recent dvd rentals
THE LIFE AQUATIC WITH STEVE ZISSOU
This movie did not do well in the theaters and it's a shame. maybe i fell for it because i'm a marine biologist and i know all that hoohah that yves jacque costeau was good for the environment is bullshit. i found this completely hysterical. and not the stuff that is obviously funny but the little moments that really showed the little quirks of the characters. bill murray, owen wilson, and klaus KILLED me and i love how they cast that crazy willem dafoe against type.
NAPOLEON DYNAMITE
this movie is so random and so gawwwdamn funny. i think my favorite was the random shit with the llama (who feeds a llama
ham??) and kip, after putting on rollerblades, asking in his little lispy voice "hey napoleon, would you mind pulling me into town?" i had to pause the movie i was laughing so hard.
DIRTY PRETTY THINGS
this was a very good movie. netflix description: "Okwe (Chjwetel Ejiofor), an illegal immigrant working as a night porter at a posh London hotel, stumbles across evidence of a bizarre murder. He and Senay (Audrey Tautou), a Turkish chambermaid -- and fellow undocumented worker -- venture into the city's seedy underworld to find out what happened. Stephen Frears directs this gritty urban thriller." the man who plays Okwe does such an excellent job of portraying untold sadness and dignity without being sappy. and his hidden intelligence and compassion shows up in his ability to give the villian of the story his comeuppance. my only complaint would be audrey tatou. i love her but i wasn't convinced she was a turkish illegal immigrant. but that was minor. the director is stephen frears who directed some other movies i enjoyed like "my beautiful laundrette," "dangerous liaisons," "high fidelity," "prick up your ears," and "the grifters."
FAT ACTRESS

this is some funny shit. first of all i love how she is making fun of herself and the culture of skinniness and the double standards of hollywood. and for me, the bonus is, she's a BEAUTIFUL woman. sure, she's overweight, but i guess for me, it wouldn't really matter how big she was. i've harbored a giant crush on her for years and if she showed up at my house i'd feed her and fuck her in a heart beat.

oh and that little cutie on the left. yeah, i normally don't do blondes but she is so dry and cute and funny in the show. meeoowwwwww
REVIEW BELOW NOT FOR MONKEY EYES!!!
TROUBLE EVERY DAY
I had heard about this movie a long time ago and because it's an independent small movie by a french director i just assumed that i would only ever see it on DVD since it wouldn't be showing anywhere near where i live. it finally became available and i bumped it up my queue.
o
m
g
this is quite the disturbing movie. i found a review of it on salon.com which i will insert here:
"Directed by Claire Denis
Starring Vincent Gallo, Tricia Vessey, Béatrice Dalle, Alex Descas, Florence Loiret-Caille
By Andrew O'Hehir
March 6, 2002 | If we're seeing an unexpected renaissance of art movies from all over the world -- and I think we are -- then surely French filmmaker Claire Denis is one of this minimovement's patron saints. Her films offer elliptical narratives with little notion of closure, a languorous, often dangerous eroticism and a desire to inhabit and subvert the conventions of genre movies: mysteries, thrillers, romances. For the most part, "Trouble Every Day" is a moody, troubling work, masterfully photographed, that drifts from one gray Parisian incident to another in the rootless spirit of Wim Wenders and Jim Jarmusch, Denis' acknowledged mentors.
But be forewarned: "Trouble Every Day" has more in store than 1970s-style urban angst, its paranoid '70s-style plot about a dark scientific secret or, for that matter, star Vincent Gallo's '70s-style "Serpico" 'do. This is a sexual knife-twister, somewhat in the tradition of David Cronenberg's "Crash" (and, even more so, "The Brood") or Nagisa Oshima's "In the Realm of the Senses." Like those films, it's being released unrated by the MPAA, so most Americans outside big cities and college towns won't be able to see it at all, and when it appears on video Blockbuster won't carry it.
Watching "Trouble Every Day," at least if you don't know what's coming, is like biting into what looks like a juicy, delicious plum on a hot summer day and coming away with your mouth full of rotten pulp and living worms. I don't quite know whether the characters in this film are cannibals or vampires or symbolic representations of a diseased culture or some combination of the three. I do know that "Trouble Every Day" contains two of the most difficult scenes I've ever had to sit through: a pair of steamy, anonymous sexual encounters that degenerate into horrible crimes of violence -- lurid spectacles that would challenge the imagination of Herschell Gordon Lewis or H.P. Lovecraft.
As you can probably tell, I haven't made up my mind about "Trouble Every Day." It's the kind of movie that stays in your head a long time, nibbling at your cerebral cortex. But the thing that makes me confident that there's more going on here than exploitation or cruel, arty cynicism is Denis' wrenching sensitivity to pain. In both these scenes, when first a man and then a woman is gruesomely preyed upon by their respective sexual partners, what sticks with you more than the gore, or the sense of powerful, empty compulsion, is the terrible suffering.
I run hot and cold on Denis: I loved her two African films, "Beau Travail" and "Chocolat" (not the cute Johnny Depp-Juliette Binoche vehicle), was perplexed by the neo-noir "I Can't Sleep" and didn't see "Nénette and Boni." But there's no denying the seriousness and distinctiveness of her craft. Like David Lynch, she deals in the dismembered signifiers of Hollywood; in the first few minutes of "Trouble Every Day" we get an alluring femme fatale in a black slip, a van on a deserted side road, a body in a field of weeds, an impassive black man on a motorcycle, a pair of cooing newlyweds on an airplane.
Any viewer can construct a movie out of those elements, and Denis pretty much leaves us to do it. Hers is built with very little dialogue, a series of disconnected Parisian locations and that creepy way she has of bringing you closer and closer to someone's face or body until you feel profoundly uncomfortable. She's not a surrealist, exactly -- the hotel rooms, sterile laboratories and crumbling suburban houses of "Trouble Every Day" are perfectly normal, neutral spaces -- but waking life in her movies nonetheless resembles the dream sequences of Ingmar Bergman or Luis Buñuel.
I haven't introduced you to the characters yet because Denis doesn't let us know much about them for a long time. The sexy woman in the slip is Coré (the feral-looking Béatrice Dalle), wife of the man on the motorcycle, who turns out to be a defrocked doctor named Léo (Alex Descas). She has an unfortunate habit of sneaking out and pulling a black-widow routine on random men, so Léo has to go collect her, wash the blood off her lovingly and lock her in the house, with her bedroom door nailed shut.
And what does all that have to do with Shane (Gallo), the haunted-looking American who has brought his pixyish bride, June (Tricia Vessey), across the pond for a City of Light honeymoon? Well, probably something, since Shane locks himself in the bathroom to jerk off rather than making love to June and keeps mumbling strange things to her, like "Are you frightened?" and "I would never hurt you." (I can't figure out which is worse, a husband who says that or one who doesn't.) Again, these people are more like figures in a landscape than characters: Gallo, the star and director of the 1998 indie hit "Buffalo '66," looks like a Nixon-era drug dealer, the very picture of depravity, while Vessey is all adorably tailored, mock-Audrey Hepburn purity.
Denis connects the dots, more or less, at the lab where Léo used to work. Apparently Shane really came to Paris to find him; years ago, they and Coré all worked on some experimental project that went awry in the tropics. This sudden incursion of sci-fi melodrama into a movie that otherwise feels almost plotless is a typical Denis strategy (although it may be misleading to say that anything is typical of her). I guess she's playing with various contemporary menaces and anxieties: biological warfare, the spread of epidemics, sexually transmitted disease. But I don't think it's pitched right; this feels to me like an overly arch ingredient in a work that already teeters on the edge of an aesthetic abyss.
When Shane flees from June, perhaps afraid he will hurt her, and begins doing contradictory things -- buying a cute puppy in a pet store, molesting a middle-aged woman on the Métro -- "Trouble Every Day" seems to be following its natural, if demented, course. How can a man really love his wife and harbor awful fantasies, or stalk the attractive, faintly dissolute chambermaid (Florence Loiret-Caille) who makes their hotel bed?
Yes, "Trouble Every Day" (that's not a translation, by the way; the original title is in English) is a haunting and terrifying film. It's also a film of wonderful spaces and silences. Shortly after we first meet the maid, we watch her preparing to leave work, changing out of her uniform and standing at a sink washing her feet. It's a marvelous little moment, the kind of scene perhaps only Denis could make so tremendously erotic, and so emotionally powerful. Denis makes us pay a price for enjoying such images, a price many viewers will be understandably reluctant to pay. Whatever you make of Denis' movies, she never wants you to leave the theater unmoved or unshaken. She wants to turn you on and mess you up. She wants -- there's no better way to say this -- to fuck with your mind. And she's always going to be the one on top."
i may not have exactly liked this movie, and i was completely shocked by the two gory scenes he talks about. but besides being shocked i was also curious as to how exactly they overpower their victims. not once were they strapped down and it seemed to me that they had plenty of opportunity to fight back at almost any time before their deaths. and so maybe that makes it so disturbing, not just that the violent sex and bloody death of these individuals but that they did nothing to stop their own deaths. and of course, like many smaller non-hollywood movies, things are not so neatly wrapped up and what research that took place that may have led to these people being this way is never explained at all. you don't know if their "sickness" is the result of the research going wrong, or if they had this affliction and the research was conducted in hopes of curing them but failed.
OH AND NO NASTY COMMENTS FROM MONKEY...I WARNED YOU!!

