Sleep Dealer (2008)

dir. Alex Rivera
writ. Alex Rivera, David Riker from a story by Alex Rivera
feat. Jacob Varga, Leonor Varela

God forbid this film becomes an "issue film" to be championed. This tired cliche-filled tramp through sci-fi territory manages to offer a few clever nuggets but without the story or storytelling skill to make an actual movie. The concept of Mexican laborers virtually manning construction machines in the US while still safely stationed south of the border is a good one, and if accompanied by a host of further ideas might play well in a film, but that's where Rivera gives up. With an easy Star Wars heist, our lead character sees his father killed for no great reason, though the fault of our lead nonetheless. Naturally, he leaves home to wander and eventually consider revenge.

I endured a panel discussion after the screening of this film where a bunch of folks who might not have seen a film in the past 20 years tried to claim it was groundbreaking in the realm of sci-fi. Anyone who has seen Star Wars, Blade Runner and The Matrix would say otherwise. I appreciate the change of locale and the notion of technology affecting the third world, and hope someone will be inspired to make a film that actually approaches those ideas.

Reprise (2006)

dir. Joachim Trier
writ. Joachim Trier, Eskil Vogt
feat. Anders Danielsen Lie, Espen Klouman-Hoiner, Viktori Winge

This highly charged film showcases the challenges of young, ambitious artists. Phillip and Erik are buddies in Oslo who submit manuscripts for publication on the same day, egging each other on as they drop them in the post box. They both dream of possible futures, committed to their art and its possibilities. Reality sinks in when Phillip finds rapid success while Erik flounders, though life turns in strange directions and soon Phillip is recovering from a psychotic episode which may or may not have something to do with his success though certainly relates to obsessive behavior when it comes to his (now) ex-girlfriend.

The film brilliantly toys with relationships and dreams of success, questioning how one defines that success, and what commitment it takes to achieve or hold onto it. Must a man avoid committing to a good woman to avoid an ordinary life and thereby stoke creative thought? Do civilized dinner parties show the death of the spirit? Questions that arise as young people race forward into the world with creative hopes and dreams bubble up throughout the film, never simple or without risk, just as in real life, keeping the film and spirit fresh, and wonderfully rewarding.

Anvil! The Story of Anvil (2008)

dir. Sacha Gervasi

Rawk!! "Anvil" begins unassumingly with Lips, lead singer and band leader of Anvil, talking about the details of catering. It takes a minute to be sure you're hearing correctly and then wonder what the Hell it has to do with a rock band before you get around to learning that he's discussing his crappy day job. It's a beautiful way to start the tale of the lifelong struggle of the guys in Anvil and their continued failure to make it big, reminding me of the Squirrel Nut Zippers lyric, "you'll eat peanut butter the rest of your life."

Sadly, life is rough for Lips and Robb, buddies since age 14, still striving to make it big in the rock scene. They haven't seen much success, their highlight from back in the early '80s when they were the wild men who influenced acts that went on to superstardom, like Metallica. It's also sad to see that they aren't very good, still writing pat tunes and screaming lyrics about crystal balls. But their devotion is the point of this film, and while one might tell them to give it up, it raises the question of the timeline of dreams. Should the guys "grow up?" Does that mean they should give up what they love and the way they want to live?

I had the good fortune to see Anvil play live after the screening and can say that they really rock! I'm glad they're still keeping the dream alive, though I also admit that I didn't buy any of their CDs after the performance.

Man on Wire (2008)

dir. James Marsh
feat. Phlippe Petit

Now, I don't like to gush. It's not really my style, or so I'd like to believe. But I border on the, "if you see just one film this year, make it Man on Wire," kind of ramble here. What seems like a small tale of a man's death-defying, insane high wire walk between the Twin Towers makes for a life-affirming film about living as though each day was one's last. Petit is a wonder, both then and now, as he hops around the studio like an elf bursting with energy, still uncontainable after all these years.

Marsh does a wonderful job toying with documentary conventions, handling the planning and execution of the job like heist reenactment, weaving in his sizable cast of characters and their quirks and ultimately letting the act and Petit speak for themselves. He also bravely and wisely avoids any direct reference to the tragedy that befell the city and the towers, fully aware that no mention is necessary, and in fact greater resonance is achieved through such silence.

Who would guess that the feel good film of the year would also be one of the best?

American Teen (2008)

dir. Nanette Burstein

OK, how about nobody starts a documentary with stereotypical summations of who the characters are? Anyone with me? Can we at least agree that a documentary that shows intentions of exploring characters, putting them on display before an audience, ought to do so over the course of the film, allowing the audience to make their own determinations? I guess we can count Burstein out of that number.

This film starts tired and remains so, childishly poking around to pump up nonexistent drama, too cowardly to find it in the footage amidst natural behavior. I'd wager that there is a good film in that footage, but it doesn't include overplaying a father's suggestion that his boy will join the army if not for a basketball scholarship nor slipping in a family tragedy that happened well before the filming began, playing it for late emotional depth.

Shallow drivel for the MTV generation.