Trailer Review: The Life Before Her Eyes

Paul Clark — Wed, 02 Apr 2008 16:00:00 GMT

Well, it appears that it's Changed Title Week here at Trailer Review, first with Monday's Starship Meet Dave, and now this one, which was originally titled In Bloom. It was under this title that the film premiered to lukewarm reviews at last year's Toronto Film Festival, where Premiere's Glenn Kenny called it "basically Sophie's Choice meets Incident at Owl Creek Bridge meets Columbine." The trailer conveys this pretty effectively, with a sudden flash-forward from the teenage protagonist driving to the adult version behind the wheel. But what I have a hard time stomaching is the film's grief-porn aspect, for lack of a better word. Yes, a school shooting is a tragedy, but the film looks less like a complex examination of the psychological fallout from this central incident than a wallow in the heroine's misery. And in what universe does Evan Rachel Wood grow up into Uma Thurman without, uh, surgical enhancement? Just sayin'.

Screengrab Review: Paranoid Park

Peter Smith — Fri, 07 Mar 2008 00:00:00 GMT

Review by Mike D'Angelo.

Taking a brief and very welcome break from memorial filmmaking — Columbine, Kurt Cobain, a forthcoming Harvey Milk biopic — Gus Van Sant achieves thrilling new heights of lyrical expressionism with Paranoid Park, his fractured adaptation of a young-adult novel by Blake Nelson. Frankly, I was so certain that I never wanted to see this particular director set foot on a high-school campus again that I contemplated a restraining order. But this brilliantly schizoid character study — structured as the letter-cum-journal entry of Alex, a skate punk with a guilty conscience (sensational newcomer Gabe Nevins, found via MySpace) — digs into the teenage mindset with a clarity and eloquence that Elephant, with its distracting (and, to my mind, obscene) echoes of real-world tragedy, couldn't possibly achieve. Ostensibly, the plot concerns Alex's involvement in the accidental death of a security guard. But since this act of involuntary manslaughter (briefly seen in gruesome detail) is wholly fictional, Van Sant and Nelson's appropriation of it as an overarching metaphor for the furtive, free-floating sense of shame that accompanies puberty feels bold and incisive rather than deeply disrespectful.

Meanwhile, Van Sant's formal dexterity just grows more and more astounding. He sometimes rivals Alain Resnais here with his conflation of editing and memory, skipping back and forth in time in a dissociative frenzy that has no use for conventional signposts or explanations. And even when Van Sant flirts with cliché, he does so in a way that's forbidding and strange: You've seen the scene where the distraught protagonist sublimates his/her grief in the shower a hundred times — but never like this, with the contrast cranked up to near-abstraction and the camera intently focused on the rivulets of water that flow from Alex's long hair as he stands silently, head bowed. I could have done with a bit less emphasis on Elliott Smith on the soundtrack, perhaps, but the film's other musical choices, ranging from Billy Swan's "I Can Help" to snatches of Nino Rota's score for Juliet of the Spirits, are magnificently contrapuntal. This is still very much a mood piece, but Van Sant, after two consecutive films centered on sacrificial lambs, has made an overdue and welcome return to recognizable human beings.

The Screengrab : columbine

Trailer Review: The Life Before Her Eyes

Screengrab Review: Paranoid Park