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God Grew Tired of Us
Directed by Christopher Dillon Quinn and Tommy Walker

By now, everyone should be familiar with the genocide and civil war taking place in Sudan. The roots of the conflict stem from the era of Anglo colonization of the African continent. As England retreated from its former colonial territories, it merged separate ethnic communities into unnatural nations, much like Iraq. The wounds of ethnic struggles have erupted into the current wave of war and atrocities sweeping Sudan. One of the by-products of this new hostility is the displacement of the so-called "Lost Boys". 27,000 young men fled the country en masse, navigating open savanna, desert, and the wilds of Africa. They found refuge in makeshift tent cities littered throughout Kenya and as far south as Johannesburg.

God Grew Tired of Us follows the progress of three Lost Boys, Daniel, Panther and John, from a refugee camp in Kenya as they attempt to integrate themselves into the American Dream. At every turn, they are overwhelmed by new sights and experiences, and are always wistful for the home they may never go back to.

The filmmakers take care to let the Lost Boys speak in their own voice. They relate the horrors of what they endured and experienced in a matter-of-fact way, letting the truth of everything carry the impact of their story. The youths come across as strengthened by their ordeal. Having survived the worst, they are hopeful about their future, and just a bit nervous. Some of the greatest moments in the film come from their naive innocence as they talk about moving to Philadelphia, the capital city in the nation of Pennsylvania, and question the filmmakers about the details of a shower.

The one drawback of the film is the consistently nagging narration of Nicole Kidman. I understand that she has made it her personal celebrity mission to call attention to this crisis, and I commend her for it, but it's also an act of self-importance. I assume since she subjected us to the wretched film The Interpreter, which covers some of the political issues surrounding the genocide in Sudan, she feels she is now an authority on the subject. Her tone comes off as that of a scolding mum, rather than a scholar seeking to educate. Perhaps we should be scolded for basically ignoring one of the greatest atrocities since the Holocaust, but no one deserves to be scolded by Nicole Kidman. Luckily, she doesn't totally coat the film with her acidic vocalizations.

God Grew Tired of Us is engaging, enlightening and entertaining. It flows naturally from laughs generated by Daniel mashing Ritz crackers with a hammer and mixing it with milk to make himself dinner, to the deep emotional territory of his homesick laments. This mix of ups and downs draws you into the film until the central message reverberates within. We in the West have the ability through economic clout and military might to end the horrors in Sudan. That we don't is a sign of our lack of political will. If this film doesn't inspire self-reflection and shame, you must truly be heartless.

- Jonathan Bullock

God Grew Tired of Us Official Website
Alliance for the Lost Boys
Save Darfur
I Hate Nicole Kidman

The Cave of The Yellow Dog
Directed by Byambasuren Davaa

Car chases, on-set hookups and an all-star cast? Naaah. Try cheese-making, dung-gathering and protecting the herd from wolves. The only thing Hollywood about this movie from Mongolia is that Angelina Jolie might want to adopt one of its cast members.

The Cave of The Yellow Dog deals with the everyday routine of a nomadic sheep-herding family. Although the modern world is just a motorcycle ride away, they live an isolated life focused on living off the land and providing the basic necessities for themselves. The oldest child breaks a rather predictable routine when she finds a stray dog living in a nearby cave. Naturally, she wants to keep the pooch, perhaps the most well-behaved stray in history, but dad thinks that he may attract a bad crowd (the aforesaid wolves, who are a threat to his flock). Thus, a conflict ensues between generations.

If this sounds less than exciting to you, well, you may be right. The film unfolds at a significantly slower pace than a typical American offering. However, the real interest lies in observing the family's way of life in a culture different from our own. Director Davaa explores their regular activities as well as traditional stories, such as the legend that lends the movie its title.

This film is worth checking out if you crave a change of pace from typical studio, or even independent, fare. The cast members are an actual family, and their naturalistic behavior is refreshing. As for the dog - is he banished or does he save the day? It seems that even in Mongolia, everyone knows the answer to that question.

- Amanda Langston

The Cave of The Yellow Dog is now playing at the Landmark Midtown Art Cinema.

The Descent
Directed by Neil Marshall

The last few years have seen the renewal of the horror genre. What was once considered schlock fare for freaks is now a huge part of the corporate studio system, and the most profitable genre of film today. Many of today's horror movies are slick remakes of cult classics, some are barely more than staged snuff films, and a few attempt to open the genre to younger audiences by relying on suspense rather than arterial spray. The number of films being produced is nearing that of the halcyon days of the 1950s. We are truly living in another golden age of horror cinema.

