A Home at the End of the World (2004)

A Film Review

Copyright Dragan Antulov 2005

While there is little doubt about whether Colin Farrell is a good actor or not, it still remains to be seen will he last as Hollywood star. Last year wasn't very kind for him due to the spectacular fiasco of ALEXANDER, film in which he played a bisexual character with bad wig. He did the same in another, less expensive and less known A HOME AT THE END OF THE WORLD, drama directed by Michael Mayer.

The script for the film was written by Michael Cunnigham, novelist best known as the author of THE HOURS. The plot begins in Cleveland 1967, when we are introduced to the film's protagonist Bobby Powel (played by Andrew Chalmers), who is 9 years at the time. His older brother, true child of 1960s, introduces him to the drugs and concepts of free love only to lose life in bizarre incident at the party. Years pass and in 1970s adolescent Bobby (played by Erik Smith) loses both of his parents, but finds surrogate family through his best friend from school, nerdy Jonathan Glover (played by Harris Alan), with whom he would have his first sexual experiences. Years pass and two best friends separate - in early 1980s Bobby (played by Farrell) works as a baker, while Jonathan (played by Dallas Roberts) enjoys openly gay lifestyle in bohemian circles of New York. When Bobby comes to visit him, Jonathan lives with his platonic best friend Clare (played by Robin Wright Penn). Soon a threesome develops, with kind-hearted virgin Bobby all too willing to help Clare have a baby.

A HOME AT THE END OF THE WORLD, just like THE HOURS, features sexually ambivalent characters experiencing melodramatic amounts of misery only to ultimately find some happiness in same-sex relationship. However, two films are very different in tone, style and, ultimately, quality. A HOME AT THE END OF THE WORLD is shorter than THE HOURS and this is the main reason why Michael Cunnigham should be pleased with this adaptation of his work. First-time director Michael Mayer was forced to move the plot quickly, thus depriving the film of long, pretentious dialogues and unnecessary characters. Instead of annoying soundtrack by Philip Glass, the music background of this film is provided by 1970s and 1980s pop. But the most important difference between two films is its generally uplifting atmosphere - all of the characters are kind-hearted and well-intentioned, projecting almost a fairytale cheerfulness at odds with generally depressing events of the plot. Just like its angelic protagonist, the film tries desperately tries to please the audience.

Just like in many other cases, authors' good intentions, however, aren't enough to create a good film. A HOME AT THE END OF THE WORLD features fine cast - Farrell is acceptable in lead role, despite bad wig and emptiness of his character, while almost unrecognisable Robin Wright Penn steals the show. However, good acting can't compensate for the major plot problems. The separation of Bobby and Jonathan in the middle of the film is never explained, which leaves the huge gap that the film failed to fill and only makes the cliches, which start to multiply at the end, more annoying. Although watchable, A HOME AT THE END OF THE WORLD is ultimately nothing more than another sad example of American independent cinema succumbing to the same disease that have plagued Hollywood mainstream.

RATING: 3/10 (+)

Casa de los Babys (2003)

A Film Review

Copyright Dragan Antulov 2005

John Sayles gained reputation of independent filmmaker by tackling the complex racial and social issues of contemporary America in a way that defied both Hollywood conventions and simplistic approaches of Hollywood Limousine Liberals. His films had great number of characters, each of them often representing certain social group, and their everyday lives revealed some truths America and the rest of the world preferred to ignore, especially during the decades of Reagan and Clinton. These days, when America-bashing becomes part of the world's cultural mainstream, Sayles' approach isn't as innovative and refreshing as it used to be, which often results in disappointing films. One of such disappointments is his 2003 drama CASA DE LOS BABYS.

The plot takes place in unnamed South American country affected by great economic crisis that forces many mothers to give their children for adoption. This becomes a booming business, especially for Señora Muñoz (played by Rita Moreno), owner of the hotel where six women from USA wait for administrative process to be completed. The loose plot revolves around those women, revealing slices of their lives and characters, as well as the lives of those around them - illiterate and glue-sniffing street children, young maids and unemployed men who seek fortune through lottery.

