Call me guilty

Remember the 2014 movie Locke, featuring only Tom Hardy on screen, making many phone calls from his car while driving through nocturnal London? There is a similarly single-minded movie out now, called The Guilty (or Den skyldige as its original title), about a cop who has to staff a police emergency call center in Denmark. That is of course the perfect situation for yet another feature with one character on screen and all the others phoning in. To be fair, Asger Holm (played by Jakob Cedergren) has a few short face-to-face conversations with the other cops at the call center, but soon, he moves into another, empty room in order to tackle the problem he is confronted with. Continue reading

The Rear-View Mirror: CSI Crime Scene Investigation (2000)

Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!

Today, my dearly beloveds, let’s talk about guilty pleasures. I know you have them because I have them. In a way, it’s the emotional continuation of reading under the covers when you’re a kid, flashlight in hand, way until after midnight. And already I’ve talked myself into a corner because now I have to reveal one of my guilty pleasures while you can keep silent about yours. Here goes, then: one of my guilty pleasures was, and still is, CSI: Crime Scene Investigation, the original one set in Las Vegas. Would you believe that it ran from 2000 to 2015? Its finale is only three years old. And yes, I watched every single sodding episode, until the bitter, bitter end. It wasn’t easy. I’m not proud of it. The guilt had outweighed the pleasure years ago. Continue reading

Press X to ride into the sunset

If you have any interest in video gaming whatsoever, you can’t have missed the release of Rockstar Games’ oater epic Red Dead Redemption 2. From the game’s almost Deakinsian visuals via its insane level of detail (yes, your horse’s testicles contract in cold weather!) to, sadly, the reports of the studio’s insane crunch culture that’s deleterious to mental and physical health as well as relationships, RDR2 (which, I admit, sounds too much like a Star Wars robot to be a very helpful abbreviation) has been everywhere – including my PS4’s hard disk. I’ve not yet had much time to explore the dying Old West alongside the Van der Linde gang, but it’s already clear that this is an exceptional game. Exceptional in scope and ambition, surely – but what is most surprising to me is that this is also an exceptionally wilful game. If it wants me to like it, it’s going about it in a very strange way.

Red Dead Redemption 2

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Indignation, Inflammation, Consternation

The maddening thing with most of Michael Moore’s documentaries is that at some point, he hurts his own line of argument, whether it’s an unnecessary digression or a small mistake. Moore’s oeuvre is certainly not there for comfort viewing, but I always feel restless watching something new of his because he seems to veer off at some point into the undergrowth. Remember how he quoted wrongly from the hull of a Lockheed bomber plane in Fahrenheit 9/11? He starts to build up his argument with footage, witness accounts and pictures that seem too good to be true, and then he commits a blunder that makes the movie lose steam – not all of it, but the story he wants to tell gets weaker, and the movie has a hard time recovering from it. Continue reading

The Rear-View Mirror: City of God (2002)

Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!

The first scene of Fernando Meirelles’ and Katia Lund’s City of God starts with a chicken trying to escape the frying pan, and it ends with the standoff between two warring drug gangs in Brazil’s Cidade de Deus, the poorest quarter of Rio, where the politicians put the lowest classes in the Sixties so the rich wouldn’t have to look at them. Cidade de Deus doesn’t have electricity nor water, and it’s almost impossible to get out, not geographically, but socially: if you are born there, you will most likely die there.

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A separation

It is not that Will is a bad father. He is caring, he looks after his daughter’s physical needs. He teaches her self-reliance, and her intelligence and resilience clearly indicate that he’s done a lot of things very well. In fact, if he hadn’t done such a good job of raising his daughter, she might never find the strength to tell him that he cannot take her with him.

Leave No Trace

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My God, it’s Full of Stars

We have been to the edge of the cinematic universe together more than once, haven’t we? We have pinched shut our noses against the stench and filth of Aleksey German’s Hard to be a God with its very own weird cinematic language and drab medieval sci-fi outlook on life. We have waded through the seven-hour long Satantango, Bela Tarr’s masterpiece, puzzled by the fact that we didn’t know what the hell was going on. Both movies might take huge liberties in storytelling: they seem to redefine or even abuse the notions we have of plot, story, or dialogue. German’s movies pretend that they have never heard of a reaction shot.  There are whole takes that seem to go against anything that we seem to have learned about cinematic grammar, but no matter how shrewd or outlandish those movies might get, they still are – movies. Continue reading