Specter of Reason

I watched Cold In July last night.  It's not a bad movie.  The acting and directing are stellar, and it is in some ways original and daring.  But when it was over, I was more frustrated than satisfied. Be warned: the following contains spoilers. Rich (Michael C. Hall) accidentally kills a man whom he and Ben  (Sam Shepard) are told is Ben's son.  Ben makes thinly veiled threats, but the police refuse to act until Ben does something illegal.  The police are very concerned about the law, apparently.  Then Ben breaks into Rich's house.  That gives the police enough suspicion to watch the house, but not to arrest Ben?  Fine.  So they watch and find out that Ben never left the house.  Well, they don't see him, but they assume it was him.  So they arrest him. For what?  For breaking in and not leaving until late at night?  They couldn't have just arrested him for breaking in in the first place? In any case, they arrest him.  Then the police try to kill him.  They sneak

Birdman,  Oscar's Best Picture of 2014, is a satire of Hollywood's lack of artistic gravitas.  The primary target is the dark hole of superhero films that attracts much of the industry's money and talent.   Birdman goes out of its way to repeatedly poke fun at superhero movies.  And yet, the Oscar for Best Animated Feature went to Big Hero 6 . . . a superhero movie.  Who said the Academy had to be consistent? I just watched Big Hero 6 and enjoyed a lot of it.  Yet, it suffers from all of the problems that often plague superhero movies.  It is the perfect example of the sort of film that Birdman is making fun of.  (Warning:  the rest of this post contains major spoilers.) The hero (subtly named "Hiro"), a thirteen-year-old boy of limited means, somehow manages to produce thousands of tiny 'microbots,' and gear for controlling them directly through his thoughts.  It's not even so ridiculous that he could come up with a way to build such things--

In lieu of the Oscars, here are my own categories (and winners) for 2014 films. Best Drama: Leviathan Runners-Up: Nightcrawler Selma Best Sci-Fi: Under The Skin Best Horror: The Babadook Runner Up: A Girl Walks Home Alone At Night Best Comedy: Frank Runner Up: What We Do In The Shadows Best Action: Edge Of Tomorrow Best Children's Movie: Maleficent Best Director: Richard Linklater (Boyhood); Runners Up: Ava DuVernay (Selma) Jonathan Glazer (Under The Skin) Jennifer Kent (The Babadook) Best Actress: Essie Davis (The Babadook); Runner Up: Julianne Moore (Still Alice) Best Actor: Jake Gyllenhaal (Nightcrawler) Runners Up: David Oyelowo (Selma) Best Actress in a Supporting Role: Laura Dern (Wild); Runner Up: Patricia Arquette (Boyhood) Best Actor in a Supporting Role: J. K. Simmons (Whiplash) Runner Up: Mark Ruffalo (Foxcatcher) Best Cinematography: Mikhail Krichman (Leviathan) Runner Up: Robert Yeoman (Grand Budapest Hot

My initial reaction to Pawel Pawlikowski's Ida was anger and frustration:  Not at the historical injustice documented in the film.  Not at the personal tragedy.  Rather, it's the film itself that bothers me:  It is a film about two Jewish women in the wake of the Holocaust, but Judaism itself is absent from the picture.  A. O. Scott observes, in his New York Times review , the film "unfolds at the crossroads where the Catholic, Jewish and Communist strains of Poland's endlessly and bitterly contested national identity intersect."  What Scott fails to notice, however, is that Judaism exists in the film only negatively:  Jews are victims of the Holocaust; Jews are corrupt communists, faithless, self-destructive and morally lost.  The film makes "an implicit argument . . . between faith and materialism," as Scott also observes, but it is Catholic faith that is on the line, not Judaism.  There is no representation of Judaism as a viable option in the film a