Like in all Sayles' films, the diverse set of characters of CASA DE LOS BABYS - each representing certain segment of society - is skillfully introduced and the audience is intrigued by gradual revelation of their personal secrets and the way those secrets fit into the grand scheme of things. The very good cast, featuring veterans like Moreno, independent cinema icons like Lili Taylor or younger actors like Maggie Gyllenhaall, also contributes to this effect. Sayles also puts semi-documentarian style of shooting and editing to good use.

Unfortunately, Sayles apparently didn't know what to do with all those characters. The film ends too abruptly, with some of the subplots and characters looking underdeveloped and underused, while some scenes are overlong and look pretentious. CASA DE LOS BABYS lacks any sort of cathartic plot resolution, and instead the audience is left with impression of a political pamphlet not very different from others that come from left-leaning Hollywood these days - an unsubtle and over-simplified vision of the world where rich, white Protestant Americans are source of all the world's injustices and brown-skinned inhabitants of Third World their helpless victims. This simplicity is disappointing when it comes from someone like Sayles, and annoying when it isn't not followed by any hint how to tackle those issues.

RATING: 5/10 (++)

Written on September 26th 2005

The Stone Raft (2002)

(LA BALSA DE PIEDRA) (2002)

A Film Review

Copyright Dragan Antulov 2005

The author of this review lives in a country whose political leadership is willing to sacrifice anything in order to join Europe. In light of these developments it is entertaining to see the THE STONE RAFT, 2002 Dutch-Spanish-Portuguese film where the plot, based on the novel by Portuguese writer Jose Saramago, revolves around the opposite process.

The plot begins with a crack that appears in Pyrenees Mountains. As the crack widens, Iberian Peninsula begins to drift away from the rest of European continent. While this happens, five men and women have began noticing that they were personally affected by other unexplainable phenomena - elderly pharmacist senses earthquakes nobody else can, one man could throw rocks hundreds of meters into the sea, a woman can't unravel knitted sock, young man is constantly followed by a flock of bird while another woman can't erase the lines she makes in the dust. All five of them join on a journey trying to find the sense in all those strange events.

Jose Saramago, author of the original novel, has won the Nobel Prize for literature. However, THE STONE RAFT is just another sad example of great literary works not looking that great when adapted to screen. George Sluizer, Dutch director famous for two versions of THE VANISHING, and his co-writer Yvette Biro, apparently failed to understand difficulties related to streamlining hundreds of pages into feature film format. Because of this, THE STONE RAFT almost immediately drifts away from the audiences just as the peninsula drifts away from the continent. Unusual and otherwise fascinating characters, played by experienced actors, most notably Gabino Diego, are wasted because of often incomprehensible dialogue and jokes that fall flat. The film often looks to be stuck in a limbo between genuine disaster movie and satire. The scenes which are supposed to be comment on Iberian and European politics look forced and ineffective, especially to the audiences unfamiliar with European issues. The "symbolic" ending is, just like the rest of the film, one huge disappointment. Although good acting saves general impression to a certain degree, THE STONE RAFT is a pretentious failure destined to sink into oblivion.

RATING: 3/10 (+)

George and the Dragon (2004)

A Film Review

Copyright Dragan Antulov 2005

Hollywood was often accused of spreading simplified and incorrect perceptions of world's history among world masses. The arguments for that claim could be found in various aspects of today's popular culture, but few point to the severity of the problem as some European filmmakers' tendency to tailor their visions of European past and culture towards Hollywood standards. One of such examples is GEORGE AND THE DRAGON, 2004 medieval fantasy comedy written and directed by Tom Reeves in Luxembourg.

The plot begins after the First Crusade, when hundreds of European knights return to their homes. One of them is George (played by James Purefoy) who must leave his friend and former Muslim foe Tarik (played by Michael Clarke Duncan) in order to return to England and buy small piece of land from King Edgar (played by Simon Callow). The sovereign has other problems, because his daughter Princess Lunna (played by Piper Perabo), who was just about to marry powerful warlorld Garth (played by Patrick Swayze), disappears, apparently being abducted by the last dragon on Earth.

