Drug abuse is primarily a medical problem, not a crime against society. American anti-drug policy is a means of social control that's rooted in racial and ethnic prejudice. The country's incarceration industry has become a self-sustaining force, predicated on economics rather than justice.
The Swiss canton of Vallais isn't exactly South Central, but it does have a crime problem: His name is Simon, and he seems to have found the perfect racket. Sister's 12-year-old protagonist (Kacey Mottet Klein) steals skis, gear and clothing at an upscale mountain resort that's just a short tram ride above his bleak flatland apartment.
Not only is the ski lodge convenient, but it's frequented by people who are too rich to sweat the loss of their stuff. ("They'll just buy a new one," Simon explains to one of the townies who buy his purloined goods.)
Every filmmaker has the right, of course, to remake his own film. And what filmmaker wouldn't relish the chance to redo something he felt he didn't get quite right the first time around, either for lack of funds or for lack of support from a studio?
Originally published on Thu October 4, 2012 5:22 pm
Dang if Home for the Holidays season hasn't rolled around again — that jolly time of year when screenwriters dust off childhood memories of mildly distressed families and distress them further for our sentimental education. Yet if it seems a little early-autumn yet for that sort of thing, please welcome a surprisingly superior specimen of the genre, courtesy of the best indie ensemble money can buy.
The words "florid" and "inert" are not quite antonyms, but it would nonetheless seem impossible for those two adjectives to apply to the same thing. And yet here comes The Paperboy, a swamp noir so spectacularly incompetent that even the ripest pulp attractions are left to rot in the sun, flies buzzing lazily around them.