FILM OF THE WEEK: Elena

Elena is didactic filmmaking and in interviews, director Andrei Zvyagintsev hasn't been shy in explicitly stating his fundamental criticism of the contemporary Russian underclass. "This is how they will behave," he noted in an interview conducted at the film's Cannes premiere. "At one point we considered calling the film The Invasion of the Barbarians." "They" are the title character's (Nadezhda Markina) son Sergei (Aleksey Rozin) and his family, notably grandson Sasha (Igor Orgutsov), whose grades are so bad he'll end up serving mandatory army time unless the right college officials are bribed. Former nurse Elena wants far wealthier second husband Vladimir (Andrey Smirnov) to provide the money, but he refuses on angry principle, insisting military discipline is just the right education for a directionless young man.

The harshest dialogue's always closest to the director's unambiguous public statements. Vladimir's daughter Katya (Elena Lyadova) is a disappointment ("a goddamned hedonist," father grumbles), but he's still planning to leave her the bulk of his money. Her brusque, cynical affection cheers him up. "We're all bad seeds," she declares in deadpan resignation, declining Vladimir's suggestion to try maternity as a cure for disaffection. "What's irresponsible is producing children you know will be sick or doomed, because their parents are sick or doomed." (This echoes Zvyaginstev's own viewpoint exactly: "It's also a myth that procreation at any cost is a necessity.")

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INTERVIEW: Bobcat Goldthwait, Joel Murray, Tara Lynne Barr

Comedian Bobcat Goldthwait, whose career as a filmmaker has yielded such dark and excoriating satirical fare as Shakes the Clown and World's Greatest Dad, has been making the festival rounds for months with his latest comedy, God Bless America. The film, newly released, is the director's answer to Natural Born Killers and Network. Joel Murray (Goldthwait's co-star in One Crazy Summer) is Frank, a middle-aged corporate cubicle denizen abandoned by his wife and daughter and left to stew in his bachelor apartment, festering in anger, frustration and failure. One day, his fantasies of violent revenge on a reality show world spill over when he loses his job and is diagnosed with a brain tumor. With nothing left to lose, Frank goes on a rampage—and he reluctantly takes on a co-pilot in death-dealing, Roxy (Tara Lynne Barr), a teenaged sympathizer who hates the world perhaps even more zealously than he does.

I caught up with Goldthwait during the South by Southwest film festival in March, where he was premiering the film with its stars. During a chat in the lounge of the Driskill Hotel, the trio talked about their favorite reality TV shows, the death of common decency and Diablo Cody (don't ask, just see the movie).

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RETRO ACTIVE: Vampire in Brooklyn (1995)

[This week's "Retro Active" pick is inspired by Tim Burton and Johnny Depp's fish-out-of-water vampire comedy Dark Shadows.]

Pair a flagging comedian with a floundering horror director and what you get is Vampire in Brooklyn, a marriage made in horror-comedy hell courtesy of Eddie Murphy and Wes Craven. The mid-90s-isms of this wretched collaboration are plentiful—cue Salt-n-Pepa's "Whatta Man" to underline Murphy's alpha-male sexiness?— and yet they're the least of this film's problems, so misbegotten and poorly executed is its every element. Working from a story co-conceived by Murphy and a script co-written by Murphy's yet-to-be-Chappelle's-Show-famous brother Charlie, Craven's pre-Scream debacle gets clunky wit' it from the get-go. Before we've even seen him, Maximillian (Murphy) narrates the set-up: with all his brethren dead, Max has left his Bermuda Triangle island home to find and marry the last of his line, who happens to be living (unaware of her vampiric nature) in Brooklyn. Given Craven's Haiti voodoo-themed The Serpent and the Rainbow, Max's nationality suggests that the filmmaker has a particular conception of the Caribbean as a hotbed of exotic evil. Those nonsensical notions, though, are overshadowed by the more basic absence of craft on display, as evidenced by an intro scene in which, after Max's ship crashes into a dock, John Witherspoon's hands-flailing caretaker investigates the vessel and finds a murdered crew in one amusement park ride-style close-up after another.

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FILM OF THE WEEK: I Wish

Japanese director Hirokazu Kore-eda's last film to receive American distribution, 2008's Still Walking, ended with a long shot of trains passing, "a moment whose metaphoric intent is clear," wrote Trevor Johnston. "Those trains have people on them with the same problems as the rest of us." Japanese National Railways' high-speed bullet trains serve a more optimistic function in I Wish, as well as providing some of its financing. Shane Meadows made use of Eurostar's funding for the delightful Somers Town, and Kore-eda is similarly adept in making sure he isn't compromised by his financiers.

