Fest Track On Sirk TV Film Review: KUBRICK BY KUBRICK [Denver Film Festival 2020 – Virtual]

The idea of a perspective from a director comes down to the point at which one talks to him and what the precept is. Stanley Kubrick was largely known for his retreat from Hollywood which is not necessarily true. He just approached Hollywood the way he wanted to and he had the stature and the wield to do it. Now while this critic has spoken to many people over the years who worked with Kubrick including both Malcolm McDowell and Kubrick’s longtime assistant to the director Leon Vitali, each has their own impression of the man as do many others. There are no new interviews but rather interviews from the time period the films were made. More importantly the film uses the construct of interviews film critic Michael Ciment did with the director sometime after “Full Metal Jacket” but before “Eyes Wide Shut”. Granted we will never hear from his lips about the true nature of “Eyes Wide Shut” or others projects he was working on after that. Vitali spoke to me about “A.I.”, “Napoleon” and even “The Aryan Papers”. One of the interesting takeaways is Kubrick’s fascination in terms of sociology with the Nazi regime. “The Aryan Papers” might have addressed it but from what I can remember from the Vitali conversation it came down to Spielberg (who was a close phone confidante of Kubrick). Kubrick thought that “Schindler’s List” was a masterstroke and he didn’t want to move at that point over maybe not necessarily a similar ground but something similar. But returning to Ciment’s interviews, director Greg Monro uses them as a framing mechanism. And while the documentary just jumps from film to film depending on where the conversation went, it is still fascinating to hear Kubrick talk about war, human behavior and politics to a point. While it doesn’t go infinitely deep. it is limited to the material at hand. That said, Monro frames the story in a recreation of the Starchild residence at the end of “2001” as a perception of Kubrick’s mind. It is a methodical and basic construct but well formed in terms of the transition and basis of what Monro and, by extension, Kubrick is conveying. In addition, all of the film clips, especially ones from “Fear & Desire” to “Eyes Wide Shut” are included and The Kubrick Family (especially his wife Christiane) were consulted. The film doesn’t stray from any controversy but doesn’t hit it too dead on either. Either  way, any glimpse into the master done well is always welcome, especially one as specific as this.

A-

By Tim Wassberg

IR TV Review: THE MANDALORIAN – EPISODE 10 (“The Passenger”)[Disney+-S2]

Using “Star Wars” lore, especially in “The Mandalorian”, is about defying expectation. What Favreau and company seem to be aware of which really makes the show worthy is that it is not rushing the story for a sense of where it needs to go but rather is about letting it be. While this might throw off some fans, needing something to happen, it allows for great re-viewing potential because every step means something and yet it doesn’t have to. Without giving too much away, after returning from the desert, Mando is still searching for more Mandalorians. The construct of the story involving a passenger (hence the name of the episode “The Passenger”) puts story restrictions on how travel can happen, what the themes are, and the problem solving that needs to occur. The true nature is that fixing problems is always messy, even in the “Star Wars” universe. Some of the more interesting textures involving the actions of The Child, which are both humorous but also telling, relate the paradox of the story. The episode also serves to widen the understanding of the galaxy Mando lives in after the destruction of the 2nd Death Star. And so the journey continues.

B+

By Tim Wassberg

Fest Track On Sirk TV Film Review: ATLANTIS [Denver Film Festival 2020 – Virtual]

The texture of Eastern European film, especially as it pertains to Russia and its constituents, can be long winded but ultimately voracious with metaphor. Ultimately though it gives a unique insight into life in a country both vast and utterly steeped in culture. “Atlantis” in that way is a fascinating journey both emotional but also methodical. While a film like Russia’s “Leviathan” at Cannes a few years back was beautiful, this film , which takes on a apocalyptic drift but using existing locations and vehicles, is visually riveting even more than the previous film (mostly because of the more industrialized approach. The director uses the essence of master shots in terms of composition and lets the action occur primarily in front of them. This style is beautiful and mostly lost in Western culture but it gives a sense of breathe that cannot be duplicated. What is interesting is it is the story of a man loyal to his country but watching it fall apart. The story takes place after a war between Russia and the Ukraine so it does reflect on current fears and textures of life there.

Much of the story is a simple transgression of services. Sergey, the lead character, travels across the land from his work delivering fuel and water to various outposts where certain pertains of infrastructure exist. That is definitely fascinating to watch between a huge border wall being set up and, large tanks moving through frame. But it is also the more intimate scenes still set on a wide canvas that are riveting. Much of the film follows a team that is recovering bodies from the war but cataloging everything about them even though they remain nameless. It is an apt metaphor but also so specifically detailed as you watch Sergey react to them both with a distance and an immediacy of action. He, like many of the people, can’t go anywhere else not because they can’t but they don’t want to abandon a country they fought so hard for. You can see it sticking in Sergey’s gut.

He goes back to an apartment in a long shot which is one of the few Steadicam/handheld pieces. It is utterly convincing, especially a burnt out piano siting in the sunlight as Sergey looks at the floor. Many of these scenes could stand on their own as a short vignettes. One that brings it all together is a scene where Sergey and a woman he works with in recovering bodies get stuck on the road during a rainstorm. The transition and transmutation of behavior against a very specific backdrop is utterly telling. “Atlantis” speaks not of a lost civilization but rather it reflects one that, through the underpinnings of genre, needs to be remembered. The movie is utterly effective in doing that while creating a modern painting of both patriotism and loss.

A

By Tim Wassberg