Wild Tales (Relatos salvajes)


This guy could teach Mad Max a thing or two about vengeance.

This guy could teach Mad Max a thing or two about vengeance.

(2014) Comedy (Sony Classics) Ricardo Darin, Rita Cortese, Maria Marull, Cesar Bordon, Leonardo Sbaraglia, Walter Donado, Oscar Martinez, Osmar Nunez, Maria Onetto, Erica Rivas, Diego Gentile, German de Silva, Dario Grandinetti, Monica Villa, Julieta Zylberberg, Nancy Duplaa, Lucita Mangone, Alan Daicz, Hector Drachtman, Margarita Molfino. Directed by Damian Szifron

Revenge, it is said, is a dish best served cold although it must also be said that in Latin American countries, there’s nothing cold about good ol’ hot-blooded Latin revenge. It is a cultural imperative, as a matter of fact.

This collection of vignettes each looks at vengeance from a different angle, all of them funny and some of them downright hilarious. Mostly set in Argentina’s capital of Buenos Aires (although at least one is set out in the hinterlands of Argentina), there is a delicious quality to all of them which goes against what we normally see in American movies in which we are taught that an eye for an eye tends to leave everybody blind.

Herein we see a variety of different scenarios, with the first one begins with a beautiful model sits down on a strangely uncrowded airplane and strikes up a conversation with a neighbor. Soon, all of those aboard the plane discover they have a connection and that they aren’t aboard the plane by happenstance.

From there on we go to a waitress, discovering that the corrupt politician who ruined her family has sat down in the deserted diner in which she works is egged on by her somewhat diabolical cook to take her justice, then to an incident of escalating road rage, followed by a demolition expert whose car gets towed, setting off a chain of events that grow more and more devastating. Then we see the results of a drunken hit and run by a spoiled scion of a wealthy man who, sickened by the corruption of those who want to cover up the deed, is torn between saving his son and not contributing to the corruption. Finally we end of with the ultimate Bridezilla who makes a devastating discovery on her wedding day.

Each of the vignettes is told with a sense of humor that has a distinct Latin feel; some of it is quite subtle while some of it is broad to the point of slapstick and there is even some grossness that would make Apatow shudder and exclaim “Now, that’s going too far” – as in the road rage vignette in which one of the combatants defecates on the auto of another. Many auto-worshiping American men would rather have their genitals cut off with a butter knife than have that happen to their own car.

I was fond of the opening vignette which may be disturbing to some because of recent events in France which have some similarities to what you see here. The second one set in the diner isn’t nearly as clever as the others and briefly made me wonder if the rest of the movie would be like the first scene or the second; it turned out to be the former which was quite the relief.

My favorite was that of the munitions expert who is caught up in a corrupt, greedy scam of a towing company and his quest for justice ends up costing him nearly everything. However, in this particular case, his redemption turns him into something of a folk hero as a little man takes on the big machine and wins out. I think we’ve all felt like that at one time or another.

There is definitely a class element here; the road rage incident, for example, involves an upper class man in an expensive sedan versus a working class man in a beat up truck, while the case of the hit and run drunk driving we see the police and lawyer conspire with the wealthy man to have a groundskeeper in the wealthy man’s employ take the fall for the action committed by the wealthy man’s no-account son, which seems to indicate that justice is never truly served when it can be bought by the rich.

If you can see elements of the great Spanish director Pedro Almodovar in the movie, you are to be congratulated for your insight. In fact, Almodovar served as a producer for the movie although he didn’t direct it. Certainly his influence as a filmmaker can be felt in every scene.

This truly isn’t for everybody, I will admit. Americans don’t always find the Latin sense of humor palatable, although I think that we have more in common with it than not. Still, I enjoyed this very much and laughed throughout. It can be absurd and sometimes gross and even occasionally thought-provoking but there is some real superior filmmaking here.

REASONS TO GO: Howling with laughter funny. No weak vignettes.
REASONS TO STAY: Some might find some of the scenes crass and the opening vignette has elements in common with a recent tragedy that might make it offensive to some.
FAMILY VALUES: All sorts of violence, a little bit of sexuality and plenty of foul language.
TRIVIAL PURSUIT: This is the seventh film from Argentina to make the final list of nominees for Best Foreign Language film and the third straight to star Ricardo Darin.
CRITICAL MASS: As of 4/2/15: Rotten Tomatoes: 95% positive reviews. Metacritic: 77/100.
COMPARISON SHOPPING: Tie Me Up! Tie Me Down!
FINAL RATING: 7.5/10
NEXT: It Follows

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Leviathan (Leviafan) (2014)


Dem bones, dem bones.

Dem bones, dem bones.

