Now With More Than 3000 Reviews! Go Nuts - Read 'Em All!!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; over 2500 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' of your choice in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGGER Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to MAKSQUIBS@yahoo.com . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Wednesday, April 17, 2013

HOME (2008)

A nuclear family of five lives an off-beat, but contented life in their home next to a major highway that never opened. For years, the paved expanse was just a big, long playground and the safety rail an eccentric border to be crossed each morning. The ghost road defined them as much as dad’s blue collar job, mom’s laundry chores, the elder daughter’s tanning routine, a younger daughter’s science experiments and Junior’s wolf cub naturalism. But when trucks appear one morn, tarring the road surface & painting car lanes, the family idyll is over, displaced by an endless rush of traffic, noise pollution & soot. This first feature from Ursula Meier seems a perfect set-up for slapstick gags loaded with cultural implications & philosophic musings behind every laugh, something for Jacques Tati or a modern Laurel & Hardy to play at.* No such luck, instead we’ve landed in deep-dish Euro-fest territory where everything serious gets spelled out for us . . . and for the finance committees that approve film funding. Isabelle Huppert & Oliver Gourmet give terribly fussy perfs as the parents while the three kids spend too much time stripping off their clothes & putting on psychic traumas. Surely that’s got things the wrong way ‘round.

WATCH THIS, NOT THAT: *Try Buster Keaton’s astonishing first two-reel release, ONE WEEK/’22, or Harold Lloyd’s tri-part feature HOT WATER/24 to see how a couple of comic geniuses play with these formal elements. Or, as noted above, Tati’s slightly poky, deceptively savage, TRAFFIC/’71.

No comments: