TRANSSIBERIAN
(Review)


I’ve said it ‘round these parts before: I’ve been waiting for a Brad Anderson film to kick me in the a$, and while Transsiberian doesn’t completely do that, it’s close enough.
Husband and wife Roy and Jessie (Woody Harrelson and Emily Mortimer) are on a train from China to Russia when they cross paths with Carlos and Abby (Eduardo Noriega and Kate Mara); it’s this chance meeting between both couples that bring all four down a treacherous path none of them could have anticipated.


Clearly Anderson’s most accomplished work to date, Transsiberian brings together a solid cast that also includes Sir Ben Kingsley as Detective Ilya Grinko and Thomas Kretschmann as Kolzak.
All these principal performers make the best of their screen time, particularly the couples, who get a fair amount of the narrative’s focus, particularly during the film’s first act. It’s in this section where we learn who these characters are, not just from their dialogue, but from their mannerisms and their attitudes.
And not only does Transsiberian’s script—co-written by Anderson with Will Conroy—treat its characters with respect and inform them with a humanity that allows them to be individuals, it also takes some interesting turns, confounding conventional plot expectations.


Reuniting with Xavi Giménez, his cinematographer on El Maquinista (The Machinist), Anderson brings aboard editor Jaume Martí (who’s tag teamed with Giménez in the past on Jaume Balaguero’s Fragiles).
The manner in which Giménez and Martí capture the imagery and emotion of the narrative certainly helps Transsiberian keep its audience involved in this thriller, which allows the plot to grow organically from the solid foundation of characterization laid down by Anderson, Conroy, and the film’s performers.


Ultimately, Transsiberian delivers, though definitely on its own terms and not by the usual Hollywood thriller standards.
So if you’re looking for something absorbing and exciting, with some good performances in it, then Transsiberian is definitely your ride.


Parting shot: Reviews of Anderson’s other works, El Maquinista, Masters of Horror episode “Sounds Like,” and Fear Itself episode “Spooked,” can be found in the Archive, where a review of Balaguero’s Fragiles may also be found.

(Transsiberian OS courtesy of impawards.com and images courtesy of bloody-disgusting.com.)

AFTERTHOUGHTS (74)
EDINBURGH 2008

Breaking off and getting a jump on the annual Edinburgh arts festival in August, the 62nd Edinburgh International Film Festival kicks off June 18, 2008 and winds up on the 29th of the month.
Among the films and events of note during this year’s EIFF are:

Spike (Directed by Robert Beaucage)
World Premiere (June 20)

Izolator (Warsaw Dark) (Directed by Christopher Doyle)
World Premiere (June 21)

Cinematographers Roger Deakins (long-time Coen brothers DP, who also shot Sam Mendes’ Jarhead and M. Night Shyamalan’s The Village) and Seamus McGarvey (The Hours) in conversation
(June 22)

Jason and the Argonauts (Directed by Don Chaffey; stop-motion animation by Ray Harryhausen)
(June 24)

Ray Harryhausen explains his craft
(June 25)

Transsiberian (Directed by Brad Anderson)
UK Premiere (June 27)

For more information on the 62nd EIFF, check out the official website.

Parting shot: Reviews of Brad Anderson’s El Maquinista (The Machinist) and his Masters of Horror entry, “Sounds Like,” as well as the Deakins-shot No Country For Old Men, can be found in the Archive.

(Images courtesy of spikemovie.net [Spike]; twitchfilm.net [Izolator]; ew.com [Roger Deakins]; and rayharryhausen.com [Ray Harryhausen]; Transsiberian OS courtesy of impawards.com.)

AFTERTHOUGHTS (28)

January’s coming ‘round again, and it’s time for another year at Sundance.
As usual, there’re a bunch of films on the schedule that I’ve been looking forward to for some time, some that I’ve been hearing good things about, and some that pique my curiosity from the strength and allure of a magickal synopsis. (Film synopses are courtesy of sundance.org.)

From the first category (films I’ve been looking forward to for some time):

Be Kind Rewind: written and directed by Michel Gondry; with Jack Black, Mos Def, Mia Farrow, and Danny Glover; from visionary music video director Gondry, who gave us Eternal Sunshine of the Spotless Mind and La Science Des Reves (The Science of Sleep)
Synopsis: When a man whose body accidentally becomes magnetized unintentionally erases every tape in his friend's video store, the pair set out to remake the lost films, including Back To The Future, The Lion King and Robocop.

The BrØken: written and directed by Sean Ellis; with Lena Headey and Richard Jenkins; the sophomore feature from Cashback director Ellis, I mentioned this in my Cashback review (see Archive)
Synopsis: On a busy London street a woman sees herself driving by in her own car. Stunned, she trails the mystery woman as events take an eerie turn into a living nightmare.

Choke: based on the Chuck Palahniuk novel, adapted and directed by Clark Gregg; with Sam Rockwell, Anjelica Huston, and Kelly MacDonald; I loved David Fincher’s adaptation of Fight Club, so I’m curious to see how Choke translates to the big screen
Synopsis: Choke is the sardonic story about mother and son relationships, fear of aging, sexual addiction, and the dark side of historical theme parks.

Diary of the Dead: written and directed by George A. Romero; with Nick Alachiotis, Matt Birman, George Buza, and—get this—Wes Craven, Stephen King, Quentin Tarantino, and Guillermo del Toro! I mentioned this in my Land of the Dead review (again, see Archive)
Synopsis: When a group of film students making an indie horror film find themselves trapped in a world being consumed by flesh-eating zombies, they cleverly switch gears and use the camera to document the world crumbling around them.

Transsiberian: directed by Brad Anderson, written by Anderson and Will Conroy; with Woody Harrelson, Emily Mortimer, Kate Mara, Thomas Kretschmann, Eduardo Noriega, and Sir Ben Kingsley; I’ve mentioned this a number of times ‘round these parts, particularly in the El Maquinista review (yes, again with the Archive)
Synopsis: A Trans-Siberian train journey from China to Moscow becomes a thrilling chase of deception and murder when an American couple encounters a mysterious pair of fellow travelers.

From the second category (films I’ve been hearing good things about):

Los Cronocrimenes (Timecrimes): written and directed by Nacho Vigalondo; with Karra Elejalde, Candela Fernandez, and Barbara Goenaga
Synopsis: A man accidentally travels back to the past, only to meet himself there. He also encounters a series of mysteries—pieces of an unpredictable jigsaw puzzle of terror, drama, and supsense—that all lead to an unthinkable crime.

Otto; Or, Up With Dead People: written and directed by Bruce LaBruce; with Jey Crisfar and Katharina Klewinghaus
Synopsis: A lonely gay zombie searches for love and meaning in contemporary Berlin.

And from the third category (synopses that have piqued my curiosity):

Baghead: written and directed by Mark and Jay Duplass; with Steve Zissis, Ross Partridge, and Greta Gerwig
Synopsis: As previously done in their last film The Puffy Chair, the Duplass Brothers explore the minutiae of relationship dynamics in this in-depth study of a group of desperate actor friends. And a bag. And a head.

Donkey Punch: directed by Oliver Blackburn, written by Blackburn and David Bloom; with Robert Boulter, Sian Breckin, and Tom Burke
Synopsis: After meeting at a nightclub in a Mediterranean resort, seven young adults decide to continue partying aboard a luxury yacht in the middle of the ocean. But when one of them dies in a freak accident the others argue about what to do, leading to a ruthless fight for survival.

Peur(s) Du Noir (Fear(s) of the Dark): directed by Blutch, Charles Burns, Marie Callou, Richard McGuire, Pierre Di Sciullio, and Lorenzo Mattotti, written by Jerry Kramsky, Pirus, and Romaine Slocombe; Artistic Director: Etienne Robial
Synopsis: Ten leading graphic artists and cartoonists have breathed life into their phobias and nightmares in this animated feature.

Reversion: written and directed by Mia Trachinger
Synopsis: In a world in which the past, present and future simultaneously unfold, a woman whose genetic mutation leaves her devoid of morality struggles to preserve her romance with the man she loves.

Sleep Dealer: directed by Alex Rivera, written by Rivera and David Riker; with Leonor Varela and Luis Fernando Pena
Synopsis: Set in a near-future, militarized world marked by closed borders, virtual labor and a global digital network that joins minds and experiences, three strangers risk their lives to connect with each other and break the barriers of technology.

There’s also:

Funny Games: Michael Haneke remakes his own well-regarded 1997 thriller with Naomi Watts and Tim Roth
Synopsis: A family settles into its vacation home, which happens to be the next stop for a pair of young, articulate, white-gloved serial killers on an excursion through the neighborhood.

The Mysteries of Pittsburgh: based on Michael Chabon’s novel, adapted and directed by Rawson Marshall Thurber; with Jon Foster, Peter Sarsgaard, Rawson Marshall Thurber, Sienna Miller, Mena Suvari, Nick Nolte, and Thurber; I loved The Amazing Adventures of Kavalier & Clay and Summerland, so I’d love to see this and hope Chabon’s writing resonates on the screen as well as it does on the printed page
Synopsis: The film chronicles the defining summer of a recent college graduate who crosses his gangster father and explores love, sexuality, and the enigmas surrounding his life and his city.

Red: directed by Trygve Allister Diesen, co-directed by Lucky McKee, written by Stephen Susco; with Brian Cox and Tom Sizemore
Synopsis: An older, reclusive man's best friend and inspiration for living is his 14-year-old dog named "Red." When three troublesome teens kill the dog for no good reason, the grieving man sets out for justice and redemption by whatever means available to him.

Towelhead: written and directed by Alan Ball; with Aaron Eckhart, Maria Bello, Toni Collette, and Summer Bishil; I love American Beauty and Six Feet Under, so I have high hopes for this one
Synopsis: The life of a 13-year-old Arab-American girl is illuminated as she navigates her way through the confusing and frightening path of adolescence and sexual awakening.

Where In The World Is Osama Bin Laden?: directed by Morgan Spurlock, written by Jeremy Chilnick and Spurlock; Super Size Me was great, and so is 30 Days, so I hope Spurlock hits this one out of the park too
Synopsis: Filmmaker Morgan Spurlock explores every nook and cranny of the Middle East on a quest to find the world’s most wanted man.

It should be noted that most of these films are not in official competition, and will be found under the Spectrum, New Frontier, and Park City at Midnight out-of-competition sections.
The 2008 Sundance Film Festival will run from January 17-27, 2008, in Park City, Salt Lake City, Ogden, and Sundance, Utah.
Check complete list of films in competition here, and films out of competition here.

(OS’s courtesy of firstshowing.net [Be Kind Rewind] and impawards.com [Timecrimes and Funny Games]; images courtesy of bloody-disgusting.com [The BrØken and Otto].)

MASTERS OF HORROR
Season 2 Episode 4
“Sounds Like”
Teleplay by Brad Anderson; based on the short story by Mike O’Driscoll; directed by Brad Anderson

On the heels of season 2’s worst (Ernest Dickerson’s “The V Word”), we move on to its most disturbing, an unnerving exploration of how the loss of a child can damage a parent’s psyche.

Larry Pearce (Chris Bauer, who’s in Clint Eastwood’s Flags of Our Fathers) is the supervisor at a software company’s tech support call center. Pearce is a husband and father quietly grieving for his dead son. He’s also apparently got hypersensitive hearing, hearing which at first seems to be beneficial to his job, until things begin to spiral out of control.

Having also directed Session 9 and El Maquinista (The Machinist; best known as the film Christian Bale lost 2/3 of his body weight for), it’s apparent that Anderson is fascinated by the psychological effects guilt can have on a person’s mental health. In Pearce’s case, his hearing intensifies to the point where the jerky movements of a fly become deafening noise to his ears.

Among other things, “Sounds Like” is an interesting variation of The Tell-Tale Heart. And though its gore quotient is pretty low compared to some other MoH episodes, Anderson still crafts an unsettling little tale where the scariest thing is how guilt and loss can transform any of us into monsters.

Parting shot: Anderson’s next feature, Transsiberian, is nearly upon us… While we're waiting for it to pull into the station though, you can check out a review of El Maquinista in the Archive.

(Sounds Like DVD cover art courtesy of amazon.com.)

