Entre les Murs (2008)

If you have the patience to put up with this French docu-drama, released in the U.S. as The Class, then you will be forever grateful for our public schools.

Kenny (2006)

“I don't know what all the fuss is about, it's 80% water and we've got chemicals to take care of the remaining 20” and with that Aussie Kenny Smyth (Shane Jacobson) begins a look into his world. Kenny—imagine an obese John Travolta with a lisp—takes care of business, the port-a-john kind, with an uncommon blend of heart and humor. No matter the size of the event, Kenny has the right facilities for you.

Kenny is a hilarious mockumentary that with surprising heart and a very likable star. Filled with underplayed toilet humor and filmed on location at actual events, i.e. the International Cleaners and Pumpers Convention in Nashville, Tennessee gives the film an uncanny realism. Actor Shane Jacobson owns his role with amazing authenticity and everyday humbleness.

When Kenny isn’t dealing with a ring lost down the crapper or his co-workers, he’s suffering with an ex-wife that despises him, a young son, his father who can’t cope that his son Kenny ‘delivers toilets’ and his high-class brother. Kenny soldiers on with dignity and grace; he’s a likable fellow and his life is an admirable one. He just happens to clean toilets.

As I see it, Kenny is a smart character dramedy that isn’t about crap so much as the man who must deal with it.

The Edukators (2005)

Best friends Jan (Daniel Brühl) and Peter (Stipe Erceg) are a couple of radical idealists who like to strike fear in the minds of Germany’s elite. Their unorthodox duo break into mansions, rearrange things and leave messages warning on the pitfalls of wealth signed by ‘The Edukators’. Enter Peter’s disillusioned girlfriend Jule (Julia Jentsch) who joins Jan on this adventures while Peter is away. All goes well until she leaves her phone at the home of a businessman who, incidentally, is also the man who is causing said disillusionment. Unexpected events call for improvising with the most unexpected of results.

The Edukators strikes the perfect balance between ideology and believability making for a subtle thought-provoking drama. The simplicity of it all is disarming thanks, in part, to the fantastic cast. The three leads—just kids—are struggling to make sense of their ideals and a world in which they don’t fit. Brühl as Jan is perfectly moody, confused, and passionate. In contrast is Peter, who suffers Jan’s moods for the rush of it all.

The cinematography is also of note. The Edukators meanders a bit before the director refocuses, creating unlikely symbolism in the juxataposition of desparity.  The film's climax, in retrospect, I should have seen coming.  But I think it speaks to the film's success all the same.

As I see it, The Edukators is another foreign gem that makes me loathe current American cinema. Why can’t we get quality drama like this at home? The film is artistic, entertaining, and thoughtful. No, it won’t probably won't make you a better person for seeing, but The Edukators will certainly be remembered.

Død snø (2009)

A group of medical students head to the snowy town of Øksfjord for an Easter holiday. Their arrival is met with a history lesson and a warning: Nazis once occupied this town, abusing its residents. When the townspeople revolted, the Nazis fled to the hills--the very hills you now plan to camp on.

The kids are soon ambushed and a mad dash for survival ensues. Splitting up always signals the end. People die. Intestines fly. Blood spurts and heads squish. Good fun is had by all.

Dead Snow is a Norwegian zed offering whose fright is surprisingly atmospheric. It starts off dark with barely a hint of the insanity that follows. But we’re talking Nazi zombies here—guaranteed worth the wait.

The film's premise is simple. It’s filled with horror nods and clichés, but delivers the gore. Midway through Dead Snow takes on a humorous tone that underscores the most violent sequences (often set to awesome Norwegian techno-rock). Zed purists will take issue with the dismissal of core zombie tenets; however, the bloody climax which includes a machine gun laded snowmobile and a chainsaw is just hysterical. Perfect comedic timing=splat-tastic results.

As I see it, zombies come out of the box in this foreign flick making it all the better. Don’t let the idea of subtitles get in the way of seeing this. It’s got Nazi zombies!! Død snø is a must see for zombie aficionados.

Joyeux Noel (2005)

Inspired by the true events of WWI, Joyeux Noel recounts Christmas Eve 1914 when French, German, and scottich soldiers found common ground in thoughts of home. Building up to the Eve, we follow a French Lieutenant, a drafted world-class tenor, a Catholic priest, and a pair of brothers. The French receive champagne to celebrate the holiday on the front lines. The Scottish receive bagpipes, the Germans miniture Christmas trees much to chargrin of their commandant. From each foxholes rises a celebration uniquely their own.

On the strains of Silent Night a truce is made. The harsh realities of war are forgotten if only for a day. The soldiers share drinks and pictures of home. They pause soccer games and singing to bury their dead. As friendships emerge, each man resolves himself as when morning breaks they are to become enemies once more.

Filmed in German, French,and English, Joyeux Noel is a rare foreign film that transcends agendas in part to writer/director Christian Carion.  He keeps from the sentimental and chooses to celebrate humanity and showcase the futility of war.  He is steadfast in finding the beauty among the ugly.

Joyeux Noel is a more than a holiday film.  It is a drama of significance, celebrating a unique brotherhood.

31 More Days of Horror: [REC] (2007)

Fear knows no language boundaries. Case in point, the Spanish film [REC] . Angela is a television reporter. Along with her cameraman, Pablo, the two are covering the local firefighters for a piece. Answering a call for help at an apartment building, residents, firemen, reporter, and fireman are quarantined by the local CDC. Trapped in the building with an ever-increasing number of rabid zombies, Pablo keeps the camera on capturing brutal deaths, palpable fear, and freaky events.

[REC] is a highly effective horror film that draws obvious inspiration from predecessors. What makes it good is the fresh packaging. The 'shaky-cam' employed is smart without being annoying. Pablo is a professional and captures untold images clearly. Angela's investigative sense is authentic without being nosy. Mano, one of the firefighters plays to hero solidly.

Despite being subtitled, the film is a top-notch scare. The 'reading' doesn't interfere as tension builds and aggressive action ensues. The progression is brutal on the senses.

Shimotsuma monogatari (2005)

Momoko is fascinated by the Rococo period. This young village girl lives for lace, embroidery and parasols and longs for the Hedonism of 18th Century France. Enter biker chick Ichigo, an independent girl of questionable history. The two girls strike an unlikely friendship. As the teen girls struggle with their own identities, their friendship falters. Fiercely protective of their prospective worlds, they begin to wonder can they coexist?

Based on a Japanese novel, the American translated Kamikaze Girls is a brightly-colored, slightly surreal tale blends anime and live action to create a fresh coming of age story. It's like Hello Kitty got angry.

The production is thoroughly modern. The female leads are engaging--one with her penchant for Lolita fashion, the other for her moped. The film balances the fairy tale elements beautifully with Gwen Stefani truths. Additionally, the dialogue is remarkable truthful, humorous, and surprisingly unobtrusively subtitled.

As I see it, Kamikaze Girls is a rare treat. I'm saddened to think only a handful of people might see it.

L'Avocat de la terreur (2007)

Wes Anderson's recom was the catalyst for this choice. This documentary from Barbet Schroeder examines the man known as Terror's Advocate, Frenchman and defense attorney Jacques Verges. Verges is perhaps best known for defending war criminal like Slovadon Milosovich and Klaus Barbie, but he can also be found defending those engaging in the most heinous acts of terror {and typically supporting the Palestinian cause}.

For what it is, Terror's Advocate, is a provocative documentary of a cocky, arrogant, slick cosmopolitan who has made it his profession to humanize those who have murdered, assassinated, and maimed people who have stood against them. Terror's Advocate is a fascinating and angering look as Verges, but the film really stands as a history lesson on the rise of terrorism--ultimately examining the founding fathers of car/cafe bombings. Verges' relationships with them become merely a footnote.

Here's the thing. Raised as seeing right and wrong as different as black and white, I take offense at this man's profession. Wrong is wrong. It doesn't matter that you did it for the 'right' reasons. Murder and maiming accomplish nothing other than to establish you, the killer, as inhumane. Watching this man, decriminalize obvious genocidal maniacs is an assault on my intelligence. This doc made me angry.

As I see it, kept in context, Terror's Advocate is an eye-opening, polarizing documentary that successfully examines the 'other side'. Still, the human in me sees this man {and all that he stands for} as wrong.

Ondskan (2003)

For years Erik Ponti (Andreas Wilson) has endured the after dinner beatings at the hands of his sadistic stepfather. When he is expelled from high school for fighting, Erik's mother sends him to the renowned Stjärsnberg Academy. Erik soon discovers that many of the students face extreme hazing at the hands of the school's older students. Troubled by the violence, Erik is determined not fight, but rather stand true.

Ondskan (translated simply as Evil) is a Swedish import that seemingly like most European imports, manages to present an oft told story in a fresh new light. Under the direction of Mikael Hafstrom (Derailed), Evil is an atmospheric tale of violence rendered, both psychological and physical. Throw in a battle of the classes and you have an ugly tale of two cities.

Lead Andreas Wilson is engaging--think a rugged Tatum Channing. Wilson is conflicted as Erik, a young boy continuing the cycle of violence he has always known. But you can see the transformation in the actor when Erik decides to break the cycle. He is fierce, but compassionate when confronted. Hendrick Lundstrom plays Pierre Tanguy, Erik's sole friend at the academy. Lunstrom is top-notch in the supporting role. Gustaf Skarsgard's Otto Silverhielm is Hitler to Wilson's Ghandi. Skarsgard is bone-chillingly sadistic as Silverhielm who's blood lust has no end.

As I see it, Evil is an interesting examination of adolescent cruelty/coming of age and despite the somewhat fairy-tale ending, the film leaves an impression. Unheralded intensity and grim brutality give the film an unlikely edge, but its the performances that make Ondskan really worth watching.

Les Choristes (2004)

Former music teacher, turned prefect Clement Mathieu (Gerard Jugnot) arrives at Fond de l' Etang (translation: Bottom of the Well) to discover an abusive headmaster (Francois Berleand) and a boys only boarding school filled with orphans and hoodlums. The headmaster's motto: action=reaction is in direct conflict with Mathieu optimistic nature. Immediate distrust of headmaster earns Mathieu a shaky truce from the group of rag-tag boys. Sensing an opportunity to build up young lives, Mathiew forms a chorus to change the course of the young boys lives and in turn may lose his own.

Les Choristes is a gentle drama that celebrates triumph over adversity. Perhaps it is formulaic, but this French blend of Mr. Holland's Opus and Dead Poet's Society is beautiful. Warming the heart and tearing the eye, Les Choristes is a vibrant, human story.

The production of this French import is reminiscent of an old scrapbook. The Chorus is awash in muted, sepia tones with detailed costuming and weary settings of 1945. It's nicely aged without being intrusive. In retrospect, director Christophe Barratier's makes assumptions during the course of the film to stay on task, but overall his debut is thoughtful and satisfying.

The film would be nothing without the glorious voices of the boys. It's the true highlight. The boys (who according to the film's credits are not actors, but actual choral members) come alive with amazing results. In stark contrast to their surrounds and overall existence, these boys command such power with their voice--it's wonderfully chilling. Young soprano Jean-Baptiste Maunier, with his innocent face and expansive brown eyes is an angel.

Don't let the film's 'foreign' status, keep you from seeing a genuine story. As I see it, Les Choristes revel in exactly what it is: a simple tale of faith and hope.

Le dîner de cons (1998)

A group of French intellectuals gather each Wednesday for dinner and to answer a challenge: who can bring the evening's most idiotic guest. This time, Pierre (Thierry Lhermitte) thinks he's won with François (Jacques Villeret), a local city worker whose passion is building architectural models out of matchsticks. Unfortunately for the smug Pierre, karma is coming to collect.

The Dinner Game is a contrived comedy of errors that quickly becomes dull and mean spirited. I expected a more subtle, classier film that this mediocre waste. Perhaps there's something to 'get' about French humor. Or maybe they are poor imitators. Bad backs, stupidity, tax auditors, nymphomania, sheer stupidity--I thought it was a poorly translated American flick. It was the no fart jokes that made the difference.

Le dîner de cons is utter foolishness and French at that!

Låt den rätte komma in (2008)

Twelve-year-old Oskar (Kåre Hedebrant) is the constant target of bullies in his small village near Stockholm, Sweden. He spends his time plotting revenge and obsessing over news of the heinous murders around town. Things change for Oskar when Eli (Lina Leandersson)--another twelve-year old--moves into his building. Eli is an outcast, too. But Eli is also a vampire. A friendship blossoms and together they find acceptance and courage to live.

Let the Right One In is from Swedish director Tomas Alfredson. While I think much of the alliteration is lost in the English dubbing {where do they find these people for voice-overs?!}, the film is a fresh, original addition to the vampire genre.

The young leads are remarkable, especially Leandersson. She speaks volumes as the emotionally distant, yet vicious Eli. In contrast is Oskar. Mild and frightful, Oskar is horribly introverted. His fascination with Eli comes from within. It's as if Eli is what Oskar has buried deep inside. The dialogue is simple between the two, but the connection is beautiful. Trading chemistry as downtrodden, confused youngsters, these two have the control of seasoned veterans.

The film is a unique blend of Lord of the Flies and Stand By Me for the Interview with a Vampire set. Containing the lore of vampires with the morality of the aforementioned, Let the Right One In becomes a modern day, i.e. real, story of young, conflicted love.

Delicate scoring and muted cinematography add to this film of contrast. The aesthetic is sparse, but emotionally rewarding and equally draining. It's filled with a foreboding that chills the soul.

Låt den rätte komma in is not for American audiences--the gentle nature of the story will bore the average movie-goer. This film makes the likes of Underworld or Bram Stoker's Dracula look clunky. As I see it Let the Right One In will only be appreciated by fans of the genre.

