Beloit International Film Festival: “End of Fall” serves up revenge down on the farm


“End of Fall” has its Wisconsin premiere at 7:30 p.m. Saturday at the Beloit International Film Festival, with an encore showing at 2:30 p.m. Sunday. For more information on the festival, which runs through March 5, visit

Something wicked is happening out in those Wisconsin woods. In addition to the finely wrought revenge drama “Uncle John,” shot near Lodi, comes the rural noir “End of Fall,” shot near Lake Geneva. Both films eschew big plot twists or excessive violence for an almost meditative look at crimes and punishments.

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“Cameraperson”: Looking at the world through a lens, and the world looks back


Included on the Criterion Collection edition of Kirsten Johnson’s documentary “Cameraperson” is a 2015 short film she made from her time in Afghanistan, “The Above.” The documentary profiles not a person but a thing — a whale-sized surveillance balloon that the U.S. military put into the air over Kabul for reasons that remain classified.

In shot after shot, we see Afghan residents going about their daily lives, all with this big white blimp hanging in the background, watching. The balloon is meant to be inobtrusive, but once you notice it, you can’t unnotice it, and knowing it’s there over your shoulder must color everything done by the watched. It could be the eye of God — or the lens of a cameraperson.

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Instant Gratification: “Big Eyes” and four other good movies new to streaming


“Big Eyes” (Netflix) — Tim Burton took a break from making Tim Burton Movies last year with the refreshing drama “Big Eyes,” the biopic of ’60s kitsch artist Walter Keane (Christoph Waltz) and his wife, Margaret (Amy Adams), who really did all the paintings while her abusive husband took all the credit. Likely that Burton was initially attracted to the ironic appeal of the saucer-eyed Keane portraits, but he, perhaps by accident, ended up making an affecting film about an ignored and overlooked woman who finally finds her strength.

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“The Asphalt Jungle”: The best laid plans of some very tough men go awry


John Huston’s “The Asphalt Jungle” was one of the first great heist films, paving the way for “Rififi,” “Bob Le Flambeur” and later “Ocean’s 11” and a ton more.

But those viewers used to the fun of a heist movie will be surprised by how melancholy “The Asphalt Jungle,” now out in a new Blu-ray from the Criterion Collection, Consider the end of Steven Soderbergh’s “11” remake, where Danny Ocean and his 10 confederates take a moment in front of the fountains at the Bellagio, “Clare de Lune” playing, to wordlessly celebrate a job well done before they smile and part ways.

In “Jungle,” there is no such moment of victory. Each of the conspirators play out their own string separately, ending in quiet failure, alone, the world largely indifferent.

Set in an unnamed Midwestern city (it was filmed in Cincinnati), the caper to steal over a million dollars in jewels is masterminded by Doc (Sam Jaffe), an avuncular German just out of prison. He gets wealthy lawyer Emmerich (Louis Calhern) to agree to fund the robbery and fence the jewels afterwards. The team includes a getaway driver (James Whitmore), a safecracker (Anthony Caruso) and some muscle in the form of Dix (Sterling Hayden), a snarling ex-country boy who hopes to buy his family’s horse farm back with the proceeds.

But what we know even before the heist begins, but the players don’t, is that Emmerich is deep in debt and plans to double cross the team after the heist is over. That foreknowledge adds an air of fatalism to the movie’s crisp 11-minute heist sequence, in which the criminals meticulously and flawlessly steal the jewels. Well, almost meticulously — the safecracker is accidentally gutshot during a skirmish with a policeman.

That one mishap ends up spelling doom for the entire team, and the real tension in “The Asphalt Jungle” is watching how, one by one, they fail. Each man’s fate is like it’s own mordant little short story.  Emmerich is found out by the police and ends up taking his own life, but not before writing a tender suicide note to his wife — and then tearing it to bits. A bleeding Dix makes it back to the horse farm, and dies in the pasture, the horses idly sniffing at his corpse.

And, in the ending that haunts me the most, Doc very nearly gets away when he inexplicably gets distracted by a teenage girl dancing in a roadhouse, giving the cops the precious few minutes they need to catch up with him. In the end, law enforcement seems to play a very minor role in the film and in the criminals’ capture — what gets them in the end is their own human nature, the weaknesses and obsessions they can’t get away scot-free from.

The Criterion Collection Blu-ray looks exceptional, capturing how Huston and cinematographer Harold Rosson mix empty, expressionistic long shots of the city with tight, claustrophobic shots of the conspirators in small rooms, their faces often looming into the foreground. The Criterion disc also includes a lengthy inteview with film noir historian Eddie Muller and a commentary track from historian Drew Casper, along with archival interviews with Huston.

In the end, what’s so striking about “The Asphalt Jungle” isn’t the clockwork heist at its center, but the tenderness with which the film treats these tough, doomed men. After all, as Emmerich says ruefully, “Crime is only a left-handed form of human endeavor.”