WEDNESDAY, SEPTEMBER 12
CASSANDRA'S DREAM (Woody Allen) *1/2
Few have spent more time and energy than me defending Allen's post-millennial comedies. But whereas I find their (undeniably) sloppy plotting and lazy scene constructions endearing more than inept, I can't stomach Allen applying the same techniques to his more serious and ostensibly substantial recent films (i.e. Cassandra's Dream, Match Point and even Melinda and Melinda to an extent). Allen jogs across very familiar territory here, wondering -- just like he did in Crimes and Misdemeanors and Match Point -- whether humanity can accept murder as a solution to maintaining (or enhancing) social status, and if so, what is the moral price (are the "eyes of God" watching?). Regrettably this question is treated with much greater ambivalence and care in both of Cassandra Dream's predecessors. Regardless of whether I agree with his conclusions, Allen's certainty here comes across as lack of thought, although his now alarmingly casual treatment of death (see also: Scoop) -- reeking of acceptance rather than fear (see: many Woody Allen films before 2000, especially Annie Hall, Manhattan, Hannah and Her Sisters) -- feels earned in some cases, and better formed. The only way to appreciate Cassandra's Dream is as a pitch black comedy of manners, but I'm far from convinced Allen intended e.g. the ridiculous (and pivotal) Tom Wilkinson scenes to be funny rather than tortured. Philip Glass's propulsive score, with its intimations of operatic tragedy (the Greek variety is referenced by Allen as well), doesn't help sell the humor argument either.
ENCOUNTERS AT THE END OF THE WORLD (Werner Herzog) ****1/2
[Digital projection]
MARRIED LIFE (Ira Sachs) **
Now this is definitely a comedy of manners (and like Cassandra's Dream, about an ordinary man grappling with murder), albeit another pat and ungainly one that never quite finds its tone -- ultra-literary, portentous narration and suffering is at odds with the deadpan wit, while the focus shifts do nothing but disorientate (major characters disappear for half the film). But reliable acting, nice pacing, and an elegant period style (both behind and in front of the camera), make the film go down smoothly.
THE DEVIL'S CHAIR (Adam Mason) 1/2
[Digital projection]
Probably not the best idea to follow your opening set piece (featuring a blond so fucking hot I didn't want to see her get killed off so fast) with almost an hour of tedious, circular, nonsensical talking. Unfortunately nothing improves even when the blood starts spilling. Favorite moment: A random voiceover suddenly insults the acting and screenwriting, as if the director thinks telling us he knows how badly his film sucks is going to make the experience any more tolerable. Your complicity only makes it worse, dude.