(Originally posted 032607.)

reVIEW (8)
EL MAQUINISTA
(THE MACHINIST)

Brad Anderson’s El Maquinista (The Machinist) is the most bewildering film I managed to see from 2004.
It’s the story of Trevor Reznik (a horrifyingly emaciated Christian Bale), who hasn’t slept for a year, and the gradual unraveling of his so-called life, when strange incidents begin to take place. It’s the kind of film that makes no effort to give the audience any idea about where it’s going; the kind of film where you keep on waiting for the other shoe to drop, unaware if the shoe’s going to be a high-heeled stiletto, black-leather dress, or steel-toed motorcycle.
There is an enigma at the heart of The Machinist, to be certain. The question is, if, by film’s end, the viewer will find the answer worth having waited for.

Edited by Luis De La Madrid and shot by Xavi Gimenez (the excellent editor and cinematographer tandem of Jaume Balaguero’s chilling Los Sin Nombre and Darkness), The Machinist has a bleak air about it, bordering on the oppressive without actually crossing over into the why-is-it-always-dark-and-raining territory of Se7en. But as visually interesting as the film is, it is in its script (by Scott Kosar, who also penned the scripts for the remakes of The Texas Chainsaw Massacre and The Amityville Horror) where The Machinist breaks down.

The central mystery, of course, is why exactly has Trevor not gotten any sleep for the past year? Why is it that outside of his job, the only regular socializing he does is with Stevie, a prostitute played by Jennifer Jason Leigh, and Marie (Aitana Sanchez-Gijon, who starred opposite Keanu Reeves in A Walk in the Clouds), an airport waitress he’s visited every single night for the past year?
The beauty of a mystery is when there are enough clues that the attentive and analytical audience member can actually solve it just before the final reveal. Just take a look at The Sixth Sense. All the clues are right there, if only we interpret them properly. The problem with The Machinist is that, though there are clues handed out to the viewer, they’re rather general and ambiguous, so much so that actually solving the puzzle before the climax is a slim, nearly non-existent possibility. And because the clues are not very precise, the audience could be left annoyed and irritated as the end credits begin to roll.

Ultimately, the most disturbing aspect of The Machinist is the physical transformation Bale underwent to play the insomniac Reznik, losing 63 pounds—a third of his body weight—making the Oscar-winning thinning-down Adrien Brody did for Roman Polanski’s The Pianist look positively little league by comparison.
Having debuted on the silver screen in 1987, appearing in Steven Spielberg’s Empire of the Sun, and the lesser-known Mio, moj Mio (Mio in the Land of Faraway) from Vladimir Grammatikov, Bale has gained a reputation for the intensity and dedication he brings to his craft.
When he bulked up and honed his body to a stunningly high-definition for Mary Harron’s American Psycho, then maintained that build for Kurt Wimmer’s Equilibrium, I was suitably impressed by Bale’s ability to take on the physical transformation a specific role entailed. And though this latest feat is no less impressive, it is also a shocking thing to see.
You just know there is some deep, dark secret at The Machinist’s core, something so disturbing it can turn a man into the wasted husk we see on-screen. It is, I believe, this added pressure on the final answer to The Machinist’s dark question that results in its collapse.
Not that the answer is light-weight by any means, but somehow, it doesn’t seem enough, not for a feature-length film, where drama is heightened and magnified from its real-life proportions. In the end, the movie does not successfully convey the weight, the magnitude, of what we learn is the truth. Like John Polson’s Hide and Seek, the final reveal of The Machinist just seems too prosaic given all we’ve seen leading up to it.

Anderson’s previous psychological thriller Session 9 (with David Caruso, who managed to move from New York to Miami without seemingly becoming a different character) was also a slick little package that sadly lacked substance and cohesion once the wrapping had come off.
Maybe, if Anderson eventually manages to hold a solid script in his evidently capable directorial hands, we’ll all see the great film he so clearly wants to show us.
Until then, we’ll have to make do with the tantalizing possibilities already visible in his near-misses.

Parting shot: A Spanish production, The Machinist was filmed before Batman Begins, and Bale had to quickly gain back all the pounds he’d shed to bulk up to play Gotham’s Dark Knight.

Parting shot 2: I’m eagerly awaiting Anderson’s next film, Transsiberian, hoping this is the one that’s gonna kick my a$$.
Aside from that, Luis De La Madrid is also helming the upcoming The End of the Summer.

(The above review began life under the name, “Out Of Order.”)

(The Machinist OS’s courtesy of impawards.com.)