Three Films Make A Post: This is the moment when 32 lives are laid bare!!!

Frank & Lola (2016): Matthew Ross’s sort of psychological thriller (in the way certain Chabrol thrillers position themselves to the genre) is a rather frustrating film in so far as the film nearly comes together as something very special but instead ends up as a demonstration of talent that doesn’t quite take on the shape of a successful film. Certainly, Ross has visual style yet also – not always a given for stylish directors – trusts his actors to do their work, getting fine performances out of Michael Shannon and Imogen Poots, and then applying his powers of pizazz to enhance them. Yet still, the film never quite comes together as the psychosexual noir love story it is selling itself as, never quite making its characters coherent enough to work. The film makes a habit out of leaving just the wrong things ambiguous, emphasizing just the wrong moments; it’s like an instrument that’s always just a little bit out of tune.

Sweet Virginia (2017): Turning this into an inadvertent double feature, Poots also features in Jamie M. Dagg’s rural neo noir about murder plans gone wrong, love hidden, and friendship betrayed that among other things teaches us that you probably should not hire a random crazy fuck-up to murder your husband, nor do so before you are actually sure there’s any money to pay the guy. While Poots’s husband murdering ways are getting the film’s plot going, it actually concentrates on Christopher Abbott as Elwood, the guy she hired to do the deed, and Jon Bernthal as former rodeo rider turned broken (with so much rage and violence locked away) motel owner Sam Rossi. There’s not much here anybody looking for an original plot will find interesting, but that’s really not the point here; rather, this is a film interested in exploring its characters together with its audience, turning the rote clichés they could be into people, and then telling its dark story about betrayals and violence in an off-handed manner that never quite hides how dark some of the undercurrents here are. That much of what happens is obvious and feels inevitable isn’t a flaw but part of the film’s point.


La peau blanche aka White Skin (2004): This French Canadian arthouse (in the slow French style) horror film directed by Daniel Roby about two students encountering what you can read as female vampires, succubi, or cannibals is a bit of a mess. At times it seems to want to explore the meaning of Blackness in French Canada, 2004, while keeping its main black character in a supporting role; at other times, it seems to try to explore the idea of obsessional love, and the terrors and joys of the love of family; there may also be something about the morals of cannibalism in it. However, while Roby’s direction is generally artful, he never actually decides what exactly it is he is talking about, going off in different directions for little reason and never really arriving anywhere concrete, resulting in a feeling of insubstantiality that fits a film that acts so cerebral rather badly.

Things I Liked About Zack Snyder's Man of Steel (2013)

• The film does a not unsuccessful job at working on the great problem with Superman as a hero, namely that actual heroism needs the hero to do heroic things despite of his flaws and fears and failings; being a hero is hard. Usually, Superman is just too perfect for that, and you need to invent a magical element to get him to even break a sweat. Snyder's way here is a bit more organic and human, while still keeping the demigod-like status of the character as much as possible without going the Miracleman route.
  
• On the other hand, the film doesn't make the mistake of turning the character all grim and gritty. Despite a higher body count (not caused by our hero), this guy is not a killer at heart, nor is there anything cynical about him, which even a declared Superman-sceptic like me sees as important for getting the character right.
  
• It's also pretty important to the way the film sees Superman's heroism that it spends time with non-superpowered people doing their parts in saving the world, or "just" saving each other. In fact, the film's most heroic deed in a human understanding of the word falls to Laurence Fishburne's Perry White, doing something that hasn't anything at all to do with saving the world but a lot with all the good parts of being human.
  
• Despite giving her still way too little to do, Snyder does deliver one of the better Lois Lanes. Why, you can even believe she's a competent reporter and a human being beyond being a professional love interest. It does help that Amy Adams is pretty awesome.
  
• When it comes to the carnage, Snyder is often very good at giving the impression of the sheer physical impact of the Kryptonians on Earth, taking his cues on how to show the destruction of the film's final half hour from giant monster movies more than other superhero films, it seems to me.
  
• While the film's plotting is a bit hit and miss (Pa Kent and the dog come to mind with the misses, for example), it does hang well together philosophically with a connection between characters and theme that feels organic instead of forced or random. Of course, this lacks the sheer ambition, confusion and ambiguity of Christopher Nolan's final Batman film but these things would probably not be Superman-like anyhow.
  

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