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MARYLAND 2012: Critic's Notebook

Somewhere around 1 a.m. at the Lithuanian Hall in Baltimore, it hit me. Why shouldn't this be the place to have a passionate, detailed conversation about independent filmmaking? Film festivals take pride in the range of experiences they can offer guests and patrons, but nothing I've experienced quite compares with this backdrop: a packed, sweaty dance floor hopping with enthusiastic groovers, while a DJ plays deep soul classics and Charm City icon John Waters sits in a corner having an intimate chat with a fan. Behind the rectangular bar, burly old guys from the Old Country gruffly dispense $2 bottles of Utenos and Svyturys. I bump into an old friend I haven't seen in 20 years, and he immediately introduces me to an unalloyed artifact of the city. I don't understand too much of what he's trying to tell me, but from his T-shirt I know his name. The garment bears a likeness of his pixelated gaze and wild shocks of white hair framing a bald dome, and underneath his face the legend: Rezzy Ray Has a Posse.

We didn't talk for long, Rezzy Ray and I, as I had another posse to engage. In an adjacent room was a convergence of American filmmakers, brought to town for the Maryland Film Festival, which has evolved into an important annual summit meeting. The festival's particular focus is on the ever-emerging microbudget movement and smart, risky, handmade cinema, the kind that has to work hard to assert itself in a world where distributors often want everything and offer next to nothing.

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FILM OF THE WEEK: The Connection (1962)

[Presented by Milestone Films, The Connection opens today at NYC's IFC Center in a new 35mm restoration.]

Though credulous French viewers allegedly mistook it for vérité footage at Cannes, Shirley Clarke's 1962 drama The Connection is unmistakably a filmed play. A camera swoop through a ratty New York apartment halts for a sweaty, self-and-everyone-loathing monologue from waspy addict Leach (Warren Finnerty), fuming about his "so-called friends" and their junkie worthlessness. Far from naturalism, this is Eugene O'Neill territory, with a drug connection subbing for the long-awaited iceman in a purgatorial living room. Leach finds his place under a big sign posted above the bathroom for maximum dark comic value ("Heaven or hell...which will you choose?"), holding forth with barroom intensity and pointlessness about the speed of light and the body's transparency.

Clarke meticulously records Finnerty's theatrical version of verisimilitude. More of-the-time hamminess comes from Solly (Jerome Raphael), a middle-aged intellectual with a penchant for philosophizing at the slightest provocation. Leach's problem is his sexual incompatibility with every woman on the planet ("a queer without being a queer," one of the addicts sneers), while Solly's seen gazing at male nudes. Their sexual marginalization isn't necessarily related to their drug habit.

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RETRO ACTIVE: The Specials (2000)

[This week's "Retro Active" pick is inspired by Marvel's superhero-team extravaganza The Avengers.]

Released before 2002's Spider-Man and the ensuing (and still-ongoing) onslaught of CG superhero spectacles, The Specials is something like Watchmen-lite, with its deconstruction performed not with an incisive scalpel but a feathery sarcastic touch. Unlike screenwriter James Gunn's more recent Super—which bluntly delved into the psychosexual madness underlying masked avengers' vigilantism—his prior likeminded effort is a humorously cheeky affair, focusing on a mundane day in the life of The Specials, the "sixth or seventh greatest superhero team in the world." That ragtag group of do-gooders is led by The Strobe (Thomas Haden Church), a pompous blowhard whose arrogance—epitomized by his fondness for recounting to team members his origin story, in which he likens himself to God—is laced with a melancholy born from the realization that he's woefully low on the superhero ladder. His problems are compounded by the contempt showered on him by wife Ms. Indestructible (Paget Brewster), who's secretly sleeping with smug Weevil (Rob Lowe), as well as by a bunch of paranormal misfits that include, among others, blue-skinned sexual degenerate Amok (Jamie Kennedy), dim-witted strongman U.S. Bill (Mike Schwartz), ill-tempered ghoul-summoning Death Girl (Judy Greer), and shrinking Minute Man (Gunn), whose name is constantly mispronounced "Minuteman" ("Do I look like a soldier from the Revolutionary War?").

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SFIFF 2012: Critic's Notebook

[The 55th San Francisco International Film Festival continues through May 3.]

The distinctly deadpan feature debut of Lebanese filmmaker Rania Attieh and her American co-director Daniel Garcia, OK, Enough, Goodbye is a warm but not overly sentimental, low-key character comedy. Like the Middle Eastern answer to Azazel Jacobs' Momma's Man, the film concerns a 40-year-old schlub (Daniel Arzrouni) who still lives at home in Tripoli—a seaport city with a rich history dating back to the 14th century, which has since fallen on hard economic times.