Oktapodi (2008)

Life is bliss for two octopi in love. Their love is threatened when dinner looms. Snatched from the tentacles of her lover, lady octopi is shoved into the fishmonger bucket and is away. Sir octopi leaps into superhero action to save his lady. Hilarious feats ensue as sir octopi uses every tentacle in his body to save her. Winding through the streets of a seaside village, the fishmonger comes under attack. Aw... true love.

Oktapodi, a silent animated short from France, is oddly clever and downright cute. The CGI is top-notch with beautiful coloring and detail to match. Clocking in at just under three minutes, Oktapodi is hardly a waste--if you can find it, enjoy.

Unser täglich Brot (2005)

This German born documentary takes a look at the highly clinical and uber-mechanized process of bringing food to the table. From the opening title card, the viewer can sense something unusual here. That assessment would be correct.

Our Daily Bread is an artful and aesthetically chilling film. Director Nikolaus Geyrhalter seems content to allows images and rhythm to speak for itself--that is the movie's crowning glory. Geyrhalter's camera is an observer, not an interferer and as each vignette unfolds, it's the viewer's own reaction that will ultimately define the film's tone.

As I see it, Unser täglich Brot, is a quiet examination of the dehumanizing of our food.

El Laberinto del Fauno (2006)

I really missed the mark with my original review.

I saw Pan's Labyrinth three times in the theatre that year. Each time I gained further appreciation for the dark fantasy by Guillermo del Toro. Still don't consider myself a fan, although he may finally garner my devotion if The Hobbit is realized.

Pan's Labyrinth is the story of Ofelia, a bookish young girl, caught in the mountains of 1940s Fascist Spain. Her pregnant mother is expecting the child of the sadistic Captain Vidal. Ofelia's escapism into the land of fairies and fauns crosses paths with her reality to create a hauntingly beautiful story.

The film is visually arresting. Del Torro blends his CGI seamlessly. The cinematography is wonderfully crafted to parallel the contrasting worlds unconsciously. Adding yet another level of intricacy are the chilling melodies of the score.

The foreign cast is remarkable. The young Ivana Banquero is amazing. Sergi Lopez is diabolical. In contrast, Del Toro's fantasy characters are equally riveting and revolting.

Mesmerizing and grueling, Pan's Labyrinth isn't easily forgotten or explained.

Sergei Prokofiev's Peter & the Wolf (2007)

The 2007 Oscar winner for Best Animated Short is a combination of stop-motion capture and CGI. Peter & the Wolf feels familiar, yet new. This complex re-imagining speaks volumes thanks to sharp detail and a beautiful score.

Set in Russian (pre or post, depends on the viewer), morose Peter manages to escape the grim life he leads with his hard, aged grandfather for a few hours. With his pet duck in tow and a bird with a broken wing (supported by a balloon), the trio set out to play in the wintry canvas of forest. The carefree day is stolen from Peter when the wolf arrives. After suffering at the paws of the wolf, Peter sets his cap to catch the beast and prevail.

Simple in nature, the story is remarkably complex in director Suzie Templeton's hands. The emotion found in here is remarkable and very human. Peter's world is brutal and lonely. Thanks to Prokofiev's score we feel Peter's sadness, ache at his despair and find joy in his smile.

The motion capture is beautiful. The seemingly rough edge belies technical prowess as our characters are brought to life-- almost like magic. Templeton has interpreted the Peter, Duck Grandpa, and the Wolf wonderfully from Prokofiev's masterful score.

As I see it, Peter and the Wolf is a magical creation that cinephiles of all ages will appreciate. What a treat!

Se, Jie (2007)

Too much has already been written on the explicit sex found in Ang Lee's latest tortured love story, Lust, Caution. True to form, Lee has created another story that explores the gambit of human emotion, but just barely.

Set in occupied Shanghai during WWII, young drama student Wang Jiazhi (Tang Wei) becomes swept up in dangerous game of emotional espionage and personal intrigue with the enigmatic political figure Mr. Yee (Tony Leung).

I hesitate to say more. Director Ang Lee uses their sexual relationship metaphorically for what happens outside the bedroom. Although Lee successfully examines lust and caution, we never really have more than a mere character study on our hands.

Sleeping with the enemy takes on new connotations thanks to the leads. Tang Wei portrays Jaizhi as the ideological student that evolves to wield her sexual power. Leung is the mysterious sadistic figure who slowly loses control. The emotion behind these powerful and intricately layered performances unfolds slowly, leaving us all exhausted.

For this viewer, Lust, Caution eventually crossed the line of analogy and became voyeuristic in nature. If I may be so bold, the film would have benefited from more exploration outside the bedroom. Sadly, the movie's climax is not nearly as powerful as the one in the bedroom.

Regardless, Lee has another top-crotch, er, top-notch masterpiece on his hands that will be debated (and decried) for years to come.