With horror films being released almost every week these days, it's not surprising that some of the best fall through the cracks. Labeled as "just another scare flick," they come and go from the multiplex in the blink of an eye. This is unfortunate, because there have been some truly great horror films released in the past few years. Many of the finest push the genre forward while remaining firmly rooted in its rules, myths and trappings. High Tension comes to mind, as does the Roger Avary-penned Silent Hill. Without a doubt, however, the absolute finest example of the genre in recent memory has to be Neil Marshall's The Descent. Although the film emerged from Sundance with the kind of fervor that accompanied The Blair Witch Project, it failed to coalesce into box office gold. It was a mild success, and garnered critical praise, but was mostly passed over by audiences unable to tell the real deal from the myriad of horror films on offer at the end of the summer. Now, with the long-anticipated DVD release of Marshall's original cut, The Descent may finally begin its crawl to the upper tier of horror film history, where it belongs.

One of the first things that strikes you about the film is that 90 percent of it takes place in a single, isolated location, with a group of 6 women. Much like John Carpenter's The Thing, The Descent jettisons the usual sex subplot of most horror films, focusing instead on same-sex rivalries within the group. This allows Marshall to ramp up the tension in a film that already feels as claustrophobic as the underground cave system the women explore. Even if the movie was entirely focused on the divisions within this group in the face of a cave-in, The Descent would still be an exhilarating, and frightening, film. In fact, the first half hour of the movie deals only with this aspect of the story.

As the women descend into a self-imposed night, Marshall slices off pieces of back-story as we spend some time with each character. They are all friends, but like any large group, there are smaller, tighter friendships within. This comes into play later on when the group is fractured, leaving some to fend for themselves as others break off into pairs. Every subplot of their rivalries is followed through to their conclusions, and clues are given along the way. There is not one instance in the film in which a character's actions are not adequately motivated. Marshall's construction is precise and delicate. Sure, a couple of characters suffer from minimal development, but that is more a product of the running time of the film than anything else. Even in these instances, Marshall works economically to flesh them out before they are torn to shreds.

The original pre-Sundance trailer for The Descent gave no warning of the creatures the 6 friends would discover deep in the West Virginian cave. It emphasized the tension and fear of being caught miles underground without any hope of seeing daylight again. I wish this would have been the approach during the film's wide release, instead of giving away the existence of cave dwellers; the shock would have been a great reveal. As it is, the film's construction flows smoothly. By the time we do get our first glimpse of a "crawler," as Marshall has dubbed them, we have already gone through the emotional wringer, yet this is where the film truly begins.

Once the baddies make their appearance, the pace of the film accelerates as it builds to the first major confrontation. Imagine if human beings had long ago left the daylight world to live underground. Thousands of years of evolution have destroyed their eyesight, replacing it with the sonar-locating abilities of bats. Eons underground have made these people perfectly suited to scramble up walls and craggy surfaces. This is the basic design of the crawler. Marshall goes further, however, developing his monster with as much care as he shows to his more human characters. We see their social behaviors, hunting techniques, and feel their pain as they fight for their very lives. Each encounter is a bit different as the group of friends dwindles in the face of the onslaught. It becomes obvious that the primary question for our heroines is: "How bad do you want to stay alive?" Indeed, those that are able to make it become almost as ferocious as their enemies.

The Descent is filled with more beautiful imagery, character development, creative screenwriting, and delicious gore than any horror film since Alien. Its claustrophobic nature creates such an environment of fear that it is nearly unbearable at times. The Original Unrated Cut DVD presents Marshall's vision, untarnished, and with a key subplot intact. It should not be missed.

- Jonathan Bullock

Old Joy
Directed by Kelly Reichardt

Kelly Reichardt's third film, Old Joy, is at once both a celebration and a requiem for the long friendship of Mark (Daniel London) and Kurt (Will Oldham, aka Bonnie "Prince" Billy). The heart of the film is that point in many friendships when it all falls apart. The precise moment when time and personal changes overcome shared views and tastes is captured and sustained for the length of the entire movie. Old Joy is a subtle, yet powerful, meditation on friendship and adulthood.

