Draxblog Movie Reviews

THIS BLOG HAS MOVED

2009-07-24T20:21:00.001+02:00

New blog, which includes old posts, could be found here.

I'll Sleep When I'm Dead (2003)

2006-03-22T17:06:00.000+01:00

A Film Review

British filmmaker Michael Hodges in his 2003 film I'LL SLEEP WHEN I'M DEAD re-examines plots elements, situations and characters that he had used in his 1971 masterpiece GET CARTER. The protagonist of the film is Will Graham (played by Clive Owen), former boss of London underworld who few years earlier had what his friends and associates euphemistically call "breakdown". Graham has abandoned his career and now lives like a drifter in rural Britain supporting himself with all kinds of odd jobs. In the meantime, his younger brother Davey (played by Jonathan Rhys-Myers) became minor, but very popular drug dealer whose clientele consists of London's celebrities and aristocracy. Davey's good life is brutally interrupted with abduction and violent rape. When Will decides to visit his brother, he is greeted with the news about his mysterious suicide and even more baffling autopsy reports. Will quickly concludes what caused his brother's death and decides to avenge him, even if it means returning, at least temporarily, to the violent world he had left years ago.

What worked wonderfully in GET CARTER - slow place allowing characters and situations to develop to the smallest detail - fails Hodges in this film. This is mostly due to Trevor Preston's script that leaves many questions unanswered, which leads to confusing, un-cathartic and unsatisfying end. Some of the characters and subplots, including gang boss who wants Graham out, are redundant or underdeveloped. The main mystery of the film, on the other hand, is revealed too early, and Hodges succumbs to typecasting by having Malcolm McDowell as chief villain. Although watchable, I'LL SLEEP WHEN I'M DEAD is huge disappointment to all those who, based on author's reputation, expected another gangster genre classic.

RATING: 4/10 (+)

Pour la Plaisir (2004)

2006-02-13T21:25:00.000+01:00

(EVERYBODY IS A KILLER) (2004)

A Film Review

Originality, which appears to be very scarce commodity among Hollywood comedy screenwriters, still could be found among European filmmakers. One of them is Belgian director Dominique Deruddere, whose 2004 comedy EVERYBODY IS A KILLER combines French farce with certain plot elements seemingly more suitable to classic westerns.

The film begins in a Ferrari driven by Dr. Vincent Moreau (played by Samuel Le Bihan), psychiatrist and film's narrator. Flashback introduces us to small northern French town where Dr. Moreau has established a practice. Citizens are mercilessly bullied by local sociopath Maurice Weckman (played by Harry Cleven), but nobody dares do anything about it. Local mechanic François (played by François Berleand), on the other hand, is more bothered with his beautiful wife Julie (played by Nadia Ferres) and her lack of passion in bed. He confides to Dr. Moreau, his most loyal client, and says that his wife has bizarre fetish on murderers. Dr. Moreau tells him to try adapting to Julie's fantasy and François does so by bragging about committing murder. At first this works wonders for their marriage, but his confession has coincided with Weckman meeting violent death. François immediately becomes murder suspect, but his arrest makes him the most popular man in town. As he struggles to prove innocence while his town creates personality cult around him, Dr. Moreau and Julie discover that they are attracted to each other.

Guy Zilberstein's script borrows elements from classic western THE MAN WHO SHOT LIBERTY VALANCE and skilfully combines them with murder mystery, social satire and black comedy. Qualities of the script are well-matched with the qualities of director who keeps the right pace of the film, right until the excellent surprise twist at the end. The film is relatively short, but the plot and characters are well-drawn.

The casting is also very good, most notably in the case of François Berleand, French character actor specialised in the roles of villains. In this film he is very effective and much more convincing pathetic middle-class husband. Casting against the type works well also in the case of Samuel Le Bihan, whom few people would imagine as psychiatrist. Nadia Farres, on the other hand, wasn't fortunate casting choice, mostly due to lack of chemistry with Le Bihan. Belgian actor Olivier Gourmet was also somewhat over the top in his role of police detective.

Despite that, POUR LA PLAISIR deserves recommendation as very entertaining and effective combination of rarely mixed film genres.

RATING: 7/10 (+++)

The Island (2005)

2006-02-11T20:39:00.000+01:00

A Film Review

At the end of 19th Century many scholars believed that the science found its limits and that there were few new discoveries to look forward to. These days, Hollywood producers appear to harbour similar sentiments towards science fiction. It seems that each new science fiction film is nothing more than repackaging of the older classics. One such example is THE ISLAND, 2005 film directed by Michael Bay.

The film begins in a huge underground hich-tech facility, which is supposed to protect survivors from the effects of environment disaster that has ravaged the Earth. Inhabitants of this new world live comfortable lives, albeit under ever-present control of their mysterious and sinister handlers led by psychiatrist Doctor Merrick (played by Sean Bean). The only exciting thing is the Lottery, with winners earning the right to travel to the "Island", the only unpolluted place on Earth. Lottery is source of intense speculation among Lincoln Six Echo (played by Ewan McGregor) and his friends. His curiosity leads to discover the unimaginably cruel truth behind the Lottery - he and thousands of other people are nothing more than clones, bred and raised in order to provide their "originals" with compatible organs. When Lincoln and his love interest Jordan Two Delta (played by Scarlett Johansson) escape, they discover that the world is actually intact and that they might find shelter in Los Angeles. Merrick, in the meantime, hires former French commando Albert Laurent (played by Djimon Hounosou) to bring back fugitive clones.

THE ISLAND starts promisingly, which is a rarity for Michael Bay's opus. First half of the film, set in the seemingly utopian futuristic facility, might bring back memories of LOGAN'S RUN, THX 1138, COMA and other science fiction classics. Unfortunately, when the protagonists leave this setting, Bay sees this as an opportunity to transform potentially intelligent science fiction drama into just another series of chases, fights, shootouts and explosions that don't make any sense. The acting talents, just like the basic idea behind the script, are wasted. That includes Scarlett Johansson's assets, which can never be properly exploited in film rated PG-13. Needless to say, all the difficult ethical questions concerning the cloning or true nature of human identity are completely ignored.

Another annoying element of THE ISLAND is in Bay never failing to conform to unwritten "politically correct" laws of Hollywood screenwriting. Sean Bean's character starts as benevolent character, but has peculiar English accent. Djimon Hounosou starts as sinister villain, but happens to be black. It doesn't take genius to predict whether each of them will have their moral alignment altered before the film ends.

Due to intriguing premise and solid opening, THE ISLAND is watchable. But this failure to build anything valuable on the basis of genre legacy is going to be heart-breaking experience for all the fans of classic science fiction films.

RATING: 3/10 (+)

Grand Theft Parsons (2003)

2006-02-09T21:32:00.000+01:00

A Film Review

History of rock music is rich, and, sadly, some of this richness comes from many tragic tales of talented artists ending their lives prematurely. Among those sad stories few are as bizarre as the tale that inspired the plot of GRAND THEFT PARSONS, 2003 film directed by David Caffrey.

The film begins with Gram Parsons (played by Gabriel Macht), brilliant country and rock musician, fatally overdosing in September 1973. The news prompts Parsons' road manager and best friend Phil Kaufman (played by Johnny Knoxville) to act upon the pact he had made with the dead rock star and have his body cremated in Joshua Tree National Park. At the same time Parsons' father Stanley (played by Robert Forster) wants to have his son buried in Lousiana. Before that happens, Phil enlists the help of hippie hearse driver Larry Oster-Berg (played by Michael Shannon) and steals the coffin from LAX. As they drive towards Parsons' resting place in the desert, they are pursued not only by police and Parsons' father, but also by Parson's gold-digging ex-girlfriend Barbara (played by Christina Applegate) who desperately needs a proof of Parsons' death in order to claim his fortune.

GRAND THEFT PARSONS is shot with low budget and it shows through rather un-spectacular and over-used sets and locations. The filmmakers nevertheless made the decent job of recreating the period. The plot - although not particularly strong nor very funny, despite some truly bizarre situations - flows nicely. More importantly, characters look human and audience can sympathise with them. Johnny Knoxville is impressive in one of his first "real" roles. Michael Shannon and Robert Forster are also good in their roles, preventing the film to overdose on comedy or tragedy. Christina Applegate and her annoying character, on the other hand, is unnecessary addition to the film. Probably the biggest flaw of the film is failure to introduce Gram Parsons' music to the younger audiences. However, those who watch GRAND THEFT PARSONS might conclude that there are worse ways to pay respect to music legends.