(2014) Drama (Sony Classics) Elena Lyadova, Vladimir Vdovichenkov, Alexi Serebryakov, Roman Madyanov, Anna Ukolova, Sergei Pokhodaev, Alexi Rozin, Kristina Pakarina, Lesya Kudryashova, Valery Grishko, Igor Sergeev, Dimitri Byovski-Romashov, Igor Savochkin, Sergei Borisov, Sergei Bachurski, Natalya Garustovich, Irina Gavra. Directed by Andrei Zvyagintsev

Life can be unrelentingly bleak. When you live in a coastal town in the northwestern fringes of Russia, where corruption is how it’s always been and ever going to be, how does a single man find justice when the entire system is rigged against him?

Kolya (Serebryakov) is a mechanic living in just such a town. He lives with his son Roman (Pokhodaev) from his first marriage, and his second wife Lilya (Lyadova) in a house that has a stunning view of the harbor, and when the sun is shining (a rare occurrence admittedly) the front windows allow a great amount of light into the small but cozy home. There are worse places to be.

Until the corrupt Mayor Vadim (Madyanov) rests his eyes on the land and realizes that it could be a gold mine for him. However, he has to get his hands on it and that won’t be easy or legal – Kolya doesn’t want to sell. His grandfather built the home with his own two hands after all. But Vadim usually gets what he wants and he uses arcane laws to steal the land right from under Kolya.

However, Kolya knows a guy. In this case, it’s the lawyer Dmitri (Vdovichenkov), an old army buddy of Kolya. Dmitri has the goods on Vadim which might be enough to call off the dogs on Kolya. However, when Dmitri is invited by one of Kolya’s best friends for an afternoon of target shooting, events will transpire that will lead to an abrupt reversal of fortune that will leave none of those involved in the story unaffected.

It is incredible to me that this movie, a pointed indictment at corruption not only in the Russian legal system but in the Russian soul, would have been selected by Russia as their nominee for the Foreign Language film Oscar but not only was it submitted, it made the final short list, losing eventually to Ida for the statuette. I can see why critics and Academy voters loved this movie.

It is, however, unrelentingly bleak which is I suppose not to be unexpected from a Russian film – Russian literature and Russian movies are notorious for their grim outlook. This isn’t a happy, uplifting movie that is going to make you feel better about things; this is a movie about the travails of life, how those who have get the upper hand on those who don’t and how they generally wield it like a club against them. It’s not a pretty picture.

However, in this case, it is a well-acted picture, particularly in the case of Lyadova as the long-suffering Lilya. Her expression is mournful, her demeanor is mousy. Kolya is a bit of a hothead, given to smacking his son upside the head when he is rude which, as a teenage boy, is most of the time. Roman saves most of his vitriol for Lilya whom he clearly doesn’t care for much. There is some question as to what happened to the first wife and when – the film doesn’t explain that bit of particular information, but one gets the sense that Roman knew his mom.

In fact, most of the cast is top-notch although they aren’t well known in the U.S. They have that dour Russian mentality of expecting the worst and usually having their expectations met. Other than the hopelessly arrogant and corrupt Vadim, they know their lot in life is to suffer and to get no justice in their suffering, so they drink.

And they drink a lot. They drink to drown their sorrows. They drink to celebrate. They drink when they go out shooting. They drink when they have a meal. They drink because it’s Wednesday. They drink because they’re awake. If ever there was a movie that would serve as a poster child for temperance, it’s this one. Kolya is the biggest drinker of the lot, a raging alcoholic even by Russian standards.

This isn’t a movie for everyone, and I think you have to be in the right frame of mind to truly appreciate it. There are some difficult moments here, some telegraphed and some not. There are also some light-hearted movies, such as when the group goes out on a shooting outing, they pull out pictures of old Soviet leaders like Brezhnev and Stalin to use as targets. My friend Larry, a student of Russian customs and society, found that particularly amusing.

However, the amusements come few and far between here and depict a life in Russia that is cold, miserable and unfair. Which is a lot like life everywhere else for the most part (except for those equatorial nations where it is hot, miserable and unfair).

REASONS TO GO: Searing social commentary. Lyadova is a real find. Well-acted throughout.
REASONS TO STAY: Unrelentingly grim.
FAMILY VALUES: Coarse language, some sexuality and graphic nudity.
TRIVIAL PURSUIT: While based on actual events both in Russia and in the United States, the screenplay was written as a modern reworking of the Book of Job.
CRITICAL MASS: As of 3/8/15: Rotten Tomatoes: 99% positive reviews. Metacritic: 92/100.
COMPARISON SHOPPING: Brazil
FINAL RATING: 8/10
NEXT: Focus