The film begins with Mark getting a call from an old friend who is in town and wants to take an impromptu camping trip to an almost mythical hot springs deep in the Oregon woods. As the two meet up and begin their trek, the backstory unfolds in languid camera movements, elegaic music provided by Yo La Tengo, and the knowing conversation of two people who are so comfortable with each other they may as well be family. Much of the film plays out in these conversations amid the scenery of Northwest woods and common coffee shops. Indeed, the heart of the movie is in the dialogue, which is so well written that Reichardt and collaborator Jonathan Raymond must have been drawing from very personal reserves to concoct it. The tired and gentle mood the director goes on to create gives the impression that this might be the last time these two pals get together to reminisce.

The film slices open the death of a friendship for all to see. It is the quiet moments of the film that resonate the deepest, and where Reichardt's brilliance is fully appreciated. Will Oldham continues his upward artistic climb, and Daniel London serves well as his 'other'. Absolutely one of the best movies of the year.

- Jonathan Bullock

Old Joy is making its way around the country at various independent theatres. Check the playdates here to see if it's coming to your town.

Old Joy Official Site

Casino Royale
Directed by Martin Campbell

To talk about or review any James Bond film, you have to understand a few things first. At 21 movies, it is the longest running English language film series. That means it is a genre unto itself. James Bond is an institution with its own rules, cliches, and, dare I say, formula. One can really only talk accurately about Casino Royale within this context. Although the modern 007 movie is part of the big budget action film genre, it is more. It does contain the bombast of explosions and loud music, the hyper-violence and badass male posturing of all modern action flicks. A Bond film, however, also has to have suave British style and a sly wit to be successful. Casino Royale has all this in spades, pun intended.

What has been said about the movie being an awesome reinvention of the series is true. Everything from the villain, to the locales, to the fight sequences, and especially Bond himself has been updated and made grittier and more like Ian Fleming's original novels. It's no coincidence that the producers returned to the very first Bond novel to jumpstart the ailing franchise. Daniel Craig is a perfect 007. He's smart, vicious, and in Casino Royale, he's not quite a master of his trade. He has to get his hands dirty to get the job done. Gone is the Sean Connery mold that Roger Moore, Timothy Dalton and Pierce Brosnan had to follow. James Bond has truly been reborn, and without a second to spare.

The problem with the last number of Bond films is that the formula just got too formulaic. With every successive movie, the villains and gadgets became less and less believable. I hate to say this, but in a post-9/11 world, the 'Inspector Gadget' Bond just doesn't fit. Goldfinger set the mold for the series as we know it, and each subsequent movie attempted to top the previous one, not with inventive writing or better characters, but with more and more outlandish doo-dads and obscure backdrops. Almost all of the pomposity of recent memory has been jettisoned, and what's left is the core of 007.

Casino Royale, however, is not without its flaws. The movie barely supports its immense length, most likely a byproduct of having to pad the film with enough back-story to support a complete relaunch of the character. Also, there is still the 'duh' factor in much of the peripheral characters' dialogue. There is always someone ready to explain to the audience exactly what's happening. I also disliked the film's focus on the Texas Hold 'em poker game. I understand it's all the rage these days, but I felt like I was watching one of the myriad dreadful poker shows on ESPN, Spike, and all the other networks. However, the inclusion of current popular trends and technology has always been a mark of the series, so I can't get too bent out of shape. Still, I absolutely loathe French "free-running" (parkour), which is also in the film. Indeed, references are made to everything from the recent U.S. exhibition of German artist/mortician Gunther von Hagens' Body Worlds series to Airbus' new triple-decker A380 intercontinental jetliner. Like all of the previous films, Casino Royale is firmly planted in our day and time.

All in all, it is one of, if not the best Bond film. It's light years beyond GoldenEye, which is widely considered to be Brosnan's shining moment and a high point for the series, and it easily outclasses anything done by Roger Moore. Sure, the movie is loud, obnoxious and bloated, but that's part of the fun. Casino Royale hits all the marks and leaves you salivating for the next installment, and that is something no James Bond movie has done in a long, long time.

- Jonathan Bullock

I do want to make a mention of the film's rating, something I normally would never do. In my mind film ratings are the precursor to censorship, and art should never be censored. However, the system that the MPAA has created is meant to be more informative than censorious, and this is where it fails this film. The fact that Casino Royale received a PG-13 rating makes a mockery of the entire ratings system and is proof that more consideration is being paid to helping a particular film make money than helping the public decide if a film is suitable. The torture scene alone demonstrates the need for an R rating.

The Wild Blue Yonder
Directed by Werner Herzog

The Wild Blue Yonder is unlike any other film, except for Herzog's own Fata Morgana. Herzog uses found NASA footage in conjunction with film from an underwater exploration below Antarctica's ice shelf to create a science fiction fantasy tale about a dying Earth and man's last-ditch effort to find a new home. In addition to this pre-existing footage, new material has been shot to flesh out the story and add in a few main characters. The primary character, played by Brad Dourif, is fictional, and the remaining characters play themselves. The movie is a strange and mesmerizing hybrid of fiction and documentary. Werner Herzog is known for his film scores, and Yonder's is one of the best he has ever produced. The combination of Mola Sylla, Ernst Reijseger and Sardinian Voices creates a swimmy and ethereal soup for the movie to exist in. The scenes of the astronauts exploring the alien liquid helium depths are especially poignant, with musical cues and notes hanging and floating just as the explorers appear to be suspended in air.

The dreamy film is grounded by David Lynch alum Dourif, who plays an alien from a far distant planet, which he refers to as The Wild Blue Yonder. His role is mainly to serve as direct narrator and to punctuate the film with emotional outbursts concerning the impossibility of intergalactic space travel. The intense irony of the film is that Dourif and his fellow aliens left their dying home world to seek refuge on Earth. Now humanity is looking to his planet as a possible surrogate for the plague-stricken Earth, something in which Dourif and his comrades had an unwitting hand.

Besides Dourif, The Wild Blue Yonder is also punctuated with fringe mathematicians who, along with the narration, add cohesion and a very human backbone to the film. Their near innocence when discussing the possibilities of space travel flies in the face of the alien's very common-sense view of the limitations that huge distances create. It is the over-optimism of some of the NASA crew and the mathemeticians that Herzog seems to hold in contempt. Yonder's basic point is that the Earth is a lot more rare in the universe than we can possibly imagine. While it's interesting to speculate on man's possible future as a galactic colonizer, it's simply a very difficult proposition. The chances of creating or finding a habitate conducive to human life are so slim that we had better take care of what we have while we have it. Earth may be one of a kind.

Werner Herzog has always claimed to use his films to search for a deeper human truth, what he calls the "ecstatic truth." The Wild Blue Yonder is the closest he has come to capturing that truth so far.

- Jonathan Bullock

The Wild Blue Yonder official site

Marie Antoinette
Directed by Sofia Coppola

The pounding, insistent groove of Gang of Four's "Natural's Not In It" is probably the last thing you expect to hear in the opening moments of a historical drama. However, it's a simple, dramatic way for director Sofia Coppola to state up front: this is not a normal period piece. I'll be doing things my way for the next couple of hours. Of course, the song is a perfect choice to introduce the story of France's teen queen: "The problem of leisure / What to do for pleasure" is very much Marie's dilemna.

A history lesson this is not. An emotional portrait? Bien sur. As with her two previous features (The Virgin Suicides and Lost in Translation), Coppola explores the ennui that comes about when a young woman finds herself in a situation beyond her control. In this telling, Marie (Kirsten Dunst) is a naive adolescent forced to leave her native Austria and marry Louis XVI (Jason Schwartzman, giving us his best sad-eyed nerd), heir to the French throne, site unseen. The stress of this situation is amplified by the constant scrutiny and unrelenting gossip of the royal court. Beset with sexual frustration and given no opportunity to be productive, it's no wonder that all she wants is to cut loose.

Shot on location at the Palace of Versailles, the physical world of the film is a character of its own. The opulent surroundings drown their inhabitants in a sea of excess, while the burden of palace rituals often defy natural human behavior. Coppola's young royals are awkward, impulsive kids throwing the equivalent of a kegger while their parents are away. Too far removed from outside reality to rightly be called cruel, their fate comes as a rude awakening.

Much has been made of Coppola's use of New Wave and post-punk tunes (New Order, Bow Wow Wow, etc.) to punctuate the story. While an unconventional choice, the two eras in question do share a similar decadence. This is also the music of Coppola's own youth, and if Marie has any resonance, it's in its acknowledgement of the uncertainty and intensity of this time of life, even if the fate of a nation lies in your hands.

- Amanda Langston

Marie Antoinette official site