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Review: Last Year at Marienbad Remains the Epitome of Cinematic Modernism
Alain Resnais's film seemed to break every rule classical Hollywood ever codified.4.0
The poster child of cinematic modernism, one of those early-1960s event films that seemed to break every rule classical Hollywood ever codified, Alain Resnais's Last Year at Marienbad left its initial audiences in equal measure ravished by Sacha Vierny's sumptuous cinematography, capturing in rapturous detail every element of its chateau setting's florid production design, and baffled by its deliberately disorienting puzzle-picture narrative, so willfully inscrutable that its three main characters don't even have names. You have to trouble yourself to read Alain Robbe-Grillet's screenplay in order to glean that they're called A, X, and M, like variables in some erotic algorithm.
Unlike the testimonials to the politique des auteurs, all the rage with the Cahiers du Cinéma crowd, Last Year at Marienbad draws its power from a difference engine, the disparate and ultimately divergent sensibilities of its director and screenwriter. Resnais, fresh off the critical success of Hiroshima Mon Amour, which interrogates the mixing of memory and desire in the lives of two lovers wounded by wartime experiences, plays up Last Year at Marienbad's elegant theatricality, pitched somewhere between statuary and opera, as exemplified by the stilted rendition of Henrik Ibsen's Rosmersholm that's performed during the film's opening scenes.
"New novelist" and filmmakers Robbe-Grillet enjoyed lavishing minute descriptions of almost geometric exactitude on details of architecture and décor, while hiding in plain sight intimations of sadomasochistic rape and murder like perverse Easter eggs in works with titles like The Voyeur, Jealousy, and In the Labyrinth. All of which, it must be said, would've made excellent alternate titles for Last Year at Marienbad. As Robbe-Grillet describes in his introduction to the published screenplay, Last Year at Marienbad is "an attempt to construct a purely mental space and time—those of dreams, perhaps, or of memory, those of any effective life—without excessive insistence on the traditional relations of cause and effect, nor on an absolute time sequence in narrative." Last Year at Marienbad was filmed, as it were, in the conditional mood, exploiting a narrative tense that hashes together future and past.
Such a philosophy of screenwriting brings to mind Jean-Luc Godard's famous quip: "I agree a film should have a beginning, middle, and end. But not necessarily in that order." Like variations on the game of Nim played throughout Last Year at Marienbad, the film invites the viewer to select and rearrange its constituent parts. Consequently, there's no firm anchor by which audiences can establish any certainty, events take place in an indeterminate time frame, and it's never clear whether they represent reality or fantasy, desire or fear, let alone whose.
In a palatial resort hotel, a man, X (Giorgio Albertazzi), approaches a woman, A (Delphine Seyrig), claiming they met a year ago, "perhaps" in Marienbad, and fell in love. The woman, under the watchful eye of M (Sacha Pitoëff), who may or may not be her husband, begged a year's reprieve before running away with X. And so X has descended on her like a lovelorn Orpheus, to convince her to fulfill her promise. At first incredulous, A slowly comes to accept X's version. At the same time, X's persuasion steadily darkens into its obverse, compulsion.
The repetition-with-variation imagery suggests a moment of sexualized violence, but Resnais shoots what the script describes as a relatively overt rape scene with perverse circumspection; the camera rapidly dollies down a hallway, then turns a corner sharply, and enters a room, where A greets it with outstretched arms. He repeats the scenario several times, going so far as to overexpose the film stock so that the image takes on a spectral quality. Moments from some lost expressionist screen test, these shots gauge the influence of silent cinema on Last Year at Marienbad's acting and ambience, as does the flagrant lifting of Seyrig's costume and coiffure from Theda Bara and Louise Brooks, respectively. To illustrate precisely what he wanted, Resnais reportedly screened G.W. Pabst's Brooks-starring Pandora's Box for his cast and crew.
About 11 minutes into the film, Alfred Hitchcock (or an elaborate full-sized cutout, at any rate) makes one of his trademark cameo appearances, perhaps the only one not in his own film. It's easy to miss in the midst of all those mannequin-like patrons. Not just a debt of gratitude to one of Resnais's favorite filmmakers, this nearly imperceptible jeu d'esprit illuminates his playful approach to mise-en-scène, and teases out the film's generic pedigree.
Whatever else it may or may not be, Last Year at Marienbad is a mystery thriller, using the latter term perhaps a trifle loosely, bearing more than a few trappings of the horror genre. No coincidence, then, that one of the films most indebted to Last Year at Marienbad, Stanley Kubrick's The Shining, borrows liberally at stylistic and thematic levels, engaging in similar-seeming Steadicam shots tracking ceaselessly along the Overlook's pattern-carpeted hallways, and putting forward the uncanny suggestion that its terrible events have all happened before and likely will happen again, forever and ever and ever.
Cast: Delphine Seyrig, Giorgio Albertazzi, Sacha Pitoëff Director: Alain Resnais Screenwriter: Alain Robbe-Grillet Distributor: Rialto Pictures Running Time: 94 min Rating: NR Year: 1961 Buy: Video
Review: We Summon the Darkness Coasts Lazily on an Empty Twist
The film's cat-and-mouse antics play out with no sense of escalation or invention.1
Genre movies these days are rife with self-conscious subversion, and at the cost of cohesiveness. Into this climate strides director Marc Meyers's 1980s-set Satanic-panic thriller We Summon the Darkness, which drops its twist inside the first 30 minutes and then aimlessly limps toward a rote conclusion for close to another hour.
Alexis (Alexandra Daddario) and her friends (Maddie Hasson and Amy Forsyth) attend a heavy metal concert, where they meet a group of boys (Keean Johnson, Logan Miller, and Austin Swift) and head to a remote location for an after-party. A satanic ritual ensues, except here's the twist: It's fake. There are no Satanists. There's only Alexis and her friends, who are all Christian church girls killing headbangers and staging the scenes to look like murder-suicides, hoping to draw people to their congregation by scapegoating heavy metal.
Viewers are meant to write off some of the early red flags about the girls' true intentions only to remember them in hindsight, as in how Alexis needs to be reminded of a prominent guitarist's death. But if the film's big twist seems to express the "fake fan" fears of dweeb gatekeepers the world over, even those anxieties remain underexplored. We Summon the Darkness struggles to conjure any discernible themes beyond a lot of too-easy jabs at religious hypocrisy, as in a scene about church donations being misappropriated.
The boys spend much of the film's back half locked in a closet, which is still more engaging than the boilerplate scuffles in the dark that make up the final third. The cat-and-mouse antics play out with no sense of escalation or invention. Like many a film before it, We Summon the Darkness spends such a long time trying to subvert a concept that it neglects everything that might have been appealing even in a straightforward take on its premise.
Cast: Alexandra Daddario, Keean Johnson, Maddie Hasson, Amy Forsyth, Logan Miller, Austin Swift, Johnny Knoxville Director: Marc Meyers Screenwriter: Alan Trezza Distributor: Saban Films Running Time: 90 min Rating: R Year: 2019
Review: Sea Fever, Though Eerie, Delivers Body Horror in Half Measures
Writer-director Neasa Hardiman's film is undone by earnestness.2
With occasional exceptions, humanism doesn't benefit the horror film, which generally thrives under the inspiration of artists who exploit social vulnerabilities through various formal means. Case in point, Neasa Hardiman's Sea Fever is undone by its earnestness. Hardiman is very fond of her protagonist, Siobhán (Hermione Corfield), and the writer-director is striving to make an impassioned point about the value of intelligence and rationality in the midst of a quarantine, an especially resonant theme in the age of COVID-19. In the film, a remarkable amount of time is devoted to the strategy of containing and combating a parasitic creature that invades an Irish fishing trawler, yet Hardiman has virtually no interest in goosing the audience, offering up a monster flick with no pulse.
At its heart, Sea Fever is another single-setting horror film in which an exotic animal systematically infects a blue-collar crew. Conscious of this tradition, Hardiman offers variations on a couple of the genre's greatest hits: the misleadingly tranquil dinner scene in Ridley Scott's Alien and the "testing for infection" sequence in John Carpenter's The Thing. Filmmakers have gotten quite a bit of mileage out of ripping off The Thing over the years, but Hardiman stages this latter scene simply as a scientific inquiry, deriving no suspense from it, and delivering the punchline as an afterthought. Much of the trawler's crew is the usual collection of burly, hairy studs who look so much alike that you expect a joke to be made of it, except that Hardiman evinces no sense of humor. Even the tension between the men and Siobhán—a student studying unusual sea creatures and therefore an intellectual who must maintain calm in a crisis, rising to the fore to become the next Ripley—often falls flat.
Alien and The Thing are sadistic films whose power derives, in part, from how expertly they surpass our worst suspicions of what's going to happen. In each case, the monsters are more awful than we expect them to be, continually growing stronger, more disgusting, and more primordial—more, well, alien. By contrast, Hardiman offers a giant, multi-tentacled jellyfish that's barely in the film, suggesting a wan and naturalistic riff on the thing from Deep Rising, as well as sea maggots that yield one instance of respectable body horror. These are mild returns on over half a running-time's worth of exposition and foreshadowing.
Yet Sea Fever does have an eerie setting, as the creaky, claustrophobic trawler and the misty water inform the narrative with the aura of an Irish myth or ghost story, which is revealed to be very pertinent. And Corfield gives a poignant and vivid performance, especially during the film's unexpectedly moving ending, which finds Siobhán weirdly rewarded, as her desire for knowledge and personal expansion is gratified at the expense of disaster. The final scenes clarify Hardiman's intentions, which somewhat cancel themselves out: an attempt to fuse a monster movie and a poetic myth with a coming-of-age character study.
Cast: Hermione Corfield, Connie Nielsen, Dougray Scott, Olwen Fouéré, Jack Hickey, Ardalan Esmaili, Elie Bouakaze Director: Neasa Hardiman Screenwriter: Neasa Hardiman Distributor: Gunpowder & Sky Running Time: 89 min Rating: NR Year: 2019
The 20 Best Zombie Movies of All Time
If zombies seem infinitely spongy as functional allegories, it's their non-hierarchic function that retains the kernel of their monstrousness.
Zombie movies not only endure, but persist at the height of their popularity, neck and neck with vampire stories in a cultural race to the bottom, their respective "twists" on generic boilerplate masking a dead-eyed derivativeness. For the zombie film (or comic book, or cable TV drama), that boilerplate was struck by George A. Romero's Night of the Living Dead, and its subsequent sequels established a loose conception of the undead threat: lumbering, beholden to no centralized authority, sensitive to headshots and decapitations.
If, according to Franco Moretti's "The Dialectic of Fear," the vampiric threat (at least as embodied in Count Dracula) operates chiefly as a metaphor for monopoly capital, binding those English bourgeois interlopers to his spell and extracting the blood of their industry, then the zombie poses a more anarchic, horizontalized threat. In post-Romero, hyper-allegorized zombie cinema, the hulking undead mass can be generally understood as the anti-Draculean annihilation of capital. Flesh and blood are acquired but not retained; civilization is destroyed but not remodeled. If zombies seem infinitely spongy as functional allegories for this or that, it's their non-hierarchic function that retains the kernel of their monstrousness.
At their apex of their allegorical authority, zombies may fundamentally destroy, as attested by our favorite zombie films of all time. But that doesn't mean their inexhaustible popularity as monster du jour can't be harnessed to the whims of real-deal market maneuvering, their principally anarchic menace yoked to the proverbial voodoo master of capital. John Semley
Editor's Note: This entry was originally published on October 21, 2019.
20. Night of the Comet (1984)
Night of the Comet's scenario reads like the bastard child of countless drive-in movies, in which most of humanity is instantly reduced to colored piles of dust when the Earth passes through the tail of a comet that last came around—you guessed it—right about the time the dinosaurs went belly-up. Then again, just so you know he's not adhering too closely to generic procedures, writer-director Thom Eberhardt irreverently elects a couple of pretty vacant valley girls—tomboyish arcade addict Reggie (Catherine Mary Stewart) and her blond cheerleader sister, Sam (Kelli Maroney)—and a Mexican truck driver, Hector (Robert Beltran), to stand in for the last remnants of humanity. With regard to its bubbly protagonists, the film vacillates between poking not-so-gentle fun at their vapid mindset, as in the Dawn of the Dead-indebted shopping spree (obligingly scored to Cindi Lauper's anthemic "Girls Just Want to Have Fun"), and taking them seriously as agents of their own destiny. Lucky for them, as it happens, that their hard-ass old man taught them how to shoot the shit out of an Uzi—and look adorable doing it. It also doesn't hurt that Eberhardt filigrees his absurd premise with grace notes like the cheeky cinephilia informing early scenes set in an all-night movie theater. Budd Wilkins
19. The Living Dead Girl (1982)
In The Living Dead Girl, the gothic ambience that elsewhere suffuses Jean Rollin's work smashes headlong against the inexorable advance of modernity. The film opens with the vision of bucolic scenery blighted by the scourge of industrialization: rolling hills sliced up by concertina-capped fences, billowing smokestacks visible in the hazy distance. When some dicey movers deposit barrels of chemical waste in the family vault beneath the dilapidated Valmont chateau, a sudden tremor causes the barrels to spring a leak, reanimating the corpse of Catherine Valmont (Françoise Blanchard) in the process. Despite the gruesome carnage she inflicts on hapless and not-so-hapless victims alike, it's clear that Rollin sees the angelic Catherine, with her flowing blond tresses and clinging white burial weeds, as an undead innocent abroad in a world she can no longer comprehend. The flm builds to a climax of Grand Guignol gruesomeness as Hélène (Marina Pierro), Catherine's girlhood friend, makes the ultimate sacrifice for her blood sister. It's an altogether remarkable scene, tinged with melancholy and possessed of a ferocious integrity that's especially apparent in Blanchard's unhinged performance. The film's blood-spattered descent into positively Jacobean tragedy helps to make it one of Rollin's strongest, most disturbing efforts. Wilkins
18. They Came Back (2004)
They Came Back is a triumph of internal horror, and unlike M. Night Shyamalan's similarly moody freak-out The Sixth Sense, Robin Campillo's vision of the dead sharing the same space as the living isn't predicated on a gimmicky reduction of human faith. Campillo is more upfront than Shyamalan—it's more or less understood that the presence of the living dead in his film is likely metaphoric—and he actually seems willing to plumb the moral oblivion created by the collision of its two worlds. Though the fear that the film's walking dead can turn violent at any second is completely unjustified, the writer-director allows this paranoia to reflect the feelings of loss, disassociation, and hopelessness that cripple the living. It's rather amazing how far the film is able to coast on its uniquely fascinating premise, even if it isn't much of a stretch for its director: Campillo co-authored Laurent Cantet's incredible Time Out, a different kind of zombie film about the deadening effects of too much work on the human psyche, and They Came Back is almost as impressive in its concern with the existential relationship between the physical and non-physical world. Ed Gonzalez
17. Zombi Child (2019)
Restlessly shuttling between 1960s Haiti and present-day France, Bertrand Bonello's Zombi Child is a quixotic, slow-burn genre film is political largely in the abstract. While there are moments in in the film where a history of exploitation informs the relationship between the French, lily-white Fanny (Louise Labeque) and Haitian refugee Mélissa (Wislanda Louimat)—classmates at an all-girls school established by Napoleon Bonaparte—Bonello's interests go much deeper than race relations. Zombi Child suggests two temporalities that exist parallel to each other. The film's off-kilter mix of horror, historiography, and youth movie affords Bonello plenty of opportunity to indulge his pet themes and motifs. He spends much time lingering throughout scenes set at the academy on the sociality of the young women and their engagement with pop culture. In fact, Bonello's fascination with the dynamics of these relationships seems to drive his interest in the horror genre more so even than the film's most obvious antecedent, Jacques Tourneur's I Walked with a Zombie—as is indicated by a pretty explicit homage to Brian De Palma's Carrie. Sam C. Mac
16. Train to Busan (2016)
When divorced of message-mongering, the film's scare tactics are among the most distinctive that the zombie canon has ever seen. The zombies here are rabid, fast-moving ghoulies that, as Train to Busan's protagonists discover, are attracted to loud sounds and only attack what they can actually see. This realization becomes the foundation for a series of taut set pieces during which the story's motley crew of survivors manipulate their way past zombies with the aid of cellphones and bats and the numerous tunnels through which the train must travel. The genre crosspollination for which so many South Korean thrillers have come to be known for is most evident in these scenes (as in the survivors crawling across one train car's overhead luggage area), which blend together the tropes of survivor-horror and disaster films, as well as suggest the mechanics of puzzle-platformer games. Gonzalez
Review: Nafi's Father Is a Raw and Immediate Look at a Collison of Faith
The film vibrantly articulates all that's lost when people are held under the draconian decree of warlords.3
Writer-director Mamadou Dia's feature-length debut, Nafi's Father, hinges on the contentious relationship between two brothers, each one devoted to an opposing version of Islam, and how their bid for primacy leads to rising tensions in the small Senegalese town they call home. For Tierno (Alassane Sy), who's well on his way to becoming an imam, the religion is a justification for peace and self-reflection. And while his practices are largely traditional, he's lenient about some of the more repressive rules that many other imams would blindly enforce. But for his greedy, duplicitous brother, Ousmane (Saïkou Lo), Islam is merely a stepping stone to achieving control over their town. As Tierno struggles to keep his followers on the path of righteousness, Ousmane repeatedly arrives on the scene with stacks of cash from a fundamentalist sheikh looking to draw supporters to his cause.
Dia delicately balances this depiction of the gradual arrival of more restrictive, fundamentalist forces within the town's borders with a small-scale family drama that plays out after Ousmane's son, Tokara (Alassane Ndoye), asks Tierno's daughter, Nafi (Aïcha Talla), for her hand in marriage. Tierno's fears for his daughter were she to become Ousmane's daughter-in-law are legitimate, but his refusal to consent to the union is driven more by his lingering jealousy of his brother, who was favored by their parents, and a desire to keep Nafi from venturing out to the nearby city, where she wants to study neurosciences.
While Tierno sees through his brother's nefarious methods and justly fears the terrifying sheikh, his own restrictive treatment of Nafi, who genuinely loves and wants to marry Tokara, lends the film's central sibling rivalry a potent irony; no one here is free from blame in the tragic events that will follow. Just as Ousmane courts the sheikh for his own benefit, so does Tierno impede his daughter's desires only to serve his own ego. Dia nimbly reveals how this battle of headstrong wills reverberates through both the entire local community and within Tierno's own family. As the sheikh's presence is felt more forcefully, we also see how even those with the appearance of authority and respect in such an oppressed society, such as Tierno and Ousmane, are ultimately rendered as helpless as those in their own flock when someone with money and guns arrives on the scene, licking their chops like a wolf at the door.
Shooting in a small town in northeast Senegal, near where he grew up, Dia counters the film's central tragedy with an emphasis on the region's sparse beauty and its cultural mores and artifacts, from its marriage rituals to the vibrantly colorful, intricately designed costumes. The richness and cultural specificity that Dia brings to Nafi's Father lends it an authenticity that helps articulate all that's lost when such towns are held under the draconian decree of warlords. The film's pacing is quite deliberate, and while it could perhaps use some tighter editing in the middle stretches, it's the acute attention paid to how seemingly trivial acts of greed and selfishness can, over time, lay the tracks for an outright takeover by violent fundamentalists that gives a familiar subject such a gripping, raw immediacy.
Nafi's Father had its world premiere last year at Locarno and was slated to screen at the now-delayed New Directors/New Films. For sales information, please contact JoyeDidi.
Review: Days of Cannibalism Bears Witness to a Culture War, Western Style
The film ultimately depicts a world in which people are left with no other option but to devour their own.3.5
A frontier story about the tension between settlers and natives, director Teboho Edkins's Days of Cannibalism may technically be a documentary, but at heart it's a western. Filmed in and around a small cattle-herding community in Lesotho, where Chinese immigrants have recently begun to settle and open up various types of stores, the film is packed with mythopoeic vistas of men on horseback roaming through fearsome yet spectacular mountain landscapes—shots that feel like they could've been cribbed straight from an Anthony Mann oater. There are scenes of cattle rustling, banditry, and frontier justice, as well as a Leone-esque vision of a town riven by suspicion, resentment, and racial hostility.
