WILD TALES – The Review

Here’s a solution for the indecisive moviegoers. Not sure if you’re in the mood for a drama or comedy or a thriller? Well, how about an anthology? It’s like a good short story collection,  or you could call this type of flick a movie buffet or a cinema smorgasbord. Most of the time, these films, in their earlier incarnations, center around a setting (GRAND HOTEL), a gathering (DINNER AT EIGHT), or an incident (the big cash winners in IF I HAD A MILLION). There are animation anthologies (the most famous may be FANTASIA or ALLEGRO NON TROPO) and musicals (INVITATION TO THE DANCE). The most prolific type may be those in the horror genre, beginning with 1945’s landmark DEAD OF NIGHT. In the 60’s and 70’s, Amicus Studios made their mark with TORTURE GARDEN and THE HOUSE THAT DRIPPED BLOOD along with the EC Comics-inspired TALES FROM THE CRYPT and THE VAULT OF HORROR. These ghoulish grab-bags have made a comeback of late with the VHS series. Many recent films have told separate stories that often overlap characters and backdrops like the SIN CITY films and the Best Picture Oscar winner from Paul Haggis, CRASH (along with his dismal follow-up from last year, THIRD PERSON). This recent Oscar-nominee for Best Foreign Film doesn’t share characters or a specific location, but is united by a common thread: revenge. Famously Eugene Sue (or was it Khan Noonien Singh?) said, “Revenge is a dish best served cold”, but since this flick comes from Argentina, it’s naturally more than a tad “caliente”. From south of the border comes a spicy sextet of WILD TALES.

This crazy combo platter gets its first course in just before the opening titles. With “Pasternak”, we follow a young woman as she boards a plane for an unforgettable journey along with passengers who share more with her than just the ride. Next is “Las Ratas” (The Rats), which all takes place on a very rainy night at a near-deserted highway diner. The waitress opens the door as her only customer escapes the torrential downpour. After a brief exchange, the man’s surly demeanor releases a floodgate of memories. Back in the kitchen, she tells the world-weary cook that this is the man who, long ago, destroyed her family. The chief suggests adding a special “spice’ to his fried eggs and potatoes. But the young woman is torn. Should she…? “El Mas Fuerte” (The Strongest) follows with the soggy setting replaced by an almost-deserted stretch of bright, arid two-lane road. A smartly dressed businessman is zipping down said road in his flashy new Audi. Well, until a run-down pickup truck tries to block him from passing. As they spy each other, expletives and hand gestures are exchanged before Mr. Audi zooms past. All’s right again with the world… until…oh,oh…a flat tire. As he hurriedly puts on the spare, guess who approaches (it aint’ AAA)? From the sagebrush showdown we’re back in the bustling city for “Bombita” (Little Bomb), as an everyman (well, he does have a unique skill set) butts heads with big town bureaucracy over the possibly illegal towing of his car, which sends the man’s life on a downward spiral. He can’t seem to get justice, but maybe he can get even. We remain in an urban setting for “La Propuesta” (The Proposal) where a rich couple awake to a nightmare as their sobbing teenage son tells them of an accident. A look at the sports car confirms it (that damning dangling plate), and soon the local TV news is blanketing the airwaves with the story of a pregnant woman struck and killed by a hit-and-run driver. The rich patriarch goes proactive as he summons his attorney. They hatch a plan: the family gardener/caretaker took the wheels out for a booze-fueled joyride. But will the old man take the fall even with a big pay-out upon his release from prison? The bribes  soon pile up into a green mountain while the victim’s distraught husband vows vengeance on every TV channel. Finally the film concludes, not with another auto-related saga, but with an opulent wedding in “Hasta Que la Muerte Nos Separe” (Until Death Do Us Part). The newlyweds are enjoying the perfect wedding reception in the ballroom of a swanky high-rise hotel. The bride radiantly surveys the perfect scene. Hmmm, who’s the sultry brunette in the short skirt he’s talking with? A co-worker perhaps? Or could it be the caller she spoke with when she answered her new hubby’s phone a few weeks ago? Good thing she transferred the number to her own cell. But should she…? I think you can guess her next move.

Like any multi-course meal, one dish is usually the tastiest. Here it’s the mayhem-filled “Strongest” as we’re gripped by a duel of wits and wills that is a great twist on Spielberg’s classic TV movie, um, “Duel”, but lightly seasoned with a pinch of “Looney Tunes” masters Tex Avery and Chuck Jones and a sprinkling of Russ Meyer (particularly the climax of SUPERVIXENS) and topped with a tangy EC Comics twist ending. Speaking of comics, the two men almost become live action doubles for the long-running “Spy Vs. Spy” characters from Mad magazine as each one takes turns having the “upper hand” and alternate between aggressor and prey. This isn’t to say that the other segments don’t have their own delights. The slow-building realization of “Pasternak” that quickly escalates into full panic. The whole “morality” question in “The Rats” as the cook becomes the devilish imp on the server’s shoulder. Little Bomb” is anchored by a compelling performance by Ricardo Darin as the harassed everyman that recalls Jack Lemmon in THE OUT OF TOWNERS and PRISONER OF SECOND AVENUE for exasperation. Speaking of, there’s a terrific moment in “Proposal” when the father has been treated as a unending stream of cash and finally declares that the ATM is out-of-order. Permanently! Of course, we all have “wedding receptions from Hell” stories, but the final segment breaks new ground. It too escalates slowly into catastrophe aided by the crazed, manic performance by Erica Rivas as the bride, who is an unpredictable tornado in white lace, her eyes darting about as she formulates the proper punishment. The ringmaster of this incredible, energetic cast is director/writer Damian Szifron, who knows exactly how long each tale needs to be to get the best impact (perhaps consulted by another terrific director, co-producer Pedro Almodovar). My compliments to Chef Szifron! After indulging in the film feast (six great stories in one) that is WILD TALES, you won’t leave the theatre hungry!

4 Out of 5

WILD TALES opens everywhere and screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre