By Amy Nicholson
By Amy Nicholson
By Heather Baysa
By Calum Marsh
By Stephanie Zacharek
By Alan Scherstuhl
By Simon Abrams
By Alan Scherstuhl
Apparently the organizers still embrace the discredited theory that "size matters." And if movie buffs would like to maintain some semblance of a normal life as they try to make their way through the maze that the festival has become, well, tough luck. I doubt that anyone will even attempt to see the entire festival lineup. I certainly won't. But based on experience -- and I've covered more than half of the previous festivals -- I've established some general guidelines for choosing what to see.
The festival has a good track record with documentaries, for example, and since so few documentaries ever find widespread theatrical distribution, festival screenings are often the only chance you'll get to see them. The festival also has a long history of showcasing strong female performances. Just last year we were treated to the eclectic work of Christina Applegate in Claudine's Return, Kate Capshaw in The Alarmist, Jane Horrocks and Brenda Blethyn in Little Voice, Isabelle Huppert in L'École de la Chair, Andie MacDowell in Shadrach, Ingrid Rubio in El Faro, and the international dream ensemble of Carmen Maura, Miou-Miou, Marisa Berenson, Guesch Patti, and Marthe Keller in Elles.
I applaud the festival for its continuing tradition of including a handful of gay-themed pictures, even though this year's batch appears to be a mixed bag. And, admirably, the festival has never shied away from presenting hard-hitting, sometimes even bleak dramas that no major Hollywood studio would dare touch -- last year's Affliction, for instance, and this year's Joe the King and The War Zone, both of which I'll review next week.
On the other hand, comedy has never been the festival's strong suit; there's a distinct tendency toward forced zaniness. And I've learned the hard way that the festival's movies about people trying to make movies are usually best avoided.
Here's our first installment (look for part two in next week's issue) of what you can expect from this year's Fort Lauderdale International Film Festival.
Chacun Pour Soi (All For One): A resounding "Huh?" is the most likely reaction to this dreary contemporary French-Belgian drama about a pair of friends who finish their compulsory military service only to find they don't qualify to continue as soldiers. Humiliated and unwilling to face their conservative families, the two take refuge in a campground, where they meet a couple of women and become involved, sort of, with one. Eventually (and it seems an eternity in this leaden-paced story) one man and one woman pair off, leaving the odd man out to stew in his own juices.
Alexandre Carriere has a modest degree of screen charisma as the scruffy blond scoundrel Nicolas, who tries desperately to adapt to domestic life with Françoise (Florence Masure) and her young daughter. But Nicolas Ducron, as Thierry, the left-behind pal, has an acting range that appears to run from sullen to more sullen. Very late in the game, there's the muddled suggestion that Thierry's long-suffering devotion to his buddy has dark homoerotic dimensions -- "Not scared I'll try to fuck you?" Thierry sneers to Nicolas when they're reunited under strained circumstances -- but by then it's difficult to care one way or another about these losers. It doesn't help that the whole movie looks as washed-out as its characters' lives. (Sunday, October 31, 8 p.m., Mizner Park; Thursday, November 4, 7:30 p.m., Coral Ridge; Thursday, November 11, 5 p.m., Coral Ridge; 105 minutes; in French with English subtitles)
Tumbleweeds: A performance of astonishing depth and breadth is at the heart of this low-budget independent American feature. It's the work of Janet McTeer, a British stage actress who never hits a false note in her portrayal of Mary Jo Walker, a working-class mother from the rural South who has an uncanny knack for fouling up her life. When we first see her, Mary Jo is in the midst of a heated domestic squabble that sends her and her 12-year-old daughter, Ava (Kimberly Brown), packing. This fight-and-flight behavior, we soon learn, is a pattern for Mary Jo, who drifts from one ill-advised relationship to another.
She's one of those women who are irrationally but irresistibly drawn to charismatic men who also happen to have mean, sometimes violent, streaks. The precocious, strong-willed Ava understands her mom's predicament all too well but is more or less helpless to intervene, and their loving but turbulent relationship is what propels the narrative.
The Walkers' prospects appear to be improving when they set up residence in the fictional Southern California community of Starlight Beach, where Mary Jo lands a job -- at a security firm managed by Michael J. Pollard, quirky as ever -- and Ava discovers a knack for acting. (She snags the male lead in a school production of Romeo and Juliet, and her attempts to wrap her twangy Southern vowels around Shakespeare's lines are both comical and touching.) A sense of dread settles in, however, when Mary Jo takes up with Jack (Gavin O'Connor, the film's promising director and cowriter), a beefy truck driver who adores her but whose personality is diametrically opposed to hers.
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