The plot by Reeve and Tom Burke quickly dispenses with any attempt of historical accuracy and instead mixes elements of ancient Christian legend of St. George and the Dragon with simplified "politically correct" version of Crusades and some modern-day New Age environmentalism thrown for good measure. This disregard for history, on the other hand, allows Continental European locations to pass for England (or generic West European country) while the characters can be simplified and believable at the same time.

The very simplicity of the characters and plot makes GEORGE AND THE DRAGON one of few action spectacles suitable for the youngest audiences. Those who want more from films than simple stories can enjoy in some unusual performances from the relaxed actors who obviously had great deal of fun during the production. James Purefoy, British actor who was often talked about as potential James Bond, is very entertaining in his semi-comical portrayal of archetypal hero, while Patrick Swayze brings few unintended laughs in uncharacteristic role of villain. CGI dragon, on the other hand, leaves much to be desired, but this could be said about many other aspects of the film. However, GEORGE AND THE DRAGON could nevertheless be recommended as passable entertainment if the viewers' expectations aren't particularly high.

RATING: 5/10 (++)

Spirited Away (2001)

(SEN TO CHIHIRO NO KAMIKAKUSHI) (2001)

A Film Review

Copyright Dragan Antulov 2005

The author of this review doesn't watch as much anime films as much as he would like to. When this happens, I try very hard to watch the best films available. In case of SPIRITED AWAY, 2001 film by Hayao Miyazaki, I didn't have much choice for one simple reason - it was the only anime film regularly distributed in my country. The reason why it deserved such honour lies in the series of awards it had received and reputation that grew in past few years even beyond circles that know much about anime films.

The plot begins when 10-year old Chihiro (voice by Rumi Hiragi) travels with her parents to new home. Along the way they make a wrong turn and end up in a place that looks like abandoned theme park. Chihiro soon learns that the park is situated in parallel universe and that is actually used by various gods and spirits and that humans are rather unwelcome there. Her parents end are transformed into pigs and Chihiro now must use all her skill, determination and help by some friendly locals to break the spell, turn her parents back into human form and return to normal world.

One of the greatest achievements of SPIRITED AWAY is the script, which is simple enough to be understood by children, yet complex and multi-layered enough to be appreciated by older audiences. SPIRITED AWAY in itself combines elements of children's classics like ALICE IN WONDERLAND and WIZARD OF OZ, yet the plot could be interpreted as Miyazaki's comment on contemporary issues like labour relations and environmental protection in modern Japan. Another thing that sets SPIRITED AWAY apart from many other animation films, especially those produced in USA, is the absence of clearly defined villains. Almost every character in the film has at least some redeeming features and can't be simplified into black-and-white cliches. This is one of the reasons why SPIRITED AWAY turned out to be one the greatest box-office success in Japanese history.

Since Miyazaki is one of the greatest names in anime world, it isn't that surprising to find SPIRITED AWAY visually stunning. Great effort has been invested in this film and it shows not only in series of mesmerising and innovative images, but also in the mere quantity of them. With more than two hours of running time, SPIRITED AWAY represents one of the longest animation films in recent history and a pleasant experience to all those who complain about conventional Western films of that genre being too short or too simple.

The author of this review, however, found experience of SPIRITED AWAY to be not as overwhelming as he had expected. I struggled to find the source of imperfection in this film and I finally found it in Joe Hisaishi's musical score, which was somewhat lacking and beyond high standards of the rest of the film.

On the other hand, this little imperfection means little in the end and SPIRITED AWAY deserves recommendation as very good piece of filmmaking.

RATING: 8/10 (+++)

Picture Claire (2001)

A Film Review

Copyright Dragan Antulov 2005

The author of this review has often encountered films in which good ideas were wasted due to poor execution. One of such examples is PICTURE CLAIRE, 2001 Canadian thriller directed by Bruce McDonald.

The protagonist of the film is Claire Beaucage (played by Juliette Lewis), French Canadian woman whose apartment in Montreal is torched. She immediately decides to start new life in Toronto and meet Billy Stuart (played by Kelly Harms), photographer with whom she had a brief romance. All she encounters in new, foreign city are series of unpleasant surprises - Billy not only has a snotty English girlfriend Cynthia Lacey (played by Camilla Rutherford), but he had secretly made photographs of her and made her the star of his exhibition. Even bigger problem for Claire is her poor English, which created all sorts of misunderstandings, ultimately resulting in her being mistaken for Lily Warden (played by Gina Gershon), professional criminal involved in a smuggling operation that went horribly wrong. Claire is now pursued both by police and psychopathic hitman Laramie (played by Callum Keith Rennie).

McDonald and screenwriter Semi Chellas had some good ideas for this film. The standard thriller plot about mistaken identity was injected with the protagonist unable to properly communicate with her surrounding, making all kinds of standard thriller situations look refreshing. McDonald also made film look unusual with all kinds of flashbacks and surreal scenes illustrating the mental state of protagonist.

However, not all decisions were good. Casting Juliette Lewis as French Canadian was somewhat unusual, but, on the other hand, it was very close to typecasting because some of the best remembered roles of her career had been those of retarded and other socially dysfunctional women. Even bigger mistake is in the plot that solves some of its problems with the series of convenient coincidences. When it happens, the audience is confused, because such plot mechanisms are more suitable for screwball comedies than gritty urban thrillers with graphic violence. The discrepancy between the near-comedic plot and its bloody, naturalistic resolution dooms PICTURE CLAIRE to the fate of many films that didn't live to its true potential.

RATING: 4/10 (+)

City of Ghosts (2002)

A Film Review

Copyright Dragan Antulov 2005

In light of current events many would argue that famous American actor Matt Dillon had real misfortune of releasing his directorial debut CITY OF GHOSTS at least three years too early. The beginning on this thriller's plot describes situation many of today's Americans can relate to - a disastrous hurricane has wrecked East Coast and for numerous families the insurance seems to be the only way to get their lives back together. However, many get unpleasant surprise when it turns out that Capable Trust Co. was nothing but a clever con scheme. Jimmy Cremming (played by Matt Dillon) is one of company's employees who, upon being interviewed by FBI, flees to Cambodia in order to find his boss and mentor Marvin (played by James Caan). Upon arrival, he slowly realises that Marvin has other problems than fleeing from authorities and that his quest for Marvin might get both men in trouble related to all sorts of nasty characters in and outside Cambodia.

CITY OF GHOSTS has dubious honour of being one of few low-budget films referred as box-office flops in recent memory. The critical response to the film wasn't more favourable. There are many reasons for that, but the most obvious one is Matt Dillon's directorial inexperience. It reflected itself in beginner's mistake of being too much in love with his work to do some necessary cuts. Because of that CITY OF GHOSTS is overlong and, at times, confusing. Dillon is, however, in love not only with his film but also with the country that gave him inspiration years ago. Few films in recent memory has captured a sense of place, its exotic sights and customs, as well as bloody history and slightly more peaceful present, with such precision and care for details. CITY OF GHOSTS, often referred as the first Hollywood production in Cambodia since 1965 LORD JIM, can be criticised of many things, but wasting locations and local talent is not one of them.

On the other hand, those who watch this film may ask Dillon why didn't he invest his talent into a documentary instead of injecting this fascinating setting with unconvincing plot and cliched characters. The acting is sometimes surprisingly good, especially when first-time actors Kem Sereyvuth (playing protagonist's sidekick) and Chalee Sankavesa are paired with veterans like Dillon or Caan. On the other hand, actors, like Gerard Depardieu and Natascha McElhone are wasted in unecessary roles, especially McElhone who plays protagonist's obligatory romantic interest. The ending, which appears too late, is predictable because it conforms to moralist and other storytelling principles of Hollywood. However, those who were patient enough to sit through this film are going to be awarded with memorable experience - sights and sounds seldom seen in contemporary Hollywood films.

