The sixteenth film by writer-director-editor Henry Jaglom is even worse than his fifteenth, “Hollywood Dreams” (2007), and that one was far worse than his quite likeable “Festival in Cannes” (2002). A large part of the problem is the return of Tanna Frederick (Jaglom’s “current muse and companion” according to the San Francisco Chronicle). Last time, she played an obnoxious actress from Iowa who lands in California. Now she plays an obnoxious Californian seeking a man. “I’m never going to find anyone like my father,” concludes her Irene. “He’d cut up bananas for my cereal.” In his press notes, Jaglom invokes William Shakespeare, Charles Dickens and Sylvia Plath as artistic inspirations for his father-daughter drama. He signs off “Irene in Time” with “For my daughter.” Irene uncovers her father’s infidelity. That leads her seaward. Irene beholds his title sailboat from her girlhood and takes a gothic leap into the Pacific. (Frederick’s off-camera cause is Project Save Our Surf.) Jaglom loyalists can count on the eighth of his films shot by cinematographer Hanania Baer, who is forever zooming, and the eighth time the endlessly irksome Zack Norman plays a supporting role. Jaglom’s seventeenth film is in the can and stars Frederick. With Andrea Marcovicci, Victoria Tennant, Karen Black Lanre Idwu, and Jaglom’s son Simon and daughter Sabrina. 95m. (Bill Stamets)
Time Bandit: Gaspar Noé on "Irreversible: Straight Cut" Noé's brutal, crushing punishing-of-the-innocent “Irreversible" came out in 2002. Twenty-plus years later, we have the American release, which twists the story into a form that was never planned: linear, chronological order.
Seeing The Elephant: A Review Of Babylon The boisterous, brawling yet melancholy "Babylon," is a variation on film history, but more drawing for drama. It's gaudy and mean, celebratory and sorrowful.
The sixteenth film by writer-director-editor Henry Jaglom is even worse than his fifteenth, “Hollywood Dreams” (2007), and that one was far worse than his quite likeable “Festival in Cannes” (2002). A large part of the problem is the return of Tanna Frederick (Jaglom’s “current muse and companion” according to the San Francisco Chronicle). Last time, she played an obnoxious actress from Iowa who lands in California. Now she plays an obnoxious Californian seeking a man. “I’m never going to find anyone like my father,” concludes her Irene. “He’d cut up bananas for my cereal.” In his press notes, Jaglom invokes William Shakespeare, Charles Dickens and Sylvia Plath as artistic inspirations for his father-daughter drama. He signs off “Irene in Time” with “For my daughter.” Irene uncovers her father’s infidelity. That leads her seaward. Irene beholds his title sailboat from her girlhood and takes a gothic leap into the Pacific. (Frederick’s off-camera cause is Project Save Our Surf.) Jaglom loyalists can count on the eighth of his films shot by cinematographer Hanania Baer, who is forever zooming, and the eighth time the endlessly irksome Zack Norman plays a supporting role. Jaglom’s seventeenth film is in the can and stars Frederick. With Andrea Marcovicci, Victoria Tennant, Karen Black Lanre Idwu, and Jaglom’s son Simon and daughter Sabrina. 95m. (Bill Stamets)