Edkins's artistic project here isn't simply to make a documentary that feels like a genre film, but rather to use the trappings of the western to explore the power dynamics at play on the extreme margins of global capitalism. Edkins's former film professor at the dffb Film Academy in Berlin, Valeska Grisebach, has described the western as "a film about a space in which the rules are still in flux, and the balance of power is in negotiation." And that struggle for authority and dominance is precisely what Days of Cannibalism explores.
Edkins casts the local Basotho people as "indians" and the Chinese migrants as the "pioneers," but he then spends much of the film problematizing these distinctions. The Basotho are neither the bloodthirsty savages of early westerns nor the forlorn, eternally wronged victims of the genre's revisionist period. Rather, they're basically just ordinary people struggling to find a sense of equilibrium in a fast-changing world that seems to be leaving them behind.
The spiritual significance that the Basotho impute to cattle—cows are even referred to as the "wet-nosed god"—may at first seem like superstitious animism. But the belief turns out to also have a ruthlessly economic basis, as we see when some local men, who've turned to cattle rustling after being unable to find work, are hit with a lengthy prison sentence for the crime of stealing a couple of cows. Their crime isn't a spiritual one so much as a social one: As the judge informs them, to steal a cow is to steal a community member's livelihood.
Days of Cannibalism reveals the Chinese immigrants' unwillingness to understand the Basotho people's cow-herding practices as one of the major sources of resentment between the two groups. The immigrants make money by setting up small shops, as well as Walmart-like "wholesale stores." "The Chinese have no idea how to take care of cattle," one Lesotho herder angrily laments. Another more rueful local—the host of a radio show that interweaves pop music with thoughtful discussions of issues impacting the community—wonders why the Chinese immigrants can't teach the locals how to set up shops in exchange for the Lesotho training them in the ways of cattle-herding. Instead, the two groups remain hopelessly alienated from each other, rarely interacting outside of business transactions.
But this isn't a clear-cut tale of settler colonialism. The Chinese people who come to this underdeveloped corner of the globe don't do so with any grand scheme of displacement and exploitation, as they've also been shunted aside by the savage machinery of globalization. In Lesotho, which is surrounded by South Africa, they simply seek to carve out some kind of life for themselves. With its microcosmic focus on this one particular community, the film exposes the brutal dynamics that undergird a globalist system that pits not only nation against nation, but people against each other. The violence of the system simmers beneath the surface of Days of Cannibalism until it finally boils over in a scene, captured in security camera footage, of an armed robbery at a wholesale store. As its title suggests, the film ultimately depicts a world in which people are left with no other option but to devour their own.
Days of Cannibalism had its world premiere last month at the Berlin International Film Festival and was slated to screen at the now-delayed New Directors/New Films. For sales information, please contact Indie Sales.
Director: Teboho Edkins Screenwriter: Teboho Edkins Running Time: 78 min Rating: NR Year: 2020
The 100 Best Westerns of All Time
The western has proved itself a durable and influential way of talking about the human condition.
The classic western was conceived from an undeniably Euro-centric, colonial perspective, with white characters upholding their supposed birthright of freedom and property. In the western, the immense country beyond the Mississippi River figures at once as the sublime object that exceeds the human grasp and as a quantifiable possession. And the prototypical cowboy straddles these paradoxical poles: at home on the dusty, timeless landscape, but also facilitating its incorporation into a society marching toward the Pacific. In 1925's Tumbleweeds, the herder hero played by William S. Hart reluctantly makes way for the newly arrived homesteaders; in 1953's Shane, Alan Ladd's eponymous character rides off after making the West safe for the American family; and in Sergio Leone's 1968 opus Once Upon a Time in the West, Jason Robards's Cheyenne sacrifices his life not to end the expansion of the American empire, but to facilitate a more just one.
But this standard narrative mold, to paraphrase John Ford's 1962 classic The Man Who Shot Liberty Valance, only represents the printed legend. The historical American West was more diverse and less male-dominated than the one Hollywood imagined for many years. Life in the Western territories demanded just as many determined women as it did men, and suffragettes had their first major victories in the West: Wyoming was the first state to grant women the vote, and the first to have a woman governor. A third of all cowboys herding cattle on the Great Plains were black—a fact that's only surprising until you consider which groups were most in need of self-reliant vocation and freedom from the long arm of the law in the wake of the Civil War. Every once in a while, these historical realities break through the filtered screen of the Hollywood western: Joan Crawford and Marlene Dietrich play no-nonsense saloon owners in Nicholas Ray's Johnny Guitar and Fritz Lang's Rancho Notorious, respectively, and Sidney Poitier's often overlooked Buck and the Preacher from 1972 is one of the too-few films that are centered around black frontiersmen.
When Europeans, influenced by decades of dime novels and Hollywood flicks, got around to making westerns, the resulting films would be part of this swing toward revisionism. By this time, European filmmakers were coping with the aftermath of the most devastating conflict in human history, and Italian westerns like Sergio Corbucci's The Great Silence and Leone's The Good, The Bad, and The Ugly are infused with the lived-in existentialism of postwar Europe. In them, the American West becomes an otherworldly wasteland of pure brutality and diminished—rather than heightened—agency. Europeans' estrangement of western film tropes would help spur a revisionist take on the standards of the genre that infuses films produced to this day.
However, for all the observations that such "postmodern" westerns are about the end of the West—in Clint Eastwood's The Outlaw Josey Wales and elsewhere, represented by the arrival of new technologies like the Gatling gun—the western has always been about endings. It's no coincidence that the genre's proverbial image is that of a figure "riding off into the sunset." The American frontier was declared closed after the 1890 census, a decade before the first western on our list (Edwin S. Porter's The Great Train Robbery) was produced. Right-wing New Hollywood directors like Sam Peckinpah, Don Siegel, and Eastwood have tended to identify this perpetual fading of the West with the decline of a virile and violent, but honorable masculinity.
The bloodbaths that end films like Peckinpah's The Wild Bunch arguably represent what Freud would have called "screen memories," a compromise between repressed memory and images we've invented to defend ourselves against terrible truths. The true bloodbaths in the West were the military campaigns against Native Americans, genocidal conflicts that many big-budget westerns keep on the margins, with natives appearing as stereotypical noble savages or town drunks. Ford's films, as often as they rely on racist characterizations, were often the prestige westerns to look most directly at these wars: The Searchers and Fort Apache explore, in their own flawed fashion, the morally degrading racism in their main characters' hearts. Some decades later, Kevin Costner's Dances with Wolves became the paradigm of a post-'70s cultural sea change: When it comes to "cowboys versus Indians," the cowboys are no longer the automatic locus of our sympathy.
Today, infusing familiar iconography with new meaning, such revisionist representations of the American West have helped to explode the boundaries of the genre, allowing filmmakers as well as critics to explore cinematic tropes about life on the frontier in non-conventional western narratives. In contemporary films like Ang Lee's Brokeback Mountain and Chloé Zhao's The Rider—and looking back to ones like Victor Sjöström's The Wind and John Huston's The Misfits—we can recognize something like a western mode, a broader and more expansive cinematic language that has been suffused by the symbols of the American West. The western has proved itself a durable and influential way of talking about the human condition—one that needs not be confined within the frontiers drawn by the Euro-American colonial imagination. Pat Brown
100. Drums Along the Mohawk (John Ford, 1939)
If John Ford was, per Jonathan Lethem, "a poet in black and white," he became a sharp impressionist in color. The finely calibrated stillness of his shots, occasionally ravished by the greens, reds, and blues of the colonial wardrobe, gives Drums Along the Mohawk a painterly quality, as if Ford had animated a William Ranney portrait. Each frame radiates rugged beauty, but this doesn't soften the filmmaker's no-bull directness when depicting the eruptive landscape of the Revolutionary War. Frontier man Gil (Henry Fonda) and his new wife, Lana Martin (Claudette Colbert), are without a home of their own for most of the film, their first cabin being burned to the ground during an attack, and when Gil and the troops return from the bloody Battle of Oriskany, the director details their immense casualties and injuries with unsparing detail. Chris Cabin
99. Tombstone (George P. Cosmatos, 1993)
Tombstone succeeds by re-appropriating the stylistic quirks of many a great western before it, from "the long walk" of Sam Peckinpah's The Wild Bunch to the candlelit saloons of Robert Altman's McCabe & Mrs Miller, spitting them out in a spectacle of pure pop pastiche. It tells much the same story as John Ford's My Darling Clementine, but it reinterprets that film's mythical, elegiac sense of wonder through bombastic action and performances. There probably isn't a western as quotable as this one, which also succeeds through its rogues' gallery of memorable character actors and firecracker script. A drunken Doc Holliday (Val Kilmer), when accused of seeing double, says, "I have two guns, one for each of you." Wyatt Earp (Kurt Russell), as he pistol-whips Johnny Tyler (Billy Bob Thornton), belts out, "You gonna do something? Or are you just gonna stand there and bleed?" The lines between good and evil blur as the law switches sides to fit the plot. Cliché layers over cliché, exposing what the genre is all about: the foundations of American myth, told again and again to suit each generation. The '90s was the remix era and Tombstone fits it perfectly. Ben Flanagan
98. True Grit (Henry Hathaway, 1969)
The Duke casts a large shadow in any instance, but especially here. Rooster Cogburn is one of John Wayne's most identifiable roles, not just because he won an Oscar for it, or because his True Grit is popular, or because he played the character twice (the second time in 1975's Rooster Cogburn), but mostly because Rooster's personality is so intertwined with Wayne's iconic persona. Wayne's detractors often note that Wayne lacked range, and that, given his consistent trademark drawl, about the only way to distinguish one Wayne character from another is by observing his costume. But while that's roughly accurate, it doesn't mean that every character Wayne ever played had a similar effect. His Rooster is one of those special roles that seemed indelibly Wayne's—because he wore that eye patch so well, because his inherent presence and stature made him a natural to play the "meanest" marshal around, because his inner softness allowed the bond between Rooster and Mattie (Kim Darby) to feel convincing and because Wayne was born to be the cowboy who puts the reins in his teeth and rides toward four armed men with a gun in each hand. Jason Bellamy
