New Reviews: Catfish & Buried

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This has been a particularly strong year for documentaries. I'll admit that I've only seen one, but Exit Through the Gift Shop is still currently my favorite film of the year, so it's a pretty fine generalization on how well the year has been. There is also another trend this year with some documentaries, including Exit, that have been trying to blur the line between fact and fabrication. It's an interesting exploration that I find kind of fascinating. This film is certainly a memorable example, and when you shake off the smug and self-indulgent execution of the piece, you might find an interesting notion underneath.

Most of the film's advertisements have shrouded most of the reveals in secrecy. I'll try to honor as much as the possible. I will confirm that it all started as an examination by two amateur filmmakers into the spontaneous relationship between young Nev Schulman and eight-year-old Abby who sends him paintings of his professional photographs. Soon the world grows to involve her extended family on Facebook with eventually Nev starting to fall for her older sister Megan. But probing further into the case leads to conclusions attached to doubt. The final reveal shows the telling truth.

To paraphrase a quote from A.O. Scott, to not discuss any aspect of the big reveal in this film is to disregard any substantial examination of the film. Therefore, I'm going to warn you that this review will contain a SPOILER for the film. If you don't want to know what happens, then skip this review completely because I'm giving you a SPOILER ALERT right now.

What the film offers best is an interesting examination on our current culture. I'm sure this probably doesn't have the same artistic weight as David Fincher's forthcoming The Social Network, but it does give a perspective on how our modern culture views relationships. Despite never meeting this family, Nev grows an attachment to them, and the film never plays this in a condescending light, and instead makes it seem quite legitimate. Our obsession with the internet will never be rid of casual suspicion, but it's comforting that such a place can give us so much in return.

When it is revealed that most of the family and their stories is the creation of a middle-aged woman, the film could easily turn into a hatchet job. But somehow, all the parties manage to come out of this whole thing with their heads held high. This woman's necessity to create an elaborate deception is fueled by her hopelessness, made especially evident by her caretaker role for her husband's twin boys from a previous marriage that suffer from severe retardation. Her life is sad, and her confession at the end of the film gives a window into her suffering. The film doesn't validate her actions, but it gives light to a struggle she shares with many people who are incredibly isolated, and look to the communities created online to temporarily fill that void. In the end, her life has redemption but the stigma of what was created is certainly felt to have residual effects.

As I've mentioned, there are many documentaries out now that are trying not to come down on the side of fact or fiction. But as much as this one wants to walk that balance, it's hard to take it on face value. There is an undying sense that the film carries the same kind of casual suspicion that its subject does. I'm pretty convinced that not everything that happens in the film is supposed to be taken as the exact truth. But much like many of these kinds of films, it isn't supposed to. The issues presented are what's most important, and the film does a pretty good job at staying on target. The film would be a nearly pitch-perfect portrait if it were not for the self-conscious commentary the filmmakers are aware of, and their constant invasion into the story gives way to a smug attitude.

I know at least one person who is violently opposed to this film. I can understand why the bait-and-switch sell might turn some people off. However, if that doesn't bother you, then you might be on board for the ride. The trip hits plenty of speed bumps in the execution, but in the end, it presents what all the best documentaries do: present an intimate look into its subjects and present an intriguing look. I don't know how much of the film comes from events born out of fact or fabrication, but it's all pretty interesting to watch.

B+

Under Pressure

It's always interesting to see filmmakers try to be a bit daring in their projects. Creativity will always thrive on the willingness for arts to take chances in their work. However, it should be noted that just because a film is different than the rest of the films in the marketplace, that shouldn't be the only thing celebrated. If a film is lacking in compelling characters and an interesting story, then all that risk doesn't amount to much. You will probably not see many films like this one in theaters right now, and what you will get is a well executed concept that comes with its own set of mixed bags.

Ryan Reynolds has the lead as Paul Conroy, a contract driver in Iraq who wakes up alone in a coffin beneath the earth. He pieces together that he was was attacked by a renegade envoy who have put him here for the sole purpose of retrieving a ransom. Armed with a limited number of illuminating devices and a surprisingly strong cellphone, Paul tries to figure out a rescue from his claustrophobic nightmare.

It's quite impressive how a movie that never once leaves the confines of Paul's entrapment can carry so much cinematic value. Director Rodrigo Cortés does a pretty spectacular job at inventing creative ways to keep us interested in such a confined space. There's plenty of cinematic tendencies through Cortés's execution, and his eye as an engaging filmmaker makes him a person to watch. Unfortunately, it's the script by Chris Sparling that doesn't go anywhere. The story is dead on arrival, and sags at every turn while trying to manufacture tension and suspense through artificial means. It's a quick idea that gets stretched out far too thin by the screenplay.

Because Reynolds is the only person seen on screen, the ability to carry all the dramatic weight of the film, almost whether or not the film succeeds, lies directly on him. He certainly rises to the challenge, and he more than anything gives the believability to this dire situation. Still, absolute one-man-shows are rather difficult to sustain, and one does always get the wish that the story could expand a bit. It's a credit that most of the film can still remain somewhat engaging while never leaving its surroundings, but at this point, I need more than just the voice of Stephen Tobolowsky to be satisfied.

If this were a twenty minute, experimental short film, I'd call it genius. As a feature film, even though I was riveted throughout much of the film, I still think this material is stretched just enough too thin. I think Cortés proves that he's a terrific filmmaker, and Reynolds makes the case for his already established leading man status. It's an interesting experiment that doesn't quite land, but in the future, it'd make a great rental. I congratulate the idea, but the execution falls just enough short.

B-