one most representative of his later approach to films with slightly bigger budgets. Owen Wilson’s collaborations with the director as co-screenwriters have been nothing but gold and this tale of an aimless, hilarious group of bumbling would-be crims turns into one of the most original and endearing films of recent years, a true indie classic.

Bottle Rocket - those crazy Wilson boys



THE EVIL DEAD - SAM RAIMI (1982)

What could possibly happen at a cabin in the woods at night?……….only one of the scariest films from my childhood, but I can now view it for what it is as an adult – a thrillingly inventive and audacious funhouse ride which is still just as scary as it is brilliant. Raimi may have gone off the rails and sold his soul to committee filmmaking in the last decade but as a precocious young director he gave us this classic debut which still stands the test of time.


The Evil Dead
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David Mamet's HOUSE OF GAMES

June 30th 2008 05:57
Already a celebrated screenwriter and Pulitzer-Prize winning playwright by 1987, David Mamet decided to take the reins behind the camera for the first time with House of Games, a complex, constantly shifting story of manipulation and con men. It’s a ripping good yarn too, though perhaps an acquired taste of sorts in that it’s rife with his now-famous 'Mamet-speak' - instantly recognizable, rapid-fire, punchy dialogue with its stagy, contrived feel which isn’t always naturalistic. It quickly develops its own cadence however, and the actors are very important to the overall effect; critics have either loved or hated these unique Mamet traits over the years.

Lindsay Crouse is Margaret Ford, a successful therapist who has just published a new book. She has quite a few troubled patients including Billy Hahn (Steven Goldstein), who produces a gun during a session, threatening to kill himself because of a large debt he’s racked up. Margaret promises to do something to help him and that night ventures to the isolated bar known as the ‘House of Games’, where she confronts the man responsible for Billy’s debt, Mike (Joe Mantegna). Margaret is persuaded to take part in a confidence scam in a backroom poker game by Mike, who promises to wipe away Billy’s debt if she plays her part.




She does so, though things aren't exactly as they seem, and from here on the fun begins as Mamet throws twist after twist into his plot, Margaret soon falling for Mike and begining to take part in his confidence scams, fascinated by his shady life and hoping to write a new book detailing the intricacies of what he does for a living. But things on the surface can be very misleading and in the end who can really be trusted?

Mamet’s memorable film has an intriguing set-up and he delivers with more than a few surprising revelations along the way. Again, your enjoyment of the film may be dependant on how you cope with his occasionally exaggerated, heavily stylized dialogue which puts an emphasis on actors hitting their marks as they seem to be engaged more in verbal sparring matches at times - characters answering one another’s questions by firstly repeating them, for example, which is a Mamet trademark built into so much of his work
.

Mike and Margaret: who's conning who?


The always excellent Mantegna is the real star of the show and he tends to overwhelm those around him with a dominating turn as the mysterious Mike. He shouldn’t really illicit much sympathy as a ruthless con man who does nothing but prey on the weaknesses of his victims, but Mantegna gives him strangely likeable dimensions. He was a regular in Mamet’s early films especially, including the first three (most notably the excellent Homicide in 1991); he’s also in Mamet’s upcoming new film Redbelt.

Linday Crouse, who was married to Mamet at the time - is not always believable as the gullible therapist but the strength of the screenplay means that her deficiencies don’t weigh the film down too much.

The supporting cast are very fine in smaller roles, including even more Mamet regulars like Ricky Jay, the late J.T. Walsh, and William H. Macy (who has a neat cameo in one scene), whilst the smoky, jazz-flavoured score by Alaric Jans is a perfect fit.

House of Games isn’t quite up to the standard of more recent Mamet works for the screen like the wonderful The Spanish Prisoner or Spartan but it’s an excellent example of his unique style and a natural starting point for anyone who comes across his work and wants to explore more – as I did many years again when I fell in love with his profane, Pulitzer Prize winning masterpiece Glengarry Glen Ross, and the 1992 film version directed by James Foley, with its stunning lead performance by Jack Lemmon
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Mantegna in one of his most masterful performances


Writer/director David Mamet

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The Kite Runner

June 26th 2008 04:02
The bonds of friendship between two young boys are stretched to breaking point after a traumatic event which will change their relationship forever in Marc Forster’s adaptation of Khaled Hosseini’s phenomenal best seller, The Kite Runner.

Vividly we are sent back in time to Afghanistan in the 70’s before the Russians invaded where Amir (Zekeria Ebrahimi), the son of a wealthy landowner, Baba (Homayoun Ershadi) is best friends with the son, Hassan (Ahmed Khan Mahmoodzada) of one of his father’s servants. Amir is seen as weak by his father, a boy more interested in artistic pursuits like writing silly stories, incapable of defending himself when approached by bullies in the street. Unlike the diminutive Hassan, who Baba admires for his tenacity, his spirit and bravery in the face of larger opponents.

[ Click here to read more ]
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CANDYMAN: Sweets to the Sweet!

June 25th 2008 04:32
Bernard Rose’s classic Candyman is one of my favourite horror films of all time, retaining such a strong sense of nostalgic association that I can easily overlook its few flaws. It’s become something of a cult favourite since its release back in 1992 and watching it today I can gratefully report that it still stands the test of time even if the framework around which the narrative hangs does seem a little thin.

Based on Clive Barker’s short story ‘The Forbidden’, it tells the story of Helen Lyle (Virginia Madsen), a Chicago grad student, who along with her friend Bernadette (Kasi Lemmons), is researching urban legends and folklore for their combined thesis. Her interviews yield the scary tale of a serial killer, the Candyman, who can supposedly be summoned by looking into a mirror and repeating his name five times over. With a hook buried in the stump of one arm he slices his hapless victims from groin to gullet. His legend is rampant around the poverty stricken housing projects of Cabrini-Green where a recent death is credited to him.

[ Click here to read more ]
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P.T.Anderson's Hard Eight

June 23rd 2008 04:55
Paul Thomas Anderson’s debut from 1996 may be his most unknown work but its rare quality was to be a precursor of the films that followed from his fertile imagination: Boogie Nights, Magnolia and Punch-Drunk Love. His most recent, There Will Be Blood, may be rightly regarded as his opus one day, but there’s plenty to remind us of his dramatically acute sense of pacing and characterization in Hard Eight.

Expanded from his own short film Cigarettes and Coffee, Anderson uses the same central character, Sydney (Philip Baker Hall), an elderly man and gambler who takes a distraught, directionless young man, John (John C. Reilly), under his wing, firstly just to give him a helping hand after he finds him in a mess outside a diner after the recent death of his mum. Is it just a chance meeting between two random strangers, or is there another force bringing them together?

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Death of a President

June 20th 2008 02:45
George W. Bush was assassinated on the 19th of October, 2007…………………..........in the alternate world posited by British filmmaker Gabriel Range in the fascinating faux documentary Death of a President, made in 2006.

Replete with talking-head testimonies and vivid recountings of the stunning events which would shock the world and send the Americans into a frenzy as they track down the killer, this film makes us believe the untruths of this alternate strand of the future. It has the feel of authenticity which is testament to all its participants, the actors especially and the skillful direction of Range and his co-writer Simon Finch.

[ Click here to read more ]
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Princess (2006)

June 18th 2008 04:00
This disturbing anti-porn, mostly animated film from Denmark features one of the most original combinations of animation and live-action scenes ever made. Written and directed by Anders Morgenthaler, it’s a starkly executed tale of retribution, featuring many unflinching images which have the power to provoke long after the film has ended.

August (Thure Lindhardt) is a missionary priest of some sort, though it’s never explained what type he is and we only see him in garb in the opening scenes. His sister Christina (Stine Fischer Christensen), known more famously by her porn-queen moniker, “Princess”, has just died, leaving behind her 5 year-old daughter Mia in the care of a brothel owner. August comes to claim Mia, his anger simmering about the direction of his sister’s life and her eventual demise.

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The upcoming Righteous Kill, which will see the first real sustained meeting of Robert De Niro and Al Pacino, will be a fascinating project regardless of how decent or not the film itself turns out to be. And certainly we have to be realistic in suspecting this won’t be another Heat, where the legendary actors were the headline acts in a project worthy of their standings, but only shared 5 or 10 minutes on screen together.


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The Eye of Jessica Alba

June 16th 2008 04:37
Jessica Alba is the main attraction in The Eye, David Moreau and Xavier Palud’s adaptation of the original 2002 Hong Kong film of the same name which was written and directed by the Pang Brothers, Danny and Oxide. It was a decent little supernatural chiller, and the greatest surprise about this American update (co-directed by two Frenchmen!) is that it’s competent and far more watchable than a few of the other Asian remakes of recent times which are being churned out at an alarming rate.

Alba is Sydney Wells, a concert violinist who has been blind since an accident with firecrackers at the age of five. Now she’s about to receive cornea transplants which will alter her life in many ways. However it’s not long before her first blurry perceptions of the world as an adult are foreshadowed by ominous inklings of trouble to come, with a dark figure creeping around the edges of her sight – a type of grim reaper who has come to claim a dying woman in a nearby hospital bed.

[ Click here to read more ]
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