Day 6: September 13

Another quiet day as the fest slips by quickly. All of my screenings today were in public venues, so I had the pleasure of missing out on those that leave early. Mind you, in the case of Stoned it may have been a blessing.

While Tommy Lee didn't show up in person (I believe at last viewing he was feeding some 4000 antediluvian homeless people in West Texas), I did have the pleasure of Eugene Jarecki expounding with great loquacity upon his fine film. At the Elgin screening of Thumbsucker, local boy Keanu Reeves made the audience a twitter, particularly when he leaped off the stage after the intro to join the middle of the row. Added screening note: some woman laughed at a funny joke, to be sure, but then couldn't stop laughing... On into the dramatic scenes, and she was still guffawing.

The Three Burials of Melquiades Estrada
Directed by: Tommy Lee Jones

Grade: A

I must admit that I did not hold high expectations for this film. Like yesterday's Wah-Wah, it's easy to see how such work could easily appear to be mere vanity film, the project that some famous actor holds dear enough to decide to direct it himself. Given the current climate in the U.S. surrounding border issues, I also wasn't interested in seeing either an overly arty message flick, or a meat-and-potatoes look at the divide between Mexicans and Texans. Thankfully, refreshingly, these major pitfalls were avoided, and what remains is a very enjoyable film, with great, nuanced performances.

The term "neo-western" is equally off-putting for me, but you can't help but think that this film embraces extremely well the genre conceits of the traditional outlaw Western with a strong contemporary bent. I know, I know, it sounds terrible, but it really does work extremely well. By mixing the banality of west Texas with its malls, food courts, deluxe trailers and pickup trucks, with the rustic wilderness, the dilapidated cabins, and the wide vistas, you really are getting the best of both worlds. Each time that I thought the film would settle into cliché it deftly swerved the plot. Coincidences that could have seemed forced instead seemed to flow quite naturally from the story.

Kudos to some great support acting from the likes of Melissa Leo (of H:LOTS fame) playing a note perfect small-town waitress, Dwight Yoakam as the sheriff, and fellow musician Levon Helm as a grizzled, blind hermit. Tommy Lee himself must be mentioned, as he pulls a nuanced role with a craggy, sunburnt face that's impressive to behold. He's at the top of his game in this flick, all the more remarkable as he's literally wearing many hats on the production.

The film has its faults, and does go a bit too long in places, but it's certainly a project worth checking out, and I'd love to see it receive positive recognition from a wide audience.

Stoned
Directed by: Stephen Woolley

Grade: FAIL

Minutes after writing about the nastiness inherent in most vanity projects comes this mess about the life of Brian Jones. Failure number one: no Stones songs. I mean, cummon, I don't buy the directors line about only having music that influenced Jones - "White Rabbit"? "Paper Sun" by Traffic?! Pu-leeze. After making Andrew Loog-Oldham look like a right ponce, you weren't going to get clearance, were you? A miserable disappointment...

Why We Fight
Directed by: Eugene Jarecki

Grade: A-/B+

A compelling doc tracing America's drive towards war, and the unheeded cries of a president warning about the unchecked power of the "miliary industrial complex". Like his last film The Trial of Henry Kissenger, Jarecki crafts a nuanced and polished doc, complete with a wide range of political voices.

There are hardly any relevations in the flick, but it's crafted in such a succinct and compelling way that it's likely to generate some discussion. Unfornately, while it lacks the slopiness of a Michael Moore rant, it also lacks its clear passion, and may have a difficult time cutting through the chatter, resulting in the flick preaching strictly to the usual suspects in the ghettoized art houses that hardly need to be swayed any futher about the misdoings of U.S. miliary policy. In a time of reflection post-Katrina (for however long it's likely to remain reflective) the film may find a niche and raise interest from those of both sides of the spectrum. I anticipate, however, that it's likely to languish from festival to festival.

Thumbsucker
Directed by:

Grade: A-/B+

Thumbsucker is one of those quirky independent films like last year's Sideways that are cleverly written, have some overarching theme that branches out in various and obvious ways, and then settles into a nice, quiet rhythm. There's little to be found that's offensive with the film, it's got good performances, quite a few laughs... it's a standard feel-good Fest film - edgier than Hollywood fluff, but nice enough to be enjoyed without shock or discomfort.

A 17 year-old's thumsucking behaviour basically becomes a metaphor for all of our addictive and compulsive behaviours, and how we deal with it. Keanu's new-age orthodontist adds a bit of philosophical depth (not sure when he became mantra boy, but, hey, if it works for him...), and his parents and teachers do what they thinks best. It all stems from these compulsions, and the usual suspects (ridalin, marijuana) show up in turn to mask what's eating away at him in the first place.

If any of this sounds disparaging, I don't mean it to be - It's simply that in a festival environment many films are sandwiched between far harder-hitting flicks, so when one comes along like this it's a bit of a shock to the system. For a first time director, it's quite an accomplishment (I'm not counting his myriad of music videos, and people like Beck and Spike Jonez were thanked in the credits). Bonus points are awarded for the soundtrack by Tim Delaughter and many of his compatriots from the Polyphonic Spree. Elliott Smith shows up for a couple tracks as well, and his version of Cat Stevens' "Trouble" is worth the admission alone in my opinion.