I can not believe the words I'm about to type - and no doubt you will have a hard time believing them. After all, what I'm about to write flies above all movie lovers have come to believe during the last half decade or so. It is assumed that the capsule is a filmmaker Uwe good. In fact, most people in the film community think he is the worst (although I still claim that this dubious honor belongs to Aaron Seltzer and Jason Friedberg, devoid of talent maniacs behind almost everything that contains "the movie "in the title). Long time readers will recall that just two years ago I was yelled at in public by the capsule Herr, and I never have liked or enjoyed any of his films, save that: On behalf of the King - and this only for love is irredeemably terrible. I almost wet myself laughing so hard about it. But I would never - even in my most drunken state - say it is good anyway.
But that is exactly what I have to say about the last film of the capsule Uwe. Okay. Very good.
Clutter is the Capsule explosive entry on the scene Uwe moviemaking as a filmmaker true, honest to God. He adapts a property, he is not spoofing anything. Uwe has something to say, something to which this has been mildly hinted to their previous works, but only really, is frankly presented for the first time. This is a film about violence in America, on apocalyptic conspiracy nuts prepare for the end of days on the gluttony of the American mindset. The capsule Uwe has taken their views of American culture and has boiled down in a dangerous film, gutsy, shameless.
Bill is a college that burnout gorronea loneliest guy away from their parents and slowly becomes sick of everything around him. His parents want him to move, his best (and apparently only) friend is a wacko, and he can not catch a break in his blue collar work. Life sucks. And in a slow burn rise when we look a bit Bill is pushed too far, puts on a suit of body armor, and slowly, methodically cleared whole swaths of people in her small suburban town. On the 30th minute signals out guns and what follows is brutal, bloody, medium, and completely hold. The capsule really pulls all the stops when he cleverly worked into a very deliberate end it all just marking time to the right about never left us tired and becomes accustomed to the killing. He takes many breaks to hold your breath and leave the theater before returning to place the task of blood-soaked hand. And when the dust clears and all is said and done, the capsule has delivered a hell of an edge "thrill ride of your seat" committed by an anti-hero you hate both depth and kind of admire the same time.
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The uproar is not a pleasant film, nor is it for film viewer garden variety. It's awful, click deliberately exposed nerves, and is quite critical of American values and our love of violence. While the film is not overtly anti-American, is not difficult to peel the layers to see the harsh criticism of our lifestyle. Occasionally funny, and often razor sharp in its observations, the noise is a radical departure from the work we have become accustomed to and finally we have not ignored during the past few years (the time capsule and released five films directed for two Postcards years, with two in post production. Ever heard of them?)
This is not to say that the film is not without its flaws. There are some bits of dialogue between Bill and his mother in which the mother as she improvises sounds bad - score with ahhhhs speech and stammering ummmms someone to find the right words. The film also presents a final title card which is more than a little silly and should be removed before release. This class only undoes much of what Uwe worked to build, yet not so bad that it ruins the minutes 90 and therefore did not come before it, it's just a little spoon feeding unnecessary in a film and a lot smarter than we expect from the capsule.
I can not tell you what it was. Was Uwe spoofing us all along, secretly hating violence empty stupid video games and offering a kind of parody that he thought fans would enjoy spirited video anyway? "She looked him frankly American films and thought he was doing what we really wanted? Or was he really just gaming the system when some have speculated, playing a real life version of Producers with German tax breaks ( "that no longer exist)? I do not know. What I know is that Uwe is not stupid, and he's not an incompetent filmmaker. He has made a solid, memorable, and well worth looking for.