RATING: 5/10 (++)

Land of College Prophets (2005)

2006-01-22T23:19:00.000+01:00

A Film Review

Lack of big stars or huge budgets is often a blessing in disguise for certain filmmakers, because they often compensate it with increased levels of ingenuity and creative freedom. Group of Connecticut filmmakers known as Hale Manor collective were aware of that and the result was LAND OF COLLEGE PROPHETS, film that wears its "B movie" credentials as a badge of honour.

The film is set in small town with a seemingly mundane community college whose students appear to spend very little time on educating themselves. Instead, they are more interested in preaching various bizarre religious and philosophical concepts on campus or brawling with each other at every conceivable opportunity. The prologue explains this as a tradition started with College Prophets, ancient secret society to whom two protagonists - Tommy (played by Thomas Edward Seymour) and Rye (played by Philip Guerette) - belong. Two of them are best friends and the toughest of all College Prophets, but their friendship comes to an end when Tommy discovers that his girlfriend Bellis (played by Tina Angelillo) sleeps with Rye. In the resulting brutal fight few drops of blood fall in the local well, ominously named The Well That Ate Children. This resurrects the ancient evil force that would poison town's water supply and make people go insane. Tommy and Rye are forced to settle their differences and fight the army of evil zombies led by their arch-enemy Third Reich Jones (played by Paul De Simone).

LAND OF COLLEGE PROPHETS is a surprisingly successful blend of horror, martial arts film parody. What makes it so effective is the contrast between the absurdity of situations and bizarre characters on one side and utmost seriousness with which they are presented on the other. Scenes depicting barroom brawls and similar kinds of immature behaviour are followed by literary and philosophical quotes, as well as the solemn narration by Thomas Edward Seymour.

The acting in the film is good, especially in the case of Run Russo as protagonists' Irish rival who later joins their cause. The cast also includes B-movie veteran Carmine Capoblanco as college professor and film reviewer Phil Hall in his screen debut.

But the most surprising quality of film is Seymour's musical soundtrack which enhances otherwise mundane atmosphere of the film and gives its scenes epic "larger than life" quality. This is best seen in the prologue that introduces characters in the style reminiscent of MORTAL KOMBAT.

The film's worst flaw, on the other hand, is its length. What looks refreshing and fascinating in the first hour is somewhat repetitive in the last twenty minutes. Authors are unable to maintain the quality of humour and some of the jokes in the film don't work.

Despite that, LAND OF COLLEGE PROPHETS is more than pleasant viewing experience that delivers all the best things associated with the phrase "B movie".

RATING: 6/10 (++)

Grizzly Man (2005)

2005-12-22T12:40:00.000+01:00

A Film Review

Inability of Hollywood to produce original stories has benefited the makers of documentaries. These days it is more likely that a viewer will experience huge outburst of emotions while watching documentary than by watching any average Hollywood drama. One of those true stories that seem to be beyond the grasp of Hollywood screenwriters is a subject of GRIZZLY MAN, 2005 documentary written and directed by legendary German filmmaker Werner Herzog.

The protagonist of this documentary is Timothy Treadwell (1957- 2003), failed Hollywood actor and former drug addict who reached fame as one of the world's greatest bear enthusiasts. Staring with 1990, he was spending every summer in Kaitami National Park in Alaska. There he became enchanted with local fauna, most notably brown bears. Gradually, he became self-appointed protector of bears from human encroachment and spent his last few summers recording his adventures with video camera. The footage was more than a hundred hours long, and small section of it makes the basis of Herzog's film. The rest is made of interviews with Treadwell's friends, acquaintances, Park officials, biologists, various experts and local coroner.

The story of GRIZZLY MAN is very unusual, to say the least. Those who never heard of Treadwell or Herzog might get an impression of BLAIR WITCH PROJECT parody rather than documentary. This illusion is broken only through Herzog's solemn and serious narration that puts surreal words and images into the real life context.

Some of the most surreal scenes feature Treadwell coming near the huge bears and expressing his love for them in high-pitched tone. Those, near-idyllic images, set in the area of enormous natural beauty, represent the sharp contrast to the extremely violent fight between two male bears over a female. Treadwell, who recorded the event, later visits the site, which now looks very much like an aftermath of tank battle, and describes it with the words more appropriate to kindergarten fight. When the audience compares those two images, they will come to conclusion Treadwell couldn't or didn't want to make.