97. Death Rides a Horse (Giulio Petroni, 1967)
In 1967's boldly cinematic Death Rides a Horse, Giulio Petroni fixates on the inextricable link between a man's memory and his thirst for vengeance. In the 15 years since watching his entire family get murdered by bloodthirsty bandits, Bill (John Phillip Law) has carried with him a single physical relic of this trauma: a lone spur. His memories, meanwhile, are filled with haunting and vivid reminders of that moment when his life changed forever, but also with specific visual cues related to each of the bandits: a silver earring, a chest tattoo of playing cards, a skull necklace. Bill's overwhelmingly obsessive quest for revenge takes on an extra layer of perverseness once he's paired up with the mysterious Ryan (Lee Van Cleef), an older man who playfully competes with Bill to hunt down and kill these same men first. Through an array of carefully crafted visual and aural motifs, and clever, judiciously employed narrative twists, Petroni weaves together these two crusades, building to an explosive finale that delivers equally cathartic doses of redemption and rage. Derek Smith
96. The Violent Men (Rudolph Maté, 1955)
Polish-born filmmaker Rudolph Maté worked for a little over a decade as a cinematographer in Hollywood before starting to crank out potboilers as a director in the late '40s, many of them marked by a distinct pictorial flair. He was a mainstay by the mid-'50s, and The Violent Men counts among his most ravishingly shot films, and indeed one of the unheralded Technicolor westerns of the golden era. The central California frontier, where the majestic flatland meets the imposing Sierras, has rarely been more reverently photographed, and a single montage of Glenn Ford's John Parrish galloping from one range to another as Max Steiner's strings howl on the soundtrack is stirring enough to validate the invention of CinemaScope. Fittingly, the land itself provides the conflict here, with Ford's Union veteran-cum-landowner trotting out his old fighting spirit when the vicious owners of a neighboring estate—Barbara Stanwyck and Edward G. Robinson in wonderfully belligerent performances—try to exploit his ranch for pennies. A cathartic war against greed ensues, and the result is finely wrought big-screen entertainment. Carson Lund
95. Westward the Women (William A. Wellman, 1951)
Based on a story by Frank Capra, William Wellman's Westward the Women shares the collective triumphalism of Capra's greatest films but salts it with the grueling hardship and random cruelty that are hallmarks of Wellman's storytelling. The premise is ludicrous on paper: A large farm in a California valley is suffering a shortage of the fairer sex, so it sends a wagon train headed by Robert Taylor to Chicago to haul back 150 brides for the workers—no short order in the middle of the 19th century. Several treacherous landscapes, bleakly depicted deaths, and a mid-film memorial service later, the plan is fulfilled in grandly hokey fashion, though not without a striking reordering of business-as-usual sexual politics. As the women prove as resilient, if not more so, than the men, ideals of male heroism fall by the cliffside (literally) and members of the ensemble who would normally be relegated to extras emerge as fully shaded and complex heroines. As a result, the film amounts to a portrait of hard-won joy that's nearly spiritual in its belief in the power of cooperation. Lund
94. The Gold Rush (Charles Chaplin, 1925)
What's surprising when one takes a fresh look at The Gold Rush is how serious it is about depicting the hard life of prospectors. The comic soul of the film is, in fact, quite black, even if Charlie Chaplin exploits every opportunity (beautifully) to transform the environment into a vaudeville stage. Lonely as the wastes are, the town in the film is sinister and lurid, full of sex and violence, despite the fact that Chaplin always seems to find a way to invest in it the personality and tone of his early one-reelers. He makes the town funny but retains its barbarism. Chaplin pursues deliverance not in the miracle of hitting pay dirt, but in the promise of a woman, and it's this promise that Chaplin would keep after, well into his sync-sound period. Around the film's midpoint comes a sequence that cuts between the townsfolk singing "Auld Lange Syne," and the Tramp, alone in his cabin, listening, longingly. It's as perfect a moment as any other in the great silent period. Some accuse the director of succumbing to sentimentality, but he's never less sublime than when he reaches for ridiculous, grandiose highs in romance, coincidence, and naked emotion. Jaime N. Christley
93. Destry Rides Again (George Marshall, 1939)
Destry Rides Again's Bottleneck is essentially the same town as the one in "Drip-Along Daffy." The opening crane shots of Bottleneck show the standard storefronts that western audiences are accustomed to seeing: feed and general stores, the jail, the Saloon. As the camera moves along the street, we see just about every possible vice happening all at once with bullets whizzing about the crowded streets—and all the while, Frank Skinner's intense score adds to the feeling of utter lawlessness. Every stereotype of the wild western town is represented in George Marshall's film: crooked gambling above the saloon, land-hungry town bosses, a hot dancing girl named Frenchy who can douse the fires of her rowdy fans with a shot of whisky, and killin'. Lots of killin'. Back when the western was really coming into its own in 1939, the genre had already been around long enough to warrant this satire. Bottleneck is a parody of the western town. Jeffrey Hill
92. The Wind (Victor Sjöström, 1927)
So many late silent films are infused with a delirious energy, a sheer delight in the transportive powers of the cinema, and Sweden's original film genius, Victor Sjöström, was renowned as a master of subjective, otherworldly moving images. With the hallucinatory The Wind, he delivered his most captivating visual play of subjective and objective realities, casting Lillian Gish as an East Coast virgin who's tormented on an ineffable psychical (and ambiguously erotic) level by the overbearing winds of the Great Plains. After circumstances force her into an unwanted marriage, she's left alone in the small cottage she shares with her unloved husband as the personified wind blows open doors, whips up dust, and…takes the shape of giant stark-white colts who buck across the open sky. In a career-defining role, Gish grounds the film, giving a performance that humanizes the sensational and sensual inner conflict of a woman left alone in a vast, empty wilderness. Brown
91. Run of the Arrow (Samuel Fuller, 1957)
Writer-director Samuel Fuller's Run of the Arrow stars Rod Steiger as Private O'Meara, a disaffected Confederate soldier who lights out for the western territories, only to wind up living among (and ultimately adopting the ways of) a Native American tribe. Fuller's typically two-fisted tale essentially prefigures Kevin Costner's Dances with Wolves, absent all the bombast and self-aggrandizement. Granted, the film succumbs to the longstanding Hollywood tradition of utilizing a motley crew of decidedly non-native actors in pigment-darkening makeup to portray its Sioux tribe, including a young Charles Bronson and Spanish actress Sara Montiel, but it also endows these characters with a degree of respect and agency practically unprecedented in a 1950s American western. As the film comes full circle with the return of the man O'Meara shot and then saved in the opening scene, Fuller's story reveals itself as a morality play concerning the destructive nature of hatred and bigotry, as well as a touchingly earnest plea for tolerance. Budd Wilkins
Review: Vivarium Looks Aloofly at the Nightmare of Conformity
This a parable about adulthood boasts deeply cynical takes on home, community, and childrearing.2
Lorcan Finnegan's high-concept sci-fi mystery Vivarium is a parable about adulthood with deeply cynical takes on home, community, and childrearing. Gemma (Imogen Poots) and Tom (Jesse Eisenberg) are a young couple who one afternoon tour a housing development called Yonder with its sales agent, Martin (Jonathan Aris), who dresses like a Mormon missionary. The colorless subdivision is startlingly homogenous, with identical homes in creepily neat rows (shades of Edward Scissorhands), stretching from horizon to horizon. Martin shows them house "number 9," then disappears, and when they also try to leave the neighborhood, every road circles back to the house until their car runs out of gas. Yonder is, well, not quite even a maze, because there's no way out. It's a trap.
The couple is thus ushered into a nightmare of conformity, emphasized by the film's production design. The streetscapes, often seen from overhead, are vividly and uneasily artificial, suggesting a model town; even the clouds appear painted onto the sky above. The sound design is deathly quiet except for the echoes of Gemma and Tom's footsteps, evoking a soundstage. Yonder is a windless place, the ultimate in featureless suburbs that young city dwellers fear, where the air is odorless and the strawberries flavorless. There are no neighbors and no friends, just forced isolation—an extreme form of social distancing.
The couple is coerced into this life in service of the next generation. After trying to burn down house number nine (which just reappears in the morning), they receive a box containing a baby and a message, instructing them to raise the boy in order to be released. It's as if bringing up children were just a form of forced labor resulting from a mistake—in this case, having toured Yonder. The boy (Senan Jennings) grows at a rate faster than dog years, reaching about seven years old in just 98 days. He screeches when he's hungry and is otherwise eerily precocious, like a tiny adult; suspiciously observant, he recites his adoptive parents' spats and quarrels back to them verbatim. He's terrifying, like some sort of alien spy, and Tom and Gemma despise him, becoming physically and psychologically abusive.
Finnegan and screenwriter Garret Shanley strip away the comforts and niceties we associate with concepts of home and family, as the neighborhood here is a prison, the house a cell, and children are creepy invaders who torment their parents. It's a fully nightmarish vision of adulting; Tom starts digging a hole in the yard, which consumes his daytime hours, keeping him from his family, as though it were his job—a jab at the meaninglessness of middle-class employment. Stuffing a lifetime into the span of less than a year, the film posits the nuclear family as something you have to submit to or go crazy should you fight against it.
As intriguing as this allegory can be to parse, it weighs down the storytelling. Vivarium, at heart, is populated with stock characters trapped less in a purgatorial suburbia than in a metaphor. Eisenberg invests Tom with his trademark arrogance, which here just makes the character flatly unlikeable. Tom comes off as a schlub, a rotten guardian and an irredeemable partner, yet the film suggests his wife loves him. Poots sells that with a rawer and more nuanced performance, making Gemma hateful yet decent, bitter but loving, trying yet fed-up. Her character is awful, like Tom, but she's also sympathetic.
Gemma complains that all she and Tom wanted was a home, and she's told she is home—as though this hellscape is all that a home could be. It's an indictment of bourgeois living that stings less than it's meant to. Vivarium is sad, but it's too removed to be devastating, lost inside itself and its puzzles of meaning. It's not a drama so much as an intellectual exercise.