The locale has an air of sadness about it; not just war-torn malaise but a feeling for things lost between generations, palpably seeping into this household as a mother regrets that her son is such a loser. She speaks of wedding ceremonies and gowns she used to make, while her sociophobic son can't get a date with anyone other than a prostitute. The unnamed protagonist works in a bakery and doesn't otherwise get out much. When his mother takes off unexpectedly, leaving him on his own, the story becomes about one man's searching—first for his ma, then for himself. It's hard to blame anyone's downbeat demeanor in a decaying, depressing environment, but this sourpuss only becomes more irritable after he's "abandoned." To the directors' credit, the film doesn't deride him but also isn't afraid to mine his neuroses for comedy.

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TRIBECA 2012: Critic's Notebook #2

I don't care what you say; the cinema is richer because Harmony Korine exists within it. Hopes for The Fourth Dimension were calibrated, nonetheless. The only advance word on the new film, a three-director omnibus with vaguely Dogme '95 overtones, was that it starred Val Kilmer "as Val Kilmer," playing a motivational speaker, who rides a kid-sized bicycle and dazzles the faithful at Southern indoor skate arenas. I had penciled it in as part of the Tribeca Film Festival's freakshow trilogy, which included the stunt-casted Elmore Leonard caper Freaky Deaky (Andy Dick and Crispin Glover as playboy brothers) and Francophrenia (James Franco as "James Franco," playing a soap-opera character named Franco). It's much better than that.

Kilmer's episode, "The Lotus Community Workshop," opens the show, lensed by Korine in an extreme panoramic aspect ratio that seemed to highlight the flotsam-jetsam aspects of the director's beloved underclass milieu. Kilmer, who these days might be called "Fat Val Kilmer," rallies an adoring circle of devotees with a nearly incoherent rush of free-association and ecstatic positivity ("Cotton candy!" "Velvet Killed Elvis!" "Vibe jack!"), each phrase peppered with kooky sound effects supplied by the roller rink's DJs.

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RETRO ACTIVE: Web of the Spider (1971)

[This week's pick is inspired by the Edgar Allan Poe-themed horror-mystery The Raven.]

Not to be nitpicky, but it would have benefited Web of the Spider if it had something—anything—to do with a spider. Or, for that matter, a spider's web. It's likely that director Antonio Margheriti intended his title to refer to the sinister trap set in his story by a castle proprietor for an American journalist, but that's hardly a reasonable reason for bestowing this 1971 film with its chosen moniker, especially given that it's a remake of Margheriti's own aptly-dubbed (and superior) 1964 Castle of Blood. Nonetheless, this Italian horror throwaway's problems aren't relegated to name alone, as the saga of a haunted abode and its spooky inhabitants is defined by lame-brained incompetence, a fate made all the more frustrating by the fact that it has the inspired idea to cast the incomparable Klaus Kinski as Edgar Allan Poe. Kinski opens the film flailing about a tomb with a torch in hand, lurching and spinning about with frantic, sweaty drunkenness, and smashing open a coffin before bellowing a hilarious "Noooooo!" Cut to a pub, where Kinski's Poe is regaling the patrons with one of his macabre tales, though what he truly proves interested in is Yankee reporter Alan Foster (Anthony Franciosa), whose disbelief in the supernatural—spurred by Poe claiming his stories are all reality-based—is soon challenged by Lord Blackwood (Enrico Osterman).

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FILM OF THE WEEK: Bernie

A minor Richard Linklater film is better than no Linklater at all. Bernie reteams Austin, Texas' finest with Jack Black eight years after their major-studio breakthrough School of Rock. Linklater's talent for normalizing potentially over-the-top material is very well-suited for mainstream fare; the key shot of School of Rock comes when Black yields to the kids in his class—all bugging him to perform for them—and launches into impassioned song. A hack would've cut constantly between Black's mugging and the students' goggle-eyed reactions, but Linklater reduces this scene to one simple shot. Black sings as the camera slowly tracks back down the classroom aisle, recording his performance without cueing the audience how to respond.

Rock was a hit, but Linklater's 2006 Hollywood follow-up, a remake of The Bad News Bears, was a bust. Since then, financing for the kind of modest films the director specializes in has dried up, and Linklater's talked with wistful frustration in interviews about leaving Texas for a second European career. His first narrative feature since 2008's Me and Orson Welles, Bernie reconstructs the true story of Bernie Tiede (played here by Black), a Carthage, Texas (population: 6,700) funeral home employee with a reputation for exceptional kindness. One widow who benefited from his attention was Marjorie Nugent (Shirley MacLaine), who'd alienated everyone in Carthage, TX with rudeness and stinginess. After her husband died, Bernie gave her his coat at the funeral and showed up a few days later to check how she was doing. He became her nearly-live-in companion, until her demands became too much and he killed her.

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