RATING: 6/10 (++)

Birth (2004)

A Film Review

Copyright Dragan Antulov 2005

"People don't know a good thing when they have it" is a proverb often applied by those familiar with the way public reacted to certain films. One of such events occurred on last year's Venice Film Festival when the audience booed BIRTH, 2004 drama directed by Jonathan Glazer. Apparent reason for that was the scene that allegedly challenged the neo-puritanical standards of modern American cinema by having adult and pre-pubescent character in a bath together. Sensationalist media were quick to proclaim this film "controversial" and add word "paedophilia" to any article about it. That is a shame because BIRTH deserves to be talked about for completely different sort of reasons.

The plot begins with the death of a New York physician. Ten years later, his grief-stricken widow Anna (played by Nicole Kidman) has finally decided to marry Joseph (played by Danny Huston). But one day a 10 year-old boy named Sean (played by Cameron Bright) comes to her apartment and claims to be her reincarnated husband. Anna and her friends and relatives were at first amused, then annoyed when Sean sticks with his fantastic story and reveals some details that could be known only to Anna's late husband. Gradually Anna begins to discards her scepticism and starts believing that Sean is indeed her husband.

BIRTH represents all the best and all the worst things associated with the phrase "art film". Thankfully, the former outnumber the latter, which is quite a surprise considering Jonathan Glazer's previous film - confused and overrated gangster drama SEXY BEAST. This time Glazer picked completely different story, different plot, different setting and different characters and, most importantly, applied completely different style.

The very beginning of the film - the long shots of New York's Central Park in winter, accompanied by Alexandre's Desplat music score - suggests a film with style and atmosphere not seen in majority of mainstream Hollywood films. Most of the characters belong to New York's social elite and the film tells story in minimalist, almost cold, manner. It takes certain amount of skill for authors to make audience care for the characters in such story. Glazer, who co-wrote script with Jean-Claude Carriere and Milo Addica, does that to a degree, but his efforts were really boosted by very good cast. Nicole Kidman, who resembles Mia Farrow's character from ROSEMARY'S BABY, is excellent in conveying conflicting emotions with little words, while the young Cameron Bright keeps the film on his shoulders by convincingly radiating ambiguity of his character and the story as a whole.

The most important reason why BIRTH should be praised is, however, in its script. The story is handled in a way quite different from mainstream Hollywood - reincarnation subplot is approached with seriousness, and even when plot occasionally sink into implausibilities, it occurs in a way that doesn't insult viewers' intelligence. The characters react to this preposterous situation in a way adult, serious and ultimately sceptical characters would. Some may argue that the convenient plot device ends the film in overtly melodramatic fashion, and that the ambiguity at the end might look over-pretentious. BIRTH is nevertheless deserves recommendation and well-made and intelligent drama, unburdened with cliches of contemporary Hollywood.

RATING: 7/10 (+++)

Lost Embrace (2004)

(EL ABRAZO PARTIDO) (2004)

A Film Review

Copyright Dragan Antulov 2005

Today, Argentina is often referred as embodiment of economic ruin, but a century ago it used to be one of the most prosperous parts of the world. Many of the impoverished and underprivileged Europeans saw little difference between seeking fortune in New York or Buenos Aires. As a result, Argentina is often perceived as one of the most multi-ethnic parts of Latin America. Some of the issues related to ethnically diverse background of many modern-day Argentines are the subject of LOST EMBRACE, 2004 comedy directed by Daniel Burman.

Protagonist of the film is Ariel Makaroff (played by Daniel Handler), young Jewish man of Jewish descent who works as a clerk in his family's lingerie store, situated in mini-mall where the stores are owned by people from various parts of the world. This situation forces Ariel to start questioning his identity, especially with the return of his long-absent father who had left one year-old Ariel in order to fight for Israel in Yom Kippur War. At the same time Ariel considers using the Polish background of his ancestors in order to obtain Polish citizenship and emigrate to Europe, which is now more prosperous than Argentina.