Cast: Imogen Poots, Jesse Eisenberg, Senan Jennings, Eanna Hardwicke, Jonathan Aris Director: Lorcan Finnegan Screenwriter: Garret Shanley Distributor: Saban Films Running Time: 97 min Rating: R Year: 2019
Review: Resistance Is an Old-Fashioned Tribute to Marcel Marceau
The film is an old-fashioned and straightforward tale of brave opposition to the Nazi occupation of France.2.5
Writer-director Jonathan Jakubowicz's Resistance is an old-fashioned and straightforward tale of brave opposition to the Nazi occupation of France whose most potentially intriguing angle becomes its least satisfying dimension. While featuring many familiar elements, including a sarcastically reluctant hero, a mentally unbalanced sadistic villain, and nail-biter last-minute escapes, it's centered on a character who one doesn't often see in World War II movies: a Nazi-fighting mime.
The mime in question is Marcel Mangel (Jesse Eisenberg)—he later changed his surname to Marceau—the son of a Jewish butcher living in Strasbourg, France. Tired of wearing a smock and cutting up meat in his father's shop, he prefers putting on a Chaplin mustache and applying greasepaint to his face in order to clown around in cabarets. His more traditionally minded father, Charles (Karl Markovics), disapproves of Marcel's creative life, while the audiences who Marcel performs for are clearly more interested in the dancing girls.
This light family drama might seem inappropriate following the gutting opening scene, in which Elsbeth (Bella Ramsey), a young Jewish girl in Munich, sees her parents gunned down during the Kristallnacht pogrom. But the comfortingly low-stakes nature of these early scenes skillfully illustrates the gently melancholic nature of Marcel's clowning. At the same time, they also establish just how little the future superstar and his community appreciate the extent of the genocidal danger brewing just a few miles away in Germany.
Marcel's call to arms comes with the arrival of a truckload of Jewish orphans, including Elsbeth. Ransomed from the Nazis, the orphans are put up in a nearby castle and watched over by a troop of somewhat adult-looking Jewish Boy and Girl Scouts. Guilted by his activist brother, Sigmund (Édgar Ramirez), into helping out, and eager to impress the willowy Emma (Clemence Poesy), Marcel uses his clowning to keep the kids entertained.
At this point, with its light comedy and rapturously beautiful Rhone Valley scenery, Resistance runs the clear risk of traipsing into Life Is Beautiful territory. But with the exception of one awkward scene, in which Marcel and Emma dress up as brownshirts and mug buffoonishly while trying to scare the kids into learning how to hide, Jakubowicz mostly steers clear of any unctuous sentimentalizing of responses to genocidal evil.
This determination to keep the story's focus on the fight against the Nazis becomes clearer once war breaks out, France is occupied, and all Jews in the country have targets on their backs. Now responsible for even more orphans, Marcel and his compatriots relocate to Lyon and join the resistance. Heightening the stakes in Lyon is the presence of Gestapo chief Klaus Barbie (Matthias Schweighofer), a blithe sadist who likes to play the piano while executing people in the drained pool of his luxury headquarters at the Hotel Terminus. While Schweighofer's portrayal of Barbie as a bright-eyed torture-happy sociopath who always looks on the verge of giggling veers close to movie-villain shtick, the character's dark presence keeps the immediacy of Marcel's mission front and center.
Jakubowicz's strengths as a director become more clear in some of the set pieces staged after the action shifts to Lyon and Marcel's group has to balance keeping themselves and the orphans alive in France or escaping to Switzerland. Showing a strong feel for crisply capturing the tense and buttoned-down panic of undercover operatives in occupied territory, Jakubowicz also leverages Eisenberg's skill for simultaneously signaling vulnerability and resolve.
Where Resistance is likely least effective for many audiences is its attempt to portray Marcel as a masterful performer. It's hard not to think of Richard Attenborough's pushy and unfunny Chaplin in some of Eisenberg's energetic but flat scenes performing as a clown or a mime. A couple of these are fairly stiff, particularly one where Marcel clowns to keep the orphans quiet while German soldiers prowl nearby, and another of him miming for a rapt crowd of American soldiers after being introduced by General George Patton (Ed Harris). (While this latter scene is somewhat inexplicable, it appears to have actually happened, following Marcel's work for Patton as a liaison officer—a phenomenal pairing of sunny-gruff personalities that seems worthy of its own film.) In most other aspects, however, Resistance functions as a handsomely mounted biopic that tells a little-known story with considerable passion.
Cast: Jesse Eisenberg, Clemence Poesy, Édgar Ramirez, Bella Ramsey, Géza Röhrig, Matthias Schweighofer, Karl Markovics, Ed Harris Director: Jonathan Jakubowicz Screenwriter: Jonathan Jakubowicz Distributor: IFC Films Running Time: 121 min Rating: R Year: 2020
Review: Atlantis's Future Vision Grapples with a Past That Never Was
The film's use of scale to drive home the absurdity of its characters' actions recalls Werner Herzog's tragicomic existentialism.3
The use of apocalyptic settings has become so prevalent in fiction over the past couple of decades, perhaps more than in any time since the Cold War era, that it seems difficult to find new ways to make the concept resonate. This is particularly true as the real world starts to resemble a uniquely mundane version of the most vivid renderings of dystopia. Atlantis, Ukrainian director Valentyn Vasyanovych's fourth feature-length fiction film, succeeds in part because the situation it depicts is barely even fictional.
Vasyanovych was inspired to make the film by a visit to the Donbass region in the eastern part of his home country, which is the site of regular clashes between government troops and pro-Russian separatists, and which has been left environmentally ravaged due to the war there. Atlantis is set in an imagined 2025, five years after the war has ended, with the Donbass area no longer fit for human habitation—as will likely be the case in reality.
Sergiy (Andriy Rymaruk) and Ivan (Vasyl Antoniak) are PTSD-addled ex-soldiers who fought and killed for a place that wasn't worth saving, and who are under no illusions of finding a better life elsewhere. They now work at a steel mill that's about to fall victim to the same capitalist whims they were defending as part of the victorious pro-Western forces. A glimmer of hope is eventually offered by a volunteer group that drives around the region picking up the bodies of those who fell in the war, to identify them and provide them with proper burials.
Despite the film's basis in current geo-political and economic realities and its obvious parallels with the broader climate crisis faced by the world, it rarely engages directly with these themes. Instead, it's more interested in how people adjust to desperation and scarcity, showing a society where armed conflict and corporate neglect have poisoned the environment and devalued human life to such an extent that people aren't even able to grieve their losses. Vasyanovych employs long takes with almost no camera movement, combining naturalistic lighting with pictorial framing and a relatively large depth of field. As well as affording the time and space to appreciate the routines of their hardscrabble existence, this striking aesthetic serves to distance the viewer from the characters, showing these stoical figures alienated from themselves as much as they're dwarfed by desolate industrial landscapes.
The unrelenting bleakness of this situation often becomes almost cartoonish in proportion, and the film's slow pace occasionally conjures a tone of deadpan humor. An early scene sees Sergiy and Ivan setting up a row of life-sized dummies in the snow for shooting practice, and the depiction of this task in real time, with their truck's engine running conspicuously in the background throughout, draws out the childish inanity of their adherence to military discipline. Later, a 1984-aping scene of assembled workers being informed of their impending redundancy by a face on a giant projector screen, with an interpreter's Ukrainian translation disrupting the flow of this British company executive's ruthless corporate-speak, wouldn't be out of place in a more straightforward work of political satire.
The film's use of scale to drive home the absurdity of its characters' actions sometimes calls to mind Werner Herzog's tragicomic existentialism, as well as early silent cinema. In a feat of resolve and improvisation that would make Fitzcarraldo proud (not to mention Charlie Chaplin's shoe-eating tramp from a similarly barren locale a century prior), Sergiy cobbles together a hot tub for himself in the middle of the wasteland, filling a large digger's bucket with water from a hose and burning petrol-soaked timber underneath it for heat. His soak in this makeshift bath is Atlantis's most indelible image, a sight gag that also underlines his stubborn but admirable commitment to making a home where few other people dare to stay.
Appropriately for a study of humans physically engulfed by their surroundings, Atlantis is bookended by shots apparently captured with a thermal imaging camera. Initially coming across as gimmicky, representative of a broader style-over-substance artificiality that prevents the film from reaching the heights of its cinematic forebears, its final use is still surprisingly affecting. It highlights two people merging together in the warmth of postcoital intimacy, finding a new sense of belonging in the ruins. They jointly refuse to mourn a lost Atlantis that, given the state of our current reality, likely never existed for them in the first place.
Atlantis premiered last year at the Venice Film Festival and was slated to screen at the now-delayed New Directors/New Films. For sales information, please contact Best Friend Forever.
Cast: Andriy Rymaruk, Liudmyla Bileka, Vasyl Antoniak Director: Valentyn Vasyanovych Screenwriter: Valentyn Vasyanovych Running Time: 106 min Rating: NR Year: 2019
Review: Red Moon Tide Is a Haunting Elegy to Nature's Supremacy
The film is predicated on such ineffable dread that the impact of climate change becomes a sort of Lovecraftian force.3
Lois Patiño's Red Moon Tide is a work of unmistakable horror, one predicated on such ineffable dread that the impact of climate change becomes a sort of Lovecraftian force. Shots of flooded plains next to stagnant and drying reservoirs capture the contrasting, even contradictory ways that the world is being destroyed by the rippling effects of our hubris. The opening title sequence is a roving close-up of an ancient maritime map dotted with mythical, perilous creatures, and the hypothetical existence of a nautical monster pervades the entire film. Yet the true threats here are invisible, malignant forces of misery that cast a pall over everything, poisoning nature and rendering humans motionless.
Patiño's extreme long shots conjure unsettling moods through their use of natural backdrops and light. Waves at moonlight crash onto a beach, the ocean as dark as arterial blood. And in a recurring image, we glimpse an inactive hydroelectric dam, its face shot at angles that turn the concrete into a frame-spanning expanse of blank space. The soaked floodplains, meanwhile, fill the air with so much mist that sunlight casts a spectral glow over the Galician countryside.
This is the perfect backdrop for the loose, haunted narrative of a local fisherman, Rubio (Rubio de Camelle), who becomes convinced that a monster is hunting the shores of his coastal town as he discovers more and more human corpses when he takes his boat out each morning. At the start of Red Moon Tide, Rubio's boat has run around and the man himself is missing, making him a protagonist referenced more than seen as other townsfolk ruminate on whether or not the man's hunch was right as they themselves sink deeper into malaise.
The town where these locals dwell is shot in even starker terms than the landscapes, evoking Hopper-esque portraits of stasis and alienation. The non-professional actors are arranged like mannequins and frequently silhouetted, distanced from each other and often looking in opposite directions. People rarely speak aloud, instead silently stewing in internal monologues heard in somber voiceovers in which they contemplate the monster, giving it mythological properties such as having its behaviors dictated by the wax and wane of the moon.
Mythology is a crucial element of Red Moon Tide, with a trio of witches appearing nearly a half-hour into the film in search of the missing Rubio. These women spend the remainder of the film roaming around the countryside and the seaside town, often the only people in motion in the frame. Eventually, the witches start to drape the stock-still townspeople in sheets, making them look like ghosts. Rubio himself, well before he appears on screen, becomes an unwitting Charon figure ferrying the dead when his nets turn up fewer fish than corpses of those slain by the monster, returning their bodies to land for burial.
Buried beneath this mythic text are contemporary anxieties about climate change that gives Red Moon Tide an underlying logic, but the film is at its best when surrendering entirely to its hypnotic imagery. Andrei Tarkovsky is invoked at several junctures, from a shot that studies grass waving like strands of hair in a gently flowing brook to an image that moves through silhouetted trees with mountains in the distance that fittingly reflects the last shot of 1975's Mirror. The film thus ends with an apocalyptic intensity that gives a climactic confrontation with the lurking monster a feeling of meeting with destiny, of the creature embodying mankind's accelerating self-destruction in the face of nature reclaiming its supremacy.
Red Moon Tide had its world premiere last month at the Berlin International Film Festival and was slated to screen at the now-delayed New Directors/New Films. For sales information, please contact Lights On.
Cast: Rubio de Camelle, Ana Marra, Carmen Martinez, Pilar Rodlos Director: Lois Patiño Screenwriter: Lois Patiño Running Time: 84 min Rating: NR Year: 2020
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Sugar SkullThis metal chrome key chain is made from stainless steel and design images are covered in a clear enamel coating to prolong its longevity. Measures approximately 0.75" in diameter.
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The Vanderzee-Harper House is a fine surviving example of a Queen Anne style residence with Shingle style details, built c.1887 in Staten Island's affluent "Fort Hill" section. The house features many details characteristic of the Queen Anne and Shingle styles.
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|101 1/2 in x 10 1/2 in x 4 1/2 in / 26.7 cm x 26.7 cm x 11.5 cm
Product Description
This elegant, functional and enigmatic puzzle is a sure fire conversation starter. Slide the bottle into the metal caddy's cradle, lock the puzzle device and use it as your centerpiece. Bottle not included.
When the puzzle is solved, use the caddy as your wine server!
1 metal wine caddy, 1 bottle cap coil, 1 locking device, instructions.
Customer Reviews |Write your own review!
This item has yet to be rated


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Cast Donuts
Product Information
|Take apart and put back together again
|Level 8 - Demanding
|Hanayama Metal Puzzles, Vesa Timonen
|1.9 in x 1.4 in x 1.4 in / 4.7 cm x 3.5 cm x 3.5 cm
Product Description
Note: Our level rating system is different than Hanayama's. Hanayama's level 1 is equivalent to our level 5.... level 6 is equivalent to our level 10.
Cast Donuts has beautifully shaped rings that look like 2 donuts intertwined together.
Try solving the puzzle by imagining the inner structure and using each of the rings' division lines as a hint. You will be pleasantly surprised by the unique movements needed to separate the rings. This puzzle is a masterpiece in design and concept.
Theme: string
Creator: Finland's Vesa Timonen
Customer Reviews |Write your own review!
Disclaimer: These reviews are written by our customers. Puzzle Master makes every attempt to keep these posts informative and relevant. If you find a post objectionable or inappropriate, please let us know by sending an email to firstname.lastname@example.com
Another good pocket puzzle, but somewhat difficult to solve. Most people I show it to give up. Once the two pieces are aligned, pressure needs to be applied at certain points to split both pieces in half.
A very pretty and deviously slippery puzzle. One of my favorites. It requires a nice balance of logic, guesswork, and dexterity. Recommended.
A beatifull little puzzle which is rather easy to solve. Its rather small so its maybe difficult to handle it.
This little puzzle is awesome in every aspect! The design is perfectly great, the solution is very logical. I love it.
I like the concept behind this puzzle, but it seems too small to me and I found it awkward and slippery to work with. I figured out how it must come apart, but it just wouldn't budge. I found myself digging my fingernails into the gap, and having to crank with considerable force on the pieces. It almost hurt my fingers to work on the puzzle! I wish it was somewhat larger.
Remarkable puzzle, but could be disassembled haphazardly.
Gorgeous little puzzle! A lot of fun to fiddle with when it's in your pocket, just like the Marble one. And just like Cast Marble, it's pretty easy. Figured it out in about two minutes.


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We offer a Free quote and UK design service, get in touch today.
We're able to offer multiple life insurance policies so that if a member of the family dies, no one is put at a financial risk.
Our packages are tailored to fit your personal budget - we can even pay you the agreed figure in a lump sum, or pay it you over time to maintain a healthy income.
Your family will be financially covered when you take out insurance with us. Do not neglect the idea of doing so, as this could have a big financial impact on your loved ones.
Joint Life Insurance policies involves two people coming together to make one policy. This is different from separate life insurance as a joint policy means that when one person dies, the payment is made and to the remaining partner. This may be a good option for many as it can be a cheaper option whilst still having protection if death is to occur. Personal cover is a vital part of finance planning for anybody living in the United Kingdom. Having a partner and kids will mean that you must take life coverage into account, if both of you are earning an income or not. We can offer a joint life-insurance policy in Polbeth EH55 8 to suit your needs.
All things considered, how could the family cope in the event the spouse who stayed at home were to die? It will be challenging for the worker to quit work to stay home and care for the children; for this reason you must take into consideration money arrangements. You'll be able to ensure that loved ones can remain in the house or children can go to universities when you are gone by setting up a plan.
Since death is a very sensitive matter, many people put coverage off, making it challenging when a relation dies. The answer to can you have multiple life coverage policies is yes, and thats a good thing as your family could become subject to great financial risk if you don't consider policies. This is why we'd recommend looking at a number of UK packages to get the best plan available. Coverage price ranges can differ depending on particular people. Different people will live different lifestyles; people that smoke will usually pay more than those who don't and also younger people typically pay less than individuals who are older than them. The prices may even rely on the type of cover you choose. There are several kinds of life cover to suit many situations, regardless of whether you need package as a couple or individual. The coverage can also cover your outstanding mortgage loan or offer a one time pay out.
You will find the greatest packages for joint will come in various sorts. If a person dies, you'll either get a pay-out of the arranged amount as a lump sum or an ongoing income. Joint cover can be a much cheaper option for you to choose as you will both be paying in to one policy, rather than two seperate covers. It is important to remember that when one of the partners dies, you will only receive the payment for that death, the partner still alive will therefore not have any remaining coverage and may need to then sort out another personal insurance. Consider all the obtainable cover you can take out and see which works effective for you.
If you're looking to buy cheap online joint personal cover, we can easily assist you to find the best coverage to take out. By simply considering personal data, we could see more easily which plans you need to be looking at. One of the primary factors that will affect the coverage which you choose to take out would be whether or not you have kids. You may wish to take out a bigger coverage if you have a larger family as you will have more people to look after, even once you have died. However if you are a younger couple looking to get insurance a joint coverage may be best for you as the costs will be less as you are at a lower risk of dying. By choosing the appropriate plan, your loved ones won't struggle with money if you pass on.
We realise thinking about life cover can be extremely demanding, which is the reason we're here to make it easier for you. We offer multiple policies in Polbeth and have years of experience offering this service. As opposed to leaving behind your loved ones with financial problems, you ought to consider obtaining a policy. It is entirely up to you which policy you decide to get, yet we're happy to go over with you which could be better for you along with the pros and cons of each.
Obtaining a policy does not mean you have to cut back on your way of life. With our extraordinary discount rates and benefits, we'll keep you healthy from day one, therefore you'll always get something back regardless of whether you claim or not. Personal insurance will help your family members in the long run. It is about making sure that the people you love the most are cared for if the worst is to happen. We are happy to say that we are one of the most reliable and best joint life-insurance companies on the market in the UK, and offer nothing but the best service and quotes to suit you in Polbeth EH55 8 .


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|🏷 Coupons available:
|🙌 Best coupon:
|10% off
|⏰ Last updated:
|August 15, 2018
Aristotle Circle is an innovative advisory service that unlocks the power and passion of students by delivering personal, actionable and superior guidance and educational support.
We've found 2 active coupon codes for Aristotle Circle. Our best coupon will get you 10% off.
Our newest coupon code was added on September 27, 2018.
Recent shoppers have saved an average of 10% when they used our coupons to shop online at Aristotle Circle.
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Subscribe to Wethrift's email alerts for Aristotle Circle and we will send you an email notification every time we discover a new discount code. If you can't find a working coupon code right now, subscribe and receive the latest deals as soon as we discover them.
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We accept coupon code submissions for many stores. Please see our coupon submission page for more information and to submit your coupon code.


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About This Chevrolet
2017 Chevrolet Equinox
FWD 4dr Premier SUV
|Used Clear Title
|2.4L 4 Cylinder
|6 Spd Automatic
|Front Wheel Drive
|Exterior Color
|Summit White
|Light Titanium/Jet Black Leather
|Stock #
|Warranty Available
Vehicle Overview2017 Chevrolet Equinox Premier, 4D Sport Utility with Preferred Equipment and Driver Convenience Packages! Summit White w/Light Titanium/Jet Black Perforated Leather-Appointed Seat Trim! Equipped with 2.4L 4-Cylinder SIDI DOHC VVT, 6-Speed Automatic with Overdrive, FWD, 18" Aluminum Wheels, Bluetooth? For Phone, Deluxe Front Bucket Seats, Driver Confidence Package, Driver Confidence Package II, Enhanced Convenience Package, Preferred Equipment Group 1LZ, Protection Package, Exterior Parking Camera Rear, Forward Collision Alert, Front fog lights,8-Way Power Driver Seat Adjuster, 8-Way Power Front Passenger Seat Adjuster, ABS brakes, All-Weather Floor Mats, Chevrolet MyLink Premium Audio System w/AM/FM/SiriusXM, 6 Speaker Audio System Feature, Automatic temperature control, Heated Driver & Front Passenger Seats, Illuminated entry, Molded Splash Guards, Power Programmable Rear Liftgate, Rear Cross-Traffic Alert, Rear Park Assist, Rear window defroster, Rear window wiper, Roof rack: rails only, Security system, Side Blind Zone Alert, Brake assist, , Delay-off headlights, SiriusXM Satellite Radio, Speed control, Spoiler, Steering wheel mounted audio controls, 4-Wheel Disc Brakes,Universal Home Remote, Variably intermittent wipers.
Recent Arrival! 21/31 City/Highway MPG
* JD Power Dependability Study * 2017 KBB.com 10 Most Awarded Brands
* Backseat has plenty of space and slides/reclines for added comfort; optional V6 engine provides quick acceleration; interior stays quiet at speed; rides smoothly on rough roads. Source: Edmunds
Financing Information
Contact us today at 901-385-8700 for more information, or fill out our Online Credit Application to begin the pre-approval process today.
Payment Calculator
Estimated Monthly Payment:
Warranty InformationThis Vehicle is Being Sold "As-Is." Extended Warranty Available. Contact seller for details.
Contact Us at 901-385-8700
Saab of Memphis
2420 Covington Pike
Memphis, TN 38128
View Map & Get Directions
|9 a.m. - 7 p.m.
|9 a.m. - 7 p.m.
|9 a.m. - 7 p.m.
|9 a.m. - 7 p.m.
|9 a.m. - 7 p.m.
|9 a.m. - 6 p.m.
- Summit White with Light Titanium/Jet Black Leather Interior
- Air Conditioning
- Climate Control System
- Digital Information Center
- Front Heated Seats
- Heated Mirrors
- Leather Steering Wheel
- Memory Seat Position
- Steering Wheel Radio Controls
- Tilt Steering Wheel
- Tinted Windows
- 12v Power Outlet
- Power Driver's Seat
- Power Mirrors
- Power Steering
- Power Windows
- Anti-Lock Brakes
- Child Proof Door Locks
- Daytime Running Lights
- Driver's Air Bag
- Dynamic Stability Control
- Fog Lights
- Intermittent Wipers
- Keyless Entry
- Passenger Air Bag
- Rear Defogger
- Roll Stability Control
- Security System
- Side Air Bags
- Side Curtain Airbags
- Traction Control System
- Tachometer
- Vanity Mirrors
- Rear Spoiler
- Rear Wipers
- Roof Rack
- Anti-Theft
- Factory System
- Premium Sound
- Reverse Camera
- Satellite Radio
- Separate Tweeters
- Touch Screen
- Voice Control
- 3.23 Axle Ratio, Deluxe Front Bucket Seats, Radio: Chevrolet MyLink Audio System, 8-Way Power Driver Seat Adjuster, E10 Fuel Capable, Heated Driver & Front Passenger Seats, SiriusXM Satellite Radio, 6 Speaker Audio System Feature, 4-Wheel Disc Brakes, 6 Speakers, Front Bucket Seats, Front Center Armrest, Spoiler, Automatic temperature control, Brake assist, Bumpers: body-color, Delay-off headlights, Driver door bin, Driver vanity mirror, Dual front impact airbags, Dual front side impact airbags, Emergency communication system, Four wheel independent suspension, Front anti-roll bar, Front reading lights, Fully automatic headlights, Heated door mirrors, Heated front seats, Illuminated entry, Low tire pressure warning, Occupant sensing airbag, Outside temperature display, Overhead airbag, Passenger door bin, Passenger vanity mirror, Power door mirrors, Power driver seat, Radio data system, Rear anti-roll bar, Rear seat center armrest, Rear window wiper, Split folding rear seat, Telescoping steering wheel, Auto-dimming Rear-View mirror, Compass, Rear cargo: liftgate, Premium audio system: Chevrolet MyLink, Exterior Parking Camera Rear
Features & Specifications*
- Engine, 2.4L DOHC 4-cylinder SIDI (Spark Ignition Direct Injection) with VVT (Variable Valve Timing) (182 hp [135.7 kW] @ 6700 rpm, 172 lb-ft [232.2 N-m] @ 4900 rpm)
- Transmission, 6-speed automatic with overdrive
- Axle, 3.23 final drive ratio (Requires 1LJ26 model and (LEA) 2.4L DOHC 4-cylinder SIDI engine.)
- GVWR, 4960 lbs. (2250 kg) (Requires front-wheel drive vehicles and (LEA) 2.4L DOHC 4-cylinder SIDI engine.)
- E10 Fuel capable, for 2.4L DOHC 4-cylinder engine (May be upgraded to (FHS) E85 FlexFuel Capable with (FE9) Federal emissions.)
- Drivetrain, front-wheel drive
- Battery, maintenance free with rundown protection, 525 CCA
- Alternator, 120 amps
- Suspension, front independent MacPherson strut with stabilizer bar, optimally-tuned shocks and hydraulic-ride bushings in front control arms
- Suspension, rear independent multi-link with hydraulic rear trailing arm links and stabilizer bar
- Suspension, Refined Ride
- Steering, power-assist, electric-variable
- Brakes, 4-wheel antilock, 4-wheel disc
- Exhaust, single
- Vehicle Name : Chevrolet Equinox
- Body Style : Sport Utility Vehicle
- Drivetrain : Front Wheel Drive
- EPA Classification : 2WD Sport Utility Vehicle
- Base Curb Weight (lbs) : 3842
- Dead Weight Hitch - Max Trailer Wt. (lbs) : 1500
- Dead Weight Hitch - Max Tongue Wt. (lbs) : 150
- Wt Distributing Hitch - Max Trailer Wt. (lbs) : 1500
- Wt Distributing Hitch - Max Tongue Wt. (lbs) : 150
- Engine Order Code : LEA
- Engine Type : Gas I4
- Displacement : 2.4/145
- Fuel System : Direct Injection
- SAE Net Horsepower @ RPM : 182 @ 6700
- SAE Net Torque @ RPM : 172 @ 4900
- Trans Order Code : MX0
- Trans Type : 6
- Trans Description Cont. : Automatic
- First Gear Ratio (:1) : 4.48
- Second Gear Ratio (:1) : 2.87
- Third Gear Ratio (:1) : 1.84
- Fourth Gear Ratio (:1) : 1.41
- Fifth Gear Ratio (:1) : 1.00
- Sixth Gear Ratio (:1) : 0.74
- Reverse Ratio (:1) : 2.88
- Final Drive Axle Ratio (:1) : 3.23
- Cold Cranking Amps @ 0° F (Primary) : 525
- Maximum Alternator Capacity (amps) : 120
- Suspension Type - Front : MacPherson Strut
- Suspension Type - Rear : Multi Link
- Shock Absorber Diameter - Front (mm) : N/A
- Shock Absorber Diameter - Rear (mm) : N/A
- Steering Type : Pwr
- Steering Ratio (:1), Overall : 18.1
- Lock to Lock Turns (Steering) : 3.46
- Turning Diameter - Curb to Curb (ft) : 40.0
- Brake Type : Pwr
- Brake ABS System : 4-Wheel
- Disc - Front (Yes or ) : Yes
- Disc - Rear (Yes or ) : Yes
- Front Brake Rotor Diam x Thickness (in) : 12.6 x 1.18
- Rear Brake Rotor Diam x Thickness (in) : 11.9 x 0.78
- Wheels, 18" (45.7 cm) aluminum
- Tires, P235/55R18 all-season, blackwall
- Premier Exterior Appearance includes body-color bumpers with Charcoal lowers and rear bright chrome insert, Charcoal luggage rails with bright chrome insert, bright chrome door handles, bright chrome outside mirrors, bright chrome grille accents and 18" aluminum wheels
- Tire, compact spare with steel wheel
- Luggage rack side rails, roof-mounted (Includes bright chrome insert.)
- Bumpers, body-color with Charcoal lowers and rear bright chrome insert
- Moldings, Charcoal lower rocker
- Rocker moldings, door mounted, Charcoal
- Grille, Black with chrome surround (Includes additional bright chrome accents)
- Headlamps, halogen projector style
- Fog lamps, front halogen
- Glass, deep-tinted (all windows except light-tinted glass on windshield and driver- and front passenger-side glass)
- Mirrors, outside heated power-adjustable, bright chrome, manual-folding
- Wipers, front variable-speed, intermittent with washer
- Wiper, rear variable-speed, intermittent with washer
- Liftgate, rear manual with fixed glass
- Door handles, chrome
- Front Tire Order Code : QNT
- Rear Tire Order Code : QNT
- Spare Tire Order Code : N/A
- Front Tire Size : P235/55R18
- Rear Tire Size : P235/55R18
- Spare Tire Size : Compact
- Spare Wheel Size (in) : Compact
- Front Wheel Material : Aluminum
- Rear Wheel Material : Aluminum
- Spare Wheel Material : Steel
- Wheelbase (in) : 112.50
- Length, Overall (in) : 187.80
- Width, Max w/o mirrors (in) : 72.50
- Height, Overall (in) : 66.30
- Track Width, Front (in) : 62.90
- Track Width, Rear (in) : 62.10
- Min Ground Clearance (in) : 6.90
- Rear Door Opening Height (in) : 28.80
- Liftover Height (in) : 28.80
- Cargo Volume to Seat 1 (ft³) : 63.7
- Cargo Volume to Seat 2 (ft³) : 31.5
- Audio system, Chevrolet MyLink radio, 7" diagonal color touch-screen display AM/FM/SiriusXM stereo with MP3 playback capability, outside temperature indicator and Radio Data System (RDS), includes Bluetooth streaming audio for select phones; voice-activated technology for radio and phone; Hands-Free smartphone integration with Pandora and Stitcher; Gracenote (Playlist+, Album Art) (May be upgraded to (UHQ) Chevrolet MyLink radio with Navigation.)
- Audio system feature, 80-watt 6-speaker system mid-range speakers in each door and tweeters in the A-pillars (Upgradeable to (UZ8) Pioneer premium 8-speaker sound system.)
- Audio system feature, auxiliary input jack
- Audio system feature, USB port
- SiriusXM Satellite Radio is standard on nearly all 2017 GM models. Enjoy a 3-month All Access trial subscription with over 150 channels including commercial-free music, plus sports, news and entertainment. Plus listening on the app and online is included, so you'll hear the best SiriusXM has to offer, anywhere life takes you. Welcome to the world of SiriusXM. (IMPORTANT: The SiriusXM Satellite Radio trial package is not provided on vehicles that are ordered for Fleet Daily Rental ("FDR") use. If you decide to continue service after your trial, the subscription plan you choose will automatically renew thereafter and you will be charged according to your chosen payment method at then-current rates. Fees and taxes apply. To cancel you must call us at 1-866-635-2349. See our Customer Agreement for complete terms at www.siriusxm.com. All fees and programming subject to change.)
- Antenna, roof-mounted
- Chevrolet MyLink
- Bluetooth for phone personal cell phone connectivity to vehicle audio system and HMI (Human Machine Interface) (Upgraded to Chevrolet MyLink radio with Bluetooth streaming audio for music and select phones.)
- OnStar 4G LTE and built-in Wi-Fi hotspot connects to the Internet at 4G LTE speeds; includes OnStar Data Trial for 3 months or 3GB (whichever comes first) (Visit www.onstar.com for coverage map, details and system limitations. Services vary by model. OnStar acts as a link to existing emergency service providers. Not all vehicles may transmit all crash data. Available Wi-Fi requires compatible mobile device, active OnStar service and data plan. Data plans provided by AT&T.)
- Seats, Deluxe front bucket
- Perforated leather-appointed seating
- Seats, heated driver and front passenger
- Seat adjuster front, driver 8-way power with power lumbar
- Seat, rear, 2-way fore/aft adjustment with 60/40 split seatback and 3-way recline
- Memory settings
- Console, front center with armrest and concealed storage
- Armrest, rear center with dual cup holders
- Floor mats, carpeted front
- Floor mats, carpeted rear
- Steering wheel, leather-wrapped with audio and cruise controls
- Steering wheel controls, mounted audio controls
- Steering column, tilt and telescopic
- Instrumentation includes speedometer, single trip odometer, fuel level, engine temperature and tachometer
- Driver Information Center monitors 26 various systems including, Vehicle Information Menu (oil life, tire pressure, standard/metric units), Trip Information Menu (trip 1, trip 2, fuel range, average fuel economy, instant fuel economy, average vehicle speed) and compass display
- Compass display included in Driver Information Center (DIC)
- Windows, power with Express-Down on all 4 doors
- Door locks, power programmable with power lockout protection
- Remote Keyless Entry with 2 transmitters, panic button, content theft alarm activation verification and illuminated entry
- Remote vehicle starter system
- Cruise control, electronic with set and resume speed
- Theft-deterrent system, anti-theft alarm and engine immobilizer
- Air conditioning, automatic climate control
- Defogger, rear-window electric
- Cupholders, 2 front in center console and 2 rear in center armrest with 1 bottle holder in each door
- Power outlets, 4 auxiliary with covers, 12-volt includes 1 front of console, 1 in console, 1 in back of console and 1 in cargo area
- Mirror, inside rearview, self-dimming
- Visors, driver and front passenger illuminated vanity mirrors
- Assist handles, front passenger and rear outboards
- Map pocket, front seatback, driver and front passenger
- Lighting, interior with theatre dimming, center-mounted dome, rear cargo area, dual front map lights, ambient lighting on center stack surround, and center console cupholders (Includes ambient lighting on instrument panel, center console, door handle recess, door storage and footwell.)
- Cargo cover, rear security cover
- Cargo net, full-across rear
- Passenger Capacity : 5
- Passenger Volume (ft³) : 99.7
- Total Cooling System Capacity (qts) : 8.9
- Front Head Room (in) : 40.90
- Front Leg Room (in) : 41.20
- Front Shoulder Room (in) : 55.80
- Front Hip Room (in) : 54.60
- Second Head Room (in) : 39.20
- Second Leg Room (in) : 39.90
- Second Shoulder Room (in) : 55.30
- Second Hip Room (in) : 51.10
- Brakes, brake assist
- Brakes, Hill Start-Assist (HSA)
- Traction control
- StabiliTrak, electronic stability control system
- Daytime Running Lamps, LED
- Air bags, dual-stage, frontal, driver and right front passenger with passenger sensing system, Thorax side-impact, seat mounted, driver and right front passenger, head curtain, side front and rear outboard seating positions (Always use safety belts and child restraints. Children are safer when properly secured in a rear seat in the appropriate child restraint. See the Owner's Manual for more information.)
- Air bag, Passenger Sensing System, sensor indicator inflatable restraint, front passenger/child presence detector (Always use safety belts and child restraints. Children are safer when properly secured in a rear seat in the appropriate child restraint. See the Owners Manual for more information.)
- OnStar Guidance Plan for 3 months, including Automatic Crash Response, Stolen Vehicle Assistance, Roadside Assistance, Turn-by-Turn Navigation, Advanced Diagnostics and more (trial excludes Hands-Free Calling) for 6 months, including Automatic Crash Response, Stolen Vehicle Assistance, Roadside Assistance, Turn-by-Turn Navigation, Advanced Diagnostics and more (trial excludes Hands-Free Calling) (Visit www.onstar.com for coverage map, details and system limitations. Services vary by model. OnStar acts as a link to existing emergency service providers. Not all vehicles may transmit all crash data.)
- OnStar Basic Plan for 5 years includes limited vehicle mobile app features, Monthly Diagnostics Report and Dealer Maintenance Notification (Basic Plan available for 5 years from the date of vehicle delivery and is transferable. Does not include Emergency, Security or Navigation services.)
- Rear Vision Camera
- Safety belts 3-point, driver and right-front passenger, height-adjustable includes pretensioners
- Safety belts, 3-point, rear, all seating positions
- Door locks, rear child security
- LATCH system (Lower Anchors and Top tethers for Children), for child safety seats
- Tire Pressure Monitor System (Does not monitor spare.)
- Tons/yr of CO2 Emissions @ 15K mi/year : 7.1
- Fuel Economy Est-Combined (MPG) : 25
- EPA Fuel Economy Est - City (MPG) : 21
- EPA Fuel Economy Est - Hwy (MPG) : 31
- Stabilizer Bar Diameter - Front (in) : - TBD -
- Stabilizer Bar Diameter - Rear (in) : - TBD -
- Front Wheel Size (in) : 18 x - TBD -
- Rear Wheel Size (in) : 18 x - TBD -
- Turning Diameter - Wall to Wall (ft) : - TBD -
- Fuel Tank Capacity, Approx (gal) : 18.8
- Rear Door Opening Width (in) : - TBD -
- Cargo Area Length @ Floor to Seat 1 (in) : - TBD -
- Cargo Area Length @ Floor to Seat 2 (in) : - TBD -
- Cargo Area Width @ Beltline (in) : - TBD -
- Cargo Box Width @ Wheelhousings (in) : - TBD -
- Cargo Box (Area) Height (in) : - TBD -
- 85,948 Miles
- No Known Mechanical Problems
- As-Is - Extended Warranty Available. Contact seller for details.
- Excellent Interior
- Excellent Carpets
- Excellent Seats
- Excellent Dashboard
- Excellent Panels / Headliner
- Excellent Exterior
- Excellent Original Paint
- Excellent Trim Condition
- Excellent Glass Condition
- No Visible Rust
- No Known Accidents
- No Known Bodywork
- Fully Detailed
- Tire Size: 0
- Aluminum Wheels


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A recent Court of Appeals decision will likely force retirement plan advisors to ensure they have selected the appropriate mutual fund share class for their plans—a potentially daunting task, says Fred Reish, partner and chairman of the financial services ERISA team at Drinker Biddle & Reath.
In Tibble v. Edison International, the Ninth District Court for the Central District of California on March 21 decided that "fiduciaries have an obligation to select appropriate share classes for their plans," Reish says. "Closely related to that is the trial court's admonition that fiduciaries must ask about the available share classes."
Participants in the Edison 401(k) Savings Plan alleged in 2007 that 401(k) plan fiduciaries breached their duties by including certain investment options in the plan, such as retail-class mutual funds, and engaged in revenue sharing.
The Tibble decision, Reish (right) explains, focused on "the reasonable expense ratios for plan investments," and "ERISA imposes both a fiduciary rule and a prohibition on spending more than reasonable amounts for operating a plan, including the investment costs."
However, Reish notes that "rather than looking at the evaluation of mutual fund expenses in the traditional way—that is, comparing expense ratios to those of other funds—the trial court found, and the appellate court agreed, that plans must use their purchasing power to select the appropriate share class."
What does this mean for advisors to a retirement plan? The practical consequence of the decision, Reish says, is that "advisors should make recommendations based on the share classes available and must educate plan sponsors about the available share classes, including their costs, and plan sponsors (typically acting through their plan committees) must understand that multiple share classes may be available and must investigate which are best for their plan and participants."
But that could be a "daunting task," Reish asserts, as some mutual funds may have 10 or more share classes. "That could include, for example, A, B, C, I, R-1, R-2 shares, and so on. This will place an additional burden on advisors…and, in that sense, may favor advisors who focus on retirement plans."
An even more complicated scenario may ensue, Reish says. "Share classes for mutual funds and separate account 'classes' for group annuity contracts may, for these purposes, be virtually identical. If that is true, advisors will need to educate plan sponsors on the classes available in group annuity contracts. Then, advisors will need to help plan sponsors select the appropriate separate account class for that particular plan."
Since some insurance companies offer group annuity contracts with 10 or even 15 separate account classes, Reish explains, "advisors will need to be more attentive to the alternatives that are available and will need to work with plan sponsors to understand the share and separate account classes (including the revenue sharing and compensation aspects) and to select the appropriate classes based on the size and needs of the particular plan."
Read A Look at Declining Expense Ratios on AdvisorOne.