Movie Reviews
‘Art Spiegelman: Disaster Is My Muse’ Review: The ‘Maus’ Author Tells His Story Again in an Engaging but Too-Familiar New Doc
In Molly Bernstein and Philip Dolin’s new documentary Art Spiegelman: Disaster Is My Muse, Robert Crumb is the man who came to dinner.
In one of the film’s central scenes, Crumb and his late wife Aline Kominsky-Crumb join longtime friends Art Spiegelman and his wife Françoise Mouly to break bread and discuss their respective connections as titans of the ’70s and ’80s underground comic movement. For purposes of this scene, Crumb is just a friendly and reflective old guy, a normal person having a normal dinner with his normal, if culturally significant, pals.
Art Spiegelman: Disaster Is My Muse
The Bottom Line A dry portrait struggles to mine fresh depths.
Venue: DOC NYC (Metropolis Competition)
Directors: Molly Bernstein, Philip Dolin
1 hour 40 minutes
Crumb’s ease in this scene is disarming because while here he’s simply a peer and a colleague, he’s something much more significant in a broader cinematic context. Terry Zwigoff’s Crumb casts an impossibly long shadow over any nonfiction film about artists, comic or otherwise, but really over any biographical documentary of any kind. But while that movie was a delightfully weird synergy of filmmaker and subject, in Disaster Is My Muse, Robert Crumb is just amiably dull — which turns out to be appropriate.
Premiering at DOC NYC ahead of an eventual PBS launch under the American Masters banner, Art Spiegelman: Disaster Is My Muse is too often an amiably dull, or at least dry, documentary. It’s portrait of a man whose greatest artistic achievement (Maus) was an autobiographical graphic novel, who spent decades immersed in producing that achievement and then discussing it in the media, who followed up the achievement up with another book explaining it (MetaMaus) and who has, owing to unfortunate real-world circumstances, had to keep discussing the achievement, because it keeps becoming more and more relevant.
Put a different way, Art Spiegelman is a remarkable artistic figure, for things associated with Maus and much more. But he’s also a figure who has spent decades talking about himself and about Maus and conveys that impression on-camera here. He’s never hostile — it’s a documentary celebrating his life, after all, nobody’s forcing him to do it — and if you don’t know anything about Art Spiegelman, he’s well-worth learning about. Still, this is a man who has been talking about why he chose to depict Jews as mice in an comic about the Holocaust since the late ’70s, and he doesn’t have the type of personality that allows him to pretend that he hasn’t.
The focus of Disaster Is My Muse is, appropriately, the role that tragedy has played in fueling Spiegelman’s creative process. His parents were Holocaust survivors, and his younger brother died in Europe before he was born. His mother died by suicide when he was in college. In addition to two volumes and the companion book on Maus, he wrote In the Shadow of No Towers, about the Sept. 11 terrorist attacks. He’s not a morose man, which should already be clear to anybody who knows that he was inspired by Mad magazine and that another of his key co-creations was, of all things, Garbage Pail Kids.
The creation of the latter is not featured extensively in Disaster Is My Muse, though it is acknowledged in passing, and it’s not like it needs to be. But as important as it is for Spiegelman to talk about his relationship with his parents and his process on Maus, the documentary is better when he gives the impression of addressing topics that are either less rote or less emotionally taxing in their repetition.
He and Mouly are great discussing their relationship and the different publishing endeavors they’ve collaborated on, from independent comics to their work through The New Yorker. The introduction of daughter Nadja, who helped inspire his 9/11 book, helps push Spiegelman’s stories into a fresher context.
It’s just hard for anything said about Maus to sound new. Literary scholar Hillary Chute gives great panel-by-panel breakdowns of several key moments from the work, but when she says that her contributions to MetaMaus came as part of two years of interviews with Spiegelman, it’s another way of saying, “You’re not getting anything previously unrevealed out of me.” It’s all interesting and all just a bit calcified.
Even when the conversation is brought to the “current” moment, Disaster Is My Muse feels just a little out of step. Donald Trump’s election and first presidential administration forced Spiegelman to resume talking about Maus in the context of anti-fascism, and right wing pushes to ban a number of books in the early ’20s pushed him back into the spotlight as an anti-censorship crusader. So theoretically, Spiegelman and Maus and these topics are even more relevant today, but the interviews all seem to have been conducted a year or two ago. I get that filmmakers can’t hold their project until the subject stops being relevant for new reasons, but there’s a news cycle and this film lags behind it.
You can spot the virtual timestamp on the documentary from the presence Aline Kominsky-Crumb, who passed away in 2022. More than that, you can glean it from the presence of Neil Gaiman as one of its featured talking heads. Having Gaiman to examine panels from the original incarnation of Maus as a three-page strip in a magazine called Funny Aminals [sic] must have seemed like a big “get” at the time, but with the author currently out of the spotlight after accusations of sexual assault, it’s a needless distraction.
With peers like Crumb, Bill Griffith, the film critic J. Hoberman and more, Disaster Is My Muse doesn’t lack for less distracting people capable of breaking down Spiegelman’s importance and his influence in the legitimizing of his chosen medium. A closing montage of current comic/graphic novelists signing books for Spiegelman feels like it could have been something more significant and more immediate.
The documentary is generally engaging, and putting Spiegelman in a spotlight will always be worthwhile. But Disaster Is My Muse is in the shadow of Crumb, in the shadow of Maus and just a little bit behind the times, in various disappointing ways.
MOVIE REVIEWS: “The Heretic” and others
Published 10:00 am Saturday, November 16, 2024
- Adann Kennn J. Alexxandar
“The Heretic”
(Psychological Thriller: 1 hour, 50 minutes)
Starring: Hugh Grant, Sophie Thatcher and Chloe East
Directors: Scott Beck and Bryan Woods
Rated: R (Bloody violence)
Movie Review:
Hugh Grant is a tour de force. His performance alone is a reason to watch this psychological thriller. His well-done, uncanny performance is powerful. He is charming as his character Mr. Reed.
Mr. Reed has stressed an interest in faith, so Sister Barnes and Sister Paxton arrive at his door to discuss their faith as Christians. Mr. Reed invites the missionaries in and tells them his wife is baking a blueberry pie. He pours the young women drinks and Barnes and Paxton begin discussing their branch of Christianity as members of The Church of Jesus Christ of Latter-day Saints. Their talk of theology quicks into something more deviously diabolical as they gradually become aware of Mr. Reed’s intentions.
Scott Beck and Bryan Woods are the directors and writers of this psychological thriller. It may be sacrilegious for some conservative people of faith to find this movie welcoming, but those who like movies that play with the mind should find this a philosophical treat.
Sophie Thatcher (Showtime’s “Yellowjackets”) and Chloe East (“The Fabelmans,” 2022) exude a certain sense of vulnerability as young religious women. They are clever but fit the roles of readymade victims.
However, the best reason to see this movie is Hugh Grant. He offers a superior portrayal of a creepy man concerned about the “one true religion” as he terms it. He plays Mr. Reed with an energetic zeal unmatched.
Grade: B (Even heretics can believe in this intelligent photoplay.)
“The Best Christmas Pageant Ever”
(Comedy/Drama: 1 hour, 39 minutes)
Starring: Judy Greer, Molly Belle Wright, Sebastian Billingsley-Rodriguez and Pete Holmes
Director: Dallas Jenkins
Rated: PG (Thematic material, violence and underage smoking)
Movie Review:
The holiday movie is officially here with “The Best Christmas Pageant Ever.” It is an adaptation of the book by Barbara Robinson and a remake of the 1983 television movie that starred “M*A*S*H” alum Loretta Swit. This latest version is a surprise that easily wins one over. It offers comedy and endearing characters.
The Emmanuel Annual’s Christmas pageant is without a director after an accident. Grace Bradley, played by a likable Greer, agrees to direct the pageant that is getting plenty of local attention as it is the event’s 75th anniversary. Grace’s task should be an easy one, but that changes quickly. Enter The Herdmans, six very unruly children led by older sister Imogene (Beatrice Schneider). The Herdmans take over the leading roles to the chagrin of the church’s congregation.
The movie shines because of a good cast. Judy Greer’s performance easily obtains favorability. Directing children in a pageant or similar event is not an easy task, especially with disgruntled parents and six misbehaving kids. Greer’s portrayal of Grace’s uneasiness in her job is formidable. Greer inspires one to cheer for her cause.
The children are also enjoyable to watch. Beatrice Schneider, Molly Belle Wright, Sebastian Billingsley-Rodriguezand and Lorelei Olivia Mote are engaging and provide plenty of amusing moments.
Dallas Jenkins (“The Chosen”) directs this cheerful Christmas movie. The story jumps through time haphazardly occasionally, but the movie remains enjoyable throughout its runtime. If one is searching for a good family movie this holiday season, “The Best Christmas Pageant Ever” is a good reason to leave the house before the holiday shopping begins.
Grade: B (A good pageant.)
“Anora”
(Comedy/Drama: 2 hours, 19 minutes)
Starring: Mikey Madison, Mark Eydelshteyn, Yura Borisov, Vache Tovmasyan and Karren Karagulian
Director: Sean Baker
Rated: R (Strong sexual content throughout, graphic nudity, pervasive language, violence and drug use.)
Movie Review:
Sean Baker’s Palme d’Or winner “Anora” is an entertaining adult drama with plenty of comical moments to keep it fascinating. Mature audiences that appreciate movies as pure entertainment should find “Anora” a welcomed sensation.
The movie follows Anora (Madison), a sex worker who goes by Ani, and Ivan Zakharov (Eydelshteyn) whose nickname is Vanya and is the son of a Russian oligarch. They both present strong extroverted personalities while having introverted, compromised egos. The two meet at Anora’s job, a strip joint in New York City. The two begin a hypersexualized whirlwind affair that lasts roughly a week. During that time, Ivan proposes to Anora. All is well until Ivan’s parents send Ivan’s godfather Toros (Karagulian) and henchmen Igor (Borisov) and Garnick (Tovmasyan) to ascertain exactly who Ivan impulsively married.
From there, this movie becomes one of adventure and comical moments. Anora, Toros, Igor and Garnick search New York City trying to find an inebriated young Ivan whose parents Nikolai and a domineering Galina Zakharov (Aleksey Serebryakov and Darya Ekamasova, respectively) want the marriage annulled immediately.
“Anora,” among the cursing and gratuitous sex scenes, is an enjoyable movie. One truly gets to know Ani and Ivan through their sexual encounters, their drug and alcohol use, and the people they associate with daily.
Mikey Madison and Mark Eydelshteyn play these characters well. Despite their childish whims and immoral and unhealthy lifestyles, this story makes them endearing personas. It is easy to see why people want to party with them. Madison (“Once Upon a Time in Hollywood”) is especially keen as Anora, aka Ani.
They are joined by Karagulian, Borisov and Tovmasyan. They are a modern-day Three Stooges, providing plenty of humorous material.
These people are far from being saints, but they offer an exciting screenplay. Anora is good entertainment for mature audiences. It is funny and engaging throughout, even when moments appear forced or over-exaggerated.
Director-writer Sean Baker is a skilled moviemaker. He is responsible for “The Florida Project” (2017), “Red Rocket” (2021) and “Tangerine” (2015) that is similar to “Anora.” His movies are impressive.
“Anora” enhances his cinematic resume once more. It is splendid, energetic entertainment.
Grade: B+ (She dazzles like a shining star.)
“Weekend in Taipei”
(Action/Thriller: 1 hour, 40 minutes)
Starring: Luke Evans, Lun-Mei Gwei, Sung Kang
Director: George Huang
Rated: R (Violence and language)
Movie Review:
A “Weekend in Taipei” is a formulaic action flick directed by George Huang who cowrote this screenplay with Luc Besson. Think of this action flick as a weak “Fast and the Furious” type movie. It is good on the action while delivering thinly veiled characters and a shabby plot. If this movie is to cement Luke Evans, an otherwise capable actor, as a new action star, it fails miserably.
Evans plays DEA agent John Lawlor travels to Taipei during a weekend vacation and reconnects with an old flame, Joey Kwangwho (Gwei). She is now the wife of a notorious crime lord and billionaire shipping magnate Kwang (Kang). Joey and her son Raymond (Wyatt Yang) are soon reunited with Lawlor as they try to survive Kwang’s henchmen horde.
Action is all you get with this movie. The main characters are underdeveloped. The narrative needs help similarly. Wyatt Yang, a kid actor, offers better lines, which is not good since he is a secondary player.
The movie also tries to insert a romance substory. The chemistry between Lawlor and Joey is ineffective. This is no love on the weekend.
Grade: D+ (Reserve your weekend for something else.)
“Elevation”
(Action/Science-Fiction/Thriller: 1 hour, 31 minutes)
Starring: Anthony Mackie, Morena Baccarin and Maddie Hasson
Director: George Nolfi
Rated: R (Violence, peril/scary scenes, strong language, sexual references)
Movie Review:
Elevation is a science fiction thriller that has an asinine plot. The more the characters explain what is happening, including what the monsters are, the more irrelevant the plot becomes.
All humans now live above 8,000 feet in mostly mountainous areas. Any person below that altitude is hunted by these giant cockroach beings. Single father Will (Mackie) needs more medication for a medical condition for which his son Hunter (Danny Boyd Jr) suffers. Will decides to go below 8,000 feet.. He sets out to retrieve needed items from a nearby deserted hospital. A former Cal Tech research scientist Nina (Baccarin) and a courageous Katie (Hasson) decide to accompany him on this dangerous quest.
A trivial mix of “War of the Worlds” (2005) and “A Quiet Place” movies that started in 2018, “Elevation” is nonsensical science fiction. Such pseudo-science material robs it of being convincing.
George Nolfi and Anthony Mackie last worked together in biographical drama “The Banker” (2020) and previously in 2011’s “The Adjustment Bureau” (2011). “Elevation” is a lesser production for the two men. The sci-fi feature is something you would waste time with on the Syfy channel. But to watch that channel, you do not have to leave your home.
Grade: C- (This post-apocalyptic does not reach epic heights.)
“Overlord: The Sacred Kingdom”
(Anime/Action/Fantasy: 2 hours, 15 minutes)
Starring: Satoshi Hino, Yumi Hara, Masayuki Katô
Director: Naoyuki Itô
Rated: R (Bloody violence and language)
Movie Review:
“Overlord” is another anime movie based on a television series. Therefore, it is mainly for the fans who follow it on the tele. Like too many other anime movies, this one consists mostly of characters talking and then fighting and talking then fighting, a repetitive process.
This movie follows several characters attempting to save their kingdom by joining forces with the Sorcerer King Ains Ooal Gown. Together, the group is formidable, but their demi-human enemies are as relentless as their leader, the Demon Emperor Jaldabaoth.
“Overlord” has a complex plot and interesting multiple characters, yet they are placed in a lackluster narrative as if a lengthy nighttime soap opera. Plus, it ends with a cliffhanger. When watching anime, one wants to yell, “just shut up and fight already.”
Grade: C (Over it.)
“Small Things Like These”
(Drama: 1 hour, 38 minutes)
Starring: Cillian Murphy, Eileen Walsh and Emily Watson
Director: Tim Mielants
Rated: PG-13 (Thematic material)
Movie Review:
This historical fiction drama is a very quiet drama based on Claire Keegan’s 2021 novel. It is a visual experience. It resides on silent moments rather than the vocalizations of the cast. What is seen between the words are powerful moments to facilitate the narrative as much as words.
At the core of this movie, Cillian Murphy portrays devoted father Bill Furlong, a coal merchant in a 1985’s New Ross, Ireland. Seeing a young woman being forced into a Catholic convent because she is pregnant causes Furlong to have traumatic memories of his mother’s death. His sentiment towards a young lady he later encounters at the convent drives him to upend community norms to reveal a disturbing secret.
Historical fiction is a story that takes place with a background of particular historical events. “Small Things Like These” is comparable to “Philomena” (2013), which was based on an actual story. Both are about the Magdalene laundries of the 1800s and 1900s. Both are captivating, but “Philomena” is more emotively gratifying than “Small Things.”
Audiences may remember Murphy for his Academy Award-winning performance as the title character in Christopher Nolan’s “Oppenheimer” 2023. Murphy has always been an exceptional actor no matter what role. He continues that here in in “Small Things.” Even with little words in multiple scenes, he manages to exhibit a world of emotion and angst.
Tim Mielants (“Wil,” 2023), this drama thrives on Murphy’s talents, but the screenplay is a little dull, despite some key well done aspects. Again, this is a visual movie first that rests primarily on Murphy’s usual sound performance. For those liking a slow-moving drama, “Small Things Like These” is the perfect afternoon movie.
Grade: B- (The small things add up to make something bigger, eventually.)
The story revolves around Suriya’s character, a cursed warrior with a tragic fate. Suriya delivers an intense performance, but he alone cannot save the film with its predictable and masala-driven plot.
On paper, Ghost Cat Anzu would seem to be this year’s most family-friendly offering at the annual Scotland Loves Anime Film Festival, now in its 15th year. Compared to most other films, the audience was certainly composed of a higher proportion of families with children. Perhaps they weren’t expecting such a deeply strange movie, with a first half structured of loosely associated, scatalogically humorous skits and a second, more action-packed half descending into a chaotic exploration of Buddhist Hell, complete with violent comedy torture demons and deeply unsettling afterlife implications for at least one central character. We go from funny cat man licking his balls to “Needle Mountain Hell” and “Great Screaming Hell” within a matter of minutes.
Ghost Cat Anzu is bonkers, and I love it for that.
© いましろたかし・講談社／化け猫あんずちゃん製作委員会
It’s not only the unhinged plot that sets Ghost Cat Anzu apart. For one, it’s a French-Japanese co-production and an adaptation of a relatively obscure single-volume 17-year-old manga (though a sequel began serialization earlier this year). Screenwriter Shinji Imaoka is best known for his work on several sexually explicit “pink films,” a brave choice for a “family” movie. Unusually, Ghost Cat Anzu has two directors because, in The Case of Hana and Alice-style, the film was first shot with one director entirely in live-action, then digitally painted over under the aegis of an animation director. I’d hesitate to call the animation style pure rotoscoping, however – while the characters do move in a more naturalistic fashion than in much other anime, it’s not distracting or deliberately provocative like Flowers of Evil, which reveled in its naturalistic ugliness. Here, the live-action performances are transformed not into something uncanny or disconcerting, but human and relatable, even fantastical.
Take Karin – she’s a brat. Manipulative and conniving, she’s not a “nice” kid, but then life hasn’t been “nice” to her. We quickly learn that she changes her demeanor depending on the audience. With her father, she’s rude and condescending, referring to him only by his given name and with no honorifics. Around other adults, such as her grandad, she’s all wide eyes and broad smiles as she pretends to be a “good girl.” It’s funny and a little sad how she uses the blushing village boys to pursue her vindictive agendas. The animation style captures every nuance of her body language, adding to our understanding of her conflicted, complex character. Her facial expressions, in particular, are hilarious. It’s unusual for a child in this animation genre to be so thoroughly fleshed out – she’s an excellent example of a character who acts hatefully but remains empathetic for the audience.
Despite being a supernaturally-sized immortal “ghost cat” (a translation of the Japanese term “bakeneko”), Anzu himself acts more like a slightly weird, single, 37-year-old uncle with a penchant for Hawaiian shirts and farting loudly in public. His facial expression rarely changes – huge wide eyes that are difficult to read, emoting mainly by the liberal use of oddly-floating sweatdrops. He’s hilariously flawed, getting pulled over by the police for riding a motorbike unlicensed and losing Karin’s money at pachinko. At times, he’s the unfair target of Karin’s resentment, but as part of her family, he loves and looks out for her, making sacrifices and suffering for her wellbeing. He’s a good kitty, really.
Anzu’s not the only strange creature. In this version of rural Japan, the supernatural is but another aspect of everyday life – hence, when we meet various yokai, they’re engaged in normal human activities, and no one bats an eyelid. Of course, a tanuki can work as a golf caddy, and obviously, a human-sized frog digs enormous holes and runs his own private hot spring pool. There’s a gaggle of cute little spherical tree sprite birdie thingies that stepped straight out of a Miyazaki movie and a really weird-looking mushroom guy that adds to the extremely colorful supporting cast.
© いましろたかし・講談社／化け猫あんずちゃん製作委員会
While Anzu’s daft antics raised a great deal of laughter from among the festival audience, it’s a slowly-paced film with strange comedic timing, where it takes a long time for anything to happen. That’s not necessarily a criticism; many writers and directors have made entire careers producing slice-of-life anime celebrating the pleasures of a slow life. So it’s unexpected that Ghost Cat Anzu goes to such exotic – and disturbing – places in its second half – switching up bucolic country existence first for urban Tokyo and then for the various levels of Buddhist Hell, here depicted as an upmarket hotel populated by Chinese-style demons and the souls of the dead. Comparisons with Keiichi Hara‘s Colorful spring to mind, with newly-deceased humans queueing up to receive details of their souls’ fate from businesslike attendants.
I don’t want to spoil the details of why the characters end up in hell or what they do there, but the film culminates in a truly demented car chase involving a minibus full of demons, Anzu demonstrating his most dangerous motorcycling skills, and an insanely-animated yokai-driven sports car sequence. It’s all so silly, and while wonderfully fun for adults, there’s a tonally discomforting element of quite brutal violence, played apparently for laughs. It may be too much for younger kids, and the ultimate outcome of these events may lead to challenging conversations with questioning children about Eastern concepts of the afterlife that may require entering a Wikipedia Death Spiral for parents.
© いましろたかし・講談社／化け猫あんずちゃん製作委員会
At its core, Ghost Cat Anzu is a film about a young girl struggling with the scars that death has inflicted on her life, lashing out in anger and resentment at those around her, bargaining in an attempt to change her situation, and finding a way to gain acceptance. Indeed, there’s some denial mixed up in there somewhere, too. Ghost Cat Anzu‘s ending will spark disagreements among viewers, as many aspects are left ambiguous, even though the central conflicts are satisfyingly resolved. It’s absolutely not the sort of animated film you’d expect to see from a Western studio.
Even if you’re not a fan of rotoscoped animation, don’t let that put you off Ghost Cat Anzu. It’s a deeply strange but entertaining film that, although it seems to start as a silly comedy, proves to be profoundly emotionally intelligent and interesting. Karin makes for a compelling and conflicted lead, ably supported by her charismatic and weird cat-uncle. Recommended for fans of Japanese folklore, “difficult” girls, and fart jokes. Nya-ha-ha-ha!
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