Growing up, I was all about peace and love, man, not beating a piano to death with a hammer in the name of performance art. (As a filmmaker, the man knew his soup.) Thankfully, my job is to review artistic execution, not subject matter. (Bandmate John Cales’ secret was his participation in an 18 hour 40 minute piano performance of Erik Satie’s “Vexations.”) Even before the lights dimmed, a conflict of interest loomed: I have a hypersensitivity to the band and one of it’s early backers, Andy Warhol. ★Ĭonsidering the amount of nonconforming nihilism and punk prophecy inextricably linked to the band, the last place one expected Todd Haynes’ ( Velvet Goldmine, Far From Heaven) account to begin was with a clip from the unquestionably aboveground game show, I’ve Got a Secret. The CG effects may be more convincing than Tidal Wave - no paper clips were used to sustain the miniature town - and the scope more localized than the threat of world-wide calamity often associated with the genre, but when it comes to plotting and character development, this is strictly Irwin Allen. A running flashback details an accidental drowning that leaves the son with a mile-wide guilt streak (and audiences praying for someone to toss them a lifeline). Writer-director Jun Li sparks an unfortunate “love me daddy” dynamic between father (Huang Zhi-zhong) and son (Zhu Yilong) spelunkers. It’s at this point that the hubbub subsides long enough for the formation of a subterranean soap opera. Dad’s rescue attempt results in a packed tour bus crashing to the bottom of the earth - with him in it. Gritted teeth, stoic exchanges, and one dopier action scene after another combine to provide a regular stream of adventitious chortles. Cliffhangers, rock climbers, stowaways, pointless time-stamps designed to add a hint of docudrama. What separates Cloudy Mountain from Hollywood disaster films of yore? Not much. The potential of crumbling limestone landscapes poses a geological threat to the mountainous region of an age-old Chinese town - and the high speed railroad that runs through it. Ryûsuke Hamaguchi ( Wheel of Fortune and Fantasy) takes us on an unnecessarily long ride that is ultimately a journey worth taking. Add to that the appearance of Kôji’s headshot in the stack of audition forms, and an unexpected bonding with Misaki. (If they go to the expense of hiring a driver, why not supply a car as well?) A master at mounting multilingual productions, Yûsuke can’t find the words needed to make sense of his own life.
#The velvet underground dvd driver
But a fatal accident involving another visiting dignitary adds a contractual provision for the services of driver Misaki Watari (Tôko Miura) that is non-negotiable. He still listens to Oto’s tape, and would prefer to drive himself. There are scars in life that refuse to heal. Two years after a cerebral hemorrhage takes Oto’s life, Yûsuke accepts an Artist-in-Residence position to direct Chekhov’s tragedy-tinged comedy. One day, he furtively happens upon Oto making love to her young protege Kôji (Masaki Okada) and says nothing. She is always with him while driving, he runs lines off a tape of Uncle Vanya that she recorded for him. In the shadows of their bedroom, a Japanese power couple - actor-director Yûsuke Kafuku (Hidetoshi Nishijima) and screenwriter Oto Kafuku (Reika Kirishima) - take advantage of their post-coital glow to hatch an idea for a T.V. Coming soon to a blu-ray or streaming service near you. This week’s trio skipped town before I could get around to covering them. Drive My Car: When two hands smoke as one.
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