Gus van Sant’s THE SEA OF TREES is a pulverisingly beautiful film. It takes place within despair, as we’re guided by Matthew McConaughey, who after the death of his wife flies to Japan to kill himself in the Aokigahara Forest, know as the “suicide forest”.
When McConaughey gets to the forest, he meets a man played by Ken Watanabe who is wandering with his wrists cut open and is slowly bleeding out. As the two men pair up, traveling deeper into the forest their hope for survival inadvertently grows.
The film premiered at Cannes and was blasted by critics. Yet again, I find myself falling in love with a “poor” film that has been deemed van Sant’s “worst movie”. Is this film for everyone? No. Is it for the average person Redbox’ing the latest McConaughey disc? Probably not. But you should still watch it.
This is a film that asks a lot of hard questions. A painstaking majority of the film is introspective reflection by McConaughey. What happens to love when it is concretely gone? What is left when life has no more person value?
It is a heavy film told through quiet moments and unromantisized flashbacks between McConaughey and his wife played brilliantly by Naomi Watts. At times, this is a very hard film to watch. McConaughey and Watanabe give equally emotionally charged performances that are draining. Yet, through all the despair and grief we see on screen, the film’s message of survival and hope is effortlessly inspiring.
Undertaking Betty (or Plots With A View, as it’s called in the UK) is British black humour at its most brilliant, hilarious and surprisingly touching, in the tradition of stuff like Waking Ned Devine and Monty Python. It’s carefree and harmless but not without a raunchy sting that can’t help but be met with loving reception due to its charm and top drawer silliness. Brenda Blethyn plays a woman who has spent thirty years of her life in a small Welsh town, married to an absolute pig of a man (Robert Pugh). He’s a sleazeball who is shagging his slut of a secretary (Naomi Watts in full gumball sickening skank mode). Blethyn is secretly in love with the local undertaker and mortuary owner (Alfred Molina), the romance sparking up as the two try to find a way to get her away from Mr. Awful husband. Molina has the brilliant idea to fake her own death, letting her off the hook and allowing them to elope. She’s willing but reluctant, and so they proceed. Only one problem: Molina isn’t the only funeral outfit in town. Garish eccentric Frank Featherbed (Christopher Walken) and his peevy associate (Lee Evans) owns his own business and plans to steal Blethyn’s funeral for his own. Walken dials up the kook factor to the maximum and is pure genius, an entertainer at heart who believes that every funeral should have the showmanship and dazzle of a broadway show, leading to some amusingly awkward scenes. Just the fact that an american Chris Walken is working as a funeral home director way out in rural Wales is enough to bust a gut, let alone his off the wall performance. The resolution reaches comic heights that made me truly query why this film’s praises weren’t sung to high heaven upon release, but such is life, and death. The romance between Blethyn and Molina is sweet, endearing and balances out the larger than life sense of humour that the film keeps tossing around like confetti. Walken fans, dark comedy fans, film fans alike…please check this out.
Ever briefly get stuck in an elevator thats messing with you, malfunctioning and seems to almost have a mischievous mind of its own? That’s the premise of Down, also known as The Shaft. It concerns an elevator in a huge residential/office building that has gone homicidally haywire. It traps, drops and tricks people no end, raising and lowering the interior temperature to dangerous effect and generally just being a great big meanie. No one seems so know what’s going on with it though, especially the mechanic who installed it (Twin Peak’s James Marshall). The incidents accumulate, attracting a perky tabloid reporter (Naomi Watts having a ball) who makes up all kinds of tall tales to explain the situation in sensationalistic terms. This infuriates the CEO of the elevator company (now there’s a job title) played by a snarky Ron Perlman who gets a rant towards Marshall that walked in from a way better script (which leads me to believe it was the spawn of Perlman’s legendary improv skills). There’s also a cop played by Dan Hedeya who can’t seem to figure it out wither. The truth is a lot more interesting than you might expect and has nothing to do with ghosts or spirits at all, but centers around a deranged research scientist (Michael Ironside, whacked out to kingdom come). It’s not the least bit scary, but it’s worth a watch simply for the fact that it’s a movie about a fucking elevator that kills people lol. Cujo and Christine ain’t got nothing on this bitch. The scene where a gaggle of pregnant ladies enter the thing is just priceless in its blatantly gross out manner. Fun, fun stuff and great research to embarrass Watts with sometime down the road if you ever find yourself interviewing her on the red carpet hehe.