Those familiar with Herzog's previous opus will probably understand why German filmmaker became attracted to Treadwell's story. Treadwell is in many ways similar to the protagonists of Herzog's classic films. As film goes by, Treadwell's recordings- in which he acts like a genuine star - reveal a man increasingly disconnected not only with civilisation he learned to despise, but also with reality. Herzog spells that out in his narration, while, in the same time, praises his ability of a filmmaker.

Like few films ever made in recent times, GRIZZLY MAN is able to make audience both laugh and cry. This film also allows audience to make its own mind about the unusual protagonist. Some may praise Treadwell as noble idealist who paid the ultimate price trying to fight for something he believed in. Others may see him as mentally disturbed exhibitionists, while some may look at him as a modern-day equivalent of Sacred Fool. In any case, Treadwell deserved to have film about him, just like this exceptionally powerful documentary deserves to be seen.

RATING: 9/10 (++++)

Crash (2004)

2005-12-05T14:56:00.000+01:00

A Film Review

If someone tries to base his picture of the world on average Hollywood films, he would come to conclusion that there isn't any world outside Los Angeles. This could be explained with sharp ethnic, social, economic and cultural divisions that exist within something that people like to refer as a "city". For many of its citizens - especially those living in wealthier sections like Beverly Hills - some of the neighbourhoods and their inhabitants appear like another planet. This failure to communicate seems to be endless source of frustrations for Hollywood - entertainment industry institution based on the very idea of bridging all cultural and other gaps. One of many films to address this issue is CRASH, 2005 drama directed by Paul Haggis.

Haggis, who co-wrote the script with Robert Moresco, built the plot on the narrative device very familiar to those who had seen Altman's SHORT CUTS and Paul Thomas Anderson's MAGNOLIA. The film begins with Graham Waters (played by Don Cheadle), passenger in car driven by Latina woman named Ria (played by Jennifer Esposito). When they get rear-ended, it is slowly revealed that those two are Los Angeles Police detectives who investigate a murder of young black man. The rest of the film shows 36 hours that had preceded this event and during which many new characters - each belonging to different race, class, ethnic or social group - are introduced. All those characters are by coincidence connected with each other and series of vignettes - some featuring very violent and unpleasant incidents -describe how they interact, often using each and every opportunity to show racism and other forms of prejudice.

Haggis, best known as the scriptwriter for "Oscar"-awarded and overrated MILLION DOLLAR BABY, shows great skill as a director. The plot, despite its complicated structure, is easy to follow and the characters are intriguing. The cast is superb, with many actors playing against the type - especially Brendan Fraser as faceless politician and Sandra Bullock as his bourgeois snobby wife. The most pleasant surprise is, however, Michael Pena as a young Mexican locksmith - the only character with whom the audience could identify without feeling bad about it.

CRASH is well-acted and well-directed, but also betrayed by its script. Haggis has built the plot on the series of often implausible coincidences that look more suitable to misanthropic black comedies than dramas that aspire to tell important truths about real life. There were better ways to present the idea of everyone in Los Angeles being connected with everyone else. The dialogue also leaves much to be desired - characters are often burdened with long expository dialogues that don't sound particularly realistic. This starts with Graham's "poetic" monologue at the beginning and continues throughout film - most often in situations when characters have to address various issues that plague their social or ethnic group. Mark Isham's musical score also takes away film's realism by emphasising pathos in the least opportune moments. The quasi-biblical ending - "borrowed" from MAGNOLIA - also underlines the impression of plot's artificiality, but at that time its effect on film's quality isn't that important.

While at times CRASH might look more like a sermon than genuine film, there are more than enough powerful scenes and more than enough displays of great talent for this film to deserve recommendation.

RATING: 6/10 (++)

11:14 (2003)

2005-12-04T18:42:00.000+01:00

A Film Review

Good films at certain occasions can cause bad feelings. The author of this review experienced this phenomenon with 11:14, 2003 black comedy directed by Greg Marcks. The feelings weren't directed at film, but at the contemporary Hollywood in general. Marcks' film showed how little was necessary for a film to be quality entertainment. And, to make things even more depressing, qualities of 11:14 were ignored by distributors, making it into just another good film nobody had heard of.

The plot is simple and set in small American suburb of Middleton during the course of one night. It all appears to begin when Jack (played by Henry Thomas), young and slightly drunk man, drives a car. At 11:14 PM, his car hits something. Much to his horror, the apparent victim is a man, dead and terribly disfigured during the crash. Jack tries to cover up his crime, only to learn that the incident happens to be only one in the series of macabre events that involve armed robberies, genital mutilations, overprotective parents and young people with too much fondness for perverse sex or substance abuse.

At first sight, the plot of 11:14 looks very complicated. Thankfully, Marcks used non-linear narrative structure for the script. This technique - quite fashionable and often over-used in post-Tarantino years - works wonderfully in 11:14. All events and the character motivations are gradually explained through different perspectives, each adding another part of the puzzle. The transitions are smooth and the viewers are never confused, nor do they lose interest for the plot, despite having its resolution telegraphed in advance. This is mostly due to very intelligent script and very realistic characters - ordinary people who do some very un-ordinary things due to macabre set of coincidences.

The film benefits a lot from small, but very capable and experienced cast that includes both younger actors like Shawn Hatosy or Rachael Leigh Cook and veterans like Patrick Swayze or Barbara Hershey. Some of the characters, especially older, aren't properly developed. The ending also lacks emotional impact - probably due to the lack of deeper meaning in the story. 11:14 can be viewed more like an exercise in style than film in its own right, but even as such, it provides enough entertainment for the audience to deserve recommendation.

RATING: 6/10 (++)

Boogeyman (2005)

2005-12-04T13:38:00.000+01:00

A Film Review

In not so distant past horror films used to scare or, at least, excite people. This appears to be beyond comprehension of most contemporary Hollywood executives. BOOGEYMAN, 2005 film directed by Stephen M. Kay, appears to be an attempt to change this state of affairs.

The protagonist of the film is Tim (played by Barry Watson), young man who, as a young child, saw his father consumed by mysterious dark force hidden in the closet. Fifteen years and many visits to child psychiatric hospitals later, he convinced himself and others that his father had simply abandoned family, thus leaving young Tim to find explanation in the form of childish imagination. However, Tim still has irrational fear of closets and dark. Ehen his mother (played by Lucy Lawless) dies, he returns to his old house where he would have to face his demons.

Authors of BOOGEYMAN made very little effort to be original. The basic premise, together with opening sequence, is "borrowed" from DARKNESS FALLS. The screenwriting trio of Eric Kripke, Juliet Snowden and Stilles White filled the rest of the film with material taken from many other recent horror films, so BOOGEYMAN also features ghosts and teleportation. This strange combination, however, resembles something like coherent plot and director Stephen M. Kay tries his best to truly scare audience. His efforts are mostly satisfactory, despite rapid MTV-style editing, overuse of zooming and miscasting Barry Watson for the role of protagonist. The disappointment for viewers comes at the very end - the monster is revealed in one of the cheapest-looking CGI shots, only to be disposed in one of the most confusing and least cathartic ending in recent Hollywood history. However, it could be said that such abrupt and unexpected ending worked to film's advantage by hiding the authors' lack of inspiration. Few films benefited that much from being so short.

RATING: 3/10 (+)

The Bridge of San Luis Rey (2004)

2005-11-27T21:21:00.000+01:00

A Film Review

The old adage about good literature being adapted into bad films and vice versa could be applied even to Pulitzer Award-winning novels. In case of Thornton Wilder's THE BRIDGE OF SAN LUIS REY, there were two Hollywood adaptations - made in 1929 and 1944 - proving this point. In 2001 the novel was quoted by Tony Blair during his speech about 9-11 attacks and this probably served as an impetus for a consortium of European film companies to try a third version. The result of their effort, 2004 drama written and directed by Irish playwright Mary McGuckian, could be best described as "third time - not a charm".

The plot is set in early 18th Century Peru. Brother Juniper (played by Gabriel Byrne), a Franciscan monk, is a witness to a terrible tragedy. A ancient Inca rope bridge he was about to cross only minutes later suddenly fails, leading five people to their deaths. Brother Juniper is shocked by the incident and spends next few years collecting any conceivable bit of information about victims, trying to find whether there was some higher purpose in their deaths. Results of his findings are collected in the book whose conclusions aren't particularly liked by Church authorities embodied in Archbishop of Lima (played by Robert de Niro). Brother Juniper is tried for heresy and during the trial he tells about the incident victims and their lives.

With 24 million US$ of budget, THE BRIDGE OF SAN LUIS REY was one of the more expensive European films of recent times. Its price tag can be seen not only in cast that includes such big Hollywood names like de Niro, Harvey Keitel or Kathy Bates, but also in elaborate recreation of early 18th Century through costumes and other period details (with Spanish locations being good ersatz for Peru). Unfortunately, all that splendour does poor job of hiding the emptiness of characters and pedestrian pace of the film. While some actors fare relatively well in their struggles with poorly written roles, Gabriel Byrne kills any enthusiasm for the story with his slow and flat narration. In the end, although watchable, THE BRIDGE OF SAN LUIS REY leaves audience with the same unanswered question as the one asked by its narrator.

RATING: 4/10 (+)

Palindromes (2004)

2005-11-27T15:27:00.000+01:00

A Film Review

Too many times phrase "art film" is mistaken for "controversial film". Because of that many otherwise talented filmmakers think that they maintain their reputation of great artists merely by dealing with controversial subjects. One of the artists to fall into such trap is Todd Solondz who provided particularly tragic example with his 2004 drama PALINDROMES.

Protagonist of the film is Aviva Victor, 12-year old only daughter of middle class couple who wants to increase her family by getting pregnant herself. A visit to her teenage relative will provide her with a baby. Her parents Joyce (played by Ellen Barkin) and Steve (played by Richard Masur) aren't that enthusiastic and they force her to have abortion during which she will accidentally lose ability to have any more children. Aviva is unaware of that and she runs from home determined to try again. First she has sex with paedophilic truck driver Joe (played by Stephen Adly Guirgis), then finds shelter in the abandoned children's shelter run by Sunshines, Christian fundamentalist couple engaged in militant anti-abortionist actions.

Solondz's script had potential of becoming a very interesting and intelligent film. Some of the issues - abortion, adolescent pregnancy, paedophilia - have been covered before, but Solondz could have easily portrayed them in refreshing and thoughtful way. For example, the issue of abortion is portrayed by showing the hypocrisy among both "pro life" and "pro choice" camps - the former take life in the name of their noble ideas and the latter take away someone else's choice simply in order to maintain their middle-class idyll.

Unfortunately, all those potentials were wasted and PALINDROMES looks like a potentially decent film buried under the thick layers of misanthropy and artistic pretensions. The most notable example of the latter is the decision to cast 12 different actors - of different race, age group and gender - in the role of Aviva. Because of that the audience can't identify with the protagonist and the varying quality of acting is very annoying. The other characters, just like Aviva, are also either too bizarre or not likeable enough for the audience to have any emotional investment in them. There are some bits and pieces in the film that actually work - roles by Ellen Barkin and Jennifer Jason Leigh briefly showing ability to play character three times younger than herself - but they can't alter the disappointing general impression of the PALINDROMES. Even the audience accustomed to "bizarre" films will have problems connecting with this one, mostly due to PALINDROMES often looking bizarre for the sake of being bizarre.

RATING: 3/10 (+)

Infernal Affairs (2002)

2005-11-26T18:36:00.000+01:00

(WU JIAN DAO) (2002)

A Film Review

East Asian cinema industries appear to be booming. Japanese horror films have replaced French comedies as source of Hollywood remakes. South Korean films recently made their way to non-Korean theatres and video stores. Each new kung fu film by Zhang Yimou is eagerly anticipated by world filmophiles. On the other hand, Hong Kong cinema industry - which until very recently used to be only East Asian cinema industry relevant to Western audiences - appears to be somewhat overshadowed by those developments. The only exception is provided by authors of INFERNAL AFFAIRS, crime thriller directed by Andrew Lau and Alan Mak. This film was turned out to be huge commercial success and two sequels on domestic markets, but also the honour of being remade in Hollywood by Martin Scorsese.

The film begins with Sam (played by Eric Tsang), Hong Kong Triad boss, gathering group of his young protégés and ordering them to enrol into Hong Kong police academy in order to become his moles within Hong Kong police. At the academy another young man is approached by Chief Superintendent Wong (played by Anthony Wong) and asked to infiltrate Triads by posing as disgraced police recruit. Years pass and former student is now hardened criminal named Yan (played by Tony Leung Chiu Wai) with nobody except Wong knowing his real status of police undercover agent. Yan has gradually earned the trust of Sam and infiltrated his organisation high enough to help Wong organise Sam's arrest during major drug deal. Unfortunately, one of top members of Wong's team is Ming (played by Andy Lau) who happens to be Sam's mole within police. He alerts Sam and the drug deal collapses, together with Wong's plan to arrest his archenemy. Now both men know that they have each other's spies within their respective organisations. Yan and Ming are both ordered to discover moles' identities.

The plot of INFERNAL AFFAIRS is based on simple idea that had enormous dramatic potentials. Screenwriters Alan Mak and Felix Chong exploited most of that potential by creating not only plenty of suspenseful moments and situations, but also by creating complex characters. Yan and Ming, each in his own way, are torn between the deep sense of loyalty and increasingly tempting option to allow their roles to become their real life. Mak and Lau as directors also recognised that this plot is attractive enough for the film to be unburdened with obligatory shootouts and action scenes. One of the most suspenseful and brilliantly directed scenes doesn't involve a single shot or an act of violence. Characters and plot are more important than cheap pyrotechnics - something that Mak and Lau remembered while doing his film while others, including John Woo in Hollywood, apparently forgot.

Unfortunately, INFERNAL AFFAIRS was burdened with at least two unnecessary subplots, each trying to make its two protagonists more human through obligatory romantic relationship. Ming is married and his wife just happens to be aspiring crime novelist, while Yan falls in love with his psychologist and gives away his secret. Both subplots add nothing other than cheap symbolism and unnecessary pathos. The unconventional ending of the film slightly improves the general impression of the film, but it is somewhat confusing.

Despite those minor flaws, INFERNAL AFFAIRS deserves recommendation. It is well-written, well-directed and well-acted genre film showing that Hong Kong cinema industry is on the way to restore past glory.

RATING: 7/10 (+++)

Layer Cake (2004)

2005-11-17T12:21:00.000+01:00

A Film Review

Institutions like Internet Movie Database couldn't exist without films being - directly or indirectly - connected with each other. This feature of modern films sometimes leads to certain titles being remembered less because of their own artistic or commercial value, and more because of their importance for some other film. LAYER CAKE, 2004 British crime drama directed by Matthew Vaughn, is one of such examples. When it was conceived, it was supposed to be just another example of "cool" British gangster films embodied in Guy Ritchie's LOCK, STOCK AND TWO SMOKING BARRELS and SNATCH. Ritchie was slated to direct this one too, but he opted out and left the directing to his producer Matthew Vaughn.

The plot of the film is based on the book by J.J. Connolly. The unnamed protagonist (played by Daniel Craig) is mid-level drug dealer who consider himself to be a businessman rather than gangster. He abhors violence and runs his business with precision and professionalism that filled his bank account enough for him to be only few deals away from retirement. However, destiny thwarts those plans for two directions. His old-style gangster boss Jimmy Price (played by Kenneth Cranham) orders him to find drugged-out runaway daughter of influential businessman Eddie Temple (played by Michael Gambon). While he ponders how to do it, another problems is created by Duke (played by Jamie Foreman), his drugged-out business associate who stole million ecstasy pills from Slavo (played by Marcel Iures), former Serb warlord operating in Amsterdam. Those pills are reason why Slavo sent his merciless and deadly assassin Dragan (played by Dragan Micanovic) to London.

The inevitable comparisons between this and two Ritchie's films make LAYER CAKE more ambitious, more conventional and, in a way, much better (at least compared with overpraised SNATCH). This is due to the plot being based on a book and covering more area than East End underworld. This is immediately seen in the opening when protagonist's narration puts the film's complex plot into much broader economic, political and cultural context. The protagonist itself is different - he repeatedly describes himself as "non-gangster" and his accent, aesthetic taste and behaviour suggests someone from middle class background and some sort of education rather than former street child using crime to escape poverty. LAYER CAKE underlines this impression by confronting protagonist with his old, more experienced and more reliable associates (played by always dependable character actors like Colm Meaney and Daniel Harris) who came from the lower social strata and use certain business methods protagonist doesn't have taste for. The film expands on this theme also by confronting protagonist with those who nominally inhabit the higher strata of British society where the line between business and crime is completely blurred.

LAYER CAKE is visually very impressive and Vaughn appears to be very good first-time director. Film's limited resources are spent wisely - London in this film, embodied in prestigious night clubs, modern skyscrapers and old country clubs appears more attractive, more vibrant and more "hip" than in Ritchie's films. The accompanying music soundtrack, however, often sounds too "hip", but it is less of distraction than completely unnecessary romantic subplot involving protagonist love interest, played by Sienna Miller (a subplot that had certain real-life