Over the past decade and a half, Wim Wenders has been responsible for one of the most peculiar filmographies ever assembled by a big name director. While Until the End of the World will always have its passionate defenders (including a few of us here at the Screengrab), it’s harder to make a case for such white elephants as The End of Violence and The Million Dollar Hotel. The director’s 2005 attempt at recapturing the spirit of Paris, Texas by teaming up again with screenwriter Sam Shepard for Don’t Come Knocking resulted in yet another moody, cryptic and meandering melodrama stuffed with oddball characters and dazzling visuals but short on narrative sense or recognizable human behavior.
Is there a quick fix that might set Wenders back on the path of relevance?
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