The basic idea behind LOST EMBRACE - exploring individual identity in increasingly globalised and multi-ethnic world - could have resulted for intriguing and interesting film. Unfortunately, director Burman is obviously unable to express such ideas in any coherent way. In an apparent attempt to make LOST EMBRACE into Argentine version of Woody Allen's films, Burman makes film that gives ultimate impression of missed opportunity, very much like many of the more recent films of New York director. The plot is burdened with often irritating stream of consciousness narration, while the audience is confused with jerky camera moves. There are, however, quite a few scenes worth watching in LOST EMBRACE, most notably those featuring Rosita Lardner singing in Yiddish. Those, however, aren't enough to make this cinematic underachievement into anything more than merely watchable.

RATING: 4/10 (+)

Melinda and Melinda (2005)

A Film Review

Copyright Dragan Antulov 2005

Woody Allen's filmography recently began to resemble EXERCISES IN STYLE, the book by French author Raymond Queneau (1903-1976). The book is comprised of the same simple and banal story told in 99 different ways. In his 2005 film MELINDA AND MELINDA Allen uses the same concept by having a similar tale told in two different ways.

The plot begins when two playwrights - Sy (played by Wallace Shawn) and Max (played by Larry Pine) - meet in restaurant and begin discussion about whether tragedy or comedy represents better artistic approach towards life. They decide to use the plot that begins with Melinda (played by Radha Mitchell) crashing at Manhattan party held by her old college friend. The plot would branch, one becoming depressive drama, another developing into standard romantic comedy.

Just like in many Woody Allen's films made recently, finding the plot "gimmick" seems to exhaust all of Allen's creativity and what the audience is left with is soulless, boring and predictable slice of life of neurotic New York intellectuals, laced with occasional outburst of humour that doesn't improve general impression of the whole piece. In MELINDA AND MELINDA having two instead of one story makes things even more difficult for the audience, because viewers often have to determine which scene belongs to which plot. If not for Will Ferrell playing one of the protagonists, the romantic comedy plot is hard to set apart from drama plot. Ferrell shows some of his talent only at the end, providing some laughs. Unfortunately, this is isn't enough for MELINDA AND MELINDA to be anything than merely watchable and another sad example of Allen drifting away from his reputation of quality filmmaker.

RATING: 4/10 (+)

Friday Night Lights (2004)

A Film Review

Copyright Dragan Antulov 2005

On this side of the Big Pond sport is seen mainly as an entertainment or occasional excuse for people to indulge themselves in atavistic tribal violence. In America sport seems to be a dominating force to which any other aspects of life should be sacrificed. One of the films to explore such phenomenon is FRIDAY NIGHT LIGHTS, 2004 drama directed by Peter Berg.

The plot is based on the non-fiction bestselling book by Buzz Bissinger which chronicled 1988 season of Permian Panthers, high school football team from the town of Odessa in Western Texas. The team's past victories at the state championships appear to represent the only thing the townspeople are proud of and experienced coach Gary Gaines (played by Billy Bob Thornton) is hired to secure another title. During the season he will have to face many problems because the young athletes - hailed as local deities - have many personal issues, while the team itself is under enormous pressure and scrutiny.

Despite direction that often looks too influenced by MTV and cinematography which is too dark, FRIDAY NIGHT LIGHTS gives good insight in the sport and local high school teams as the defining element of the life in many small American towns. Friday night games affect everyone, especially young men who are celebrated as gods and for whom the end of high school looks like the end of life. Berg and his co-writer David Aaron Cohen explain this phenomenon with great clarity and good eye for social and psychological observation. Characters and their dilemmas are well-written and played by good actors, although Billy Bob Thornton's role appears to be underwritten. On the other hand, as the plot advances to its unconventional albeit predictable and un-cathartic conclusion, it becomes apparent that FRIDAY NIGHT LIGHTS will fail to have an impact to the audience alien to American sport culture. FRIDAY NIGHT LIGHTS is a good film, but it is preaching to the converted.

RATING: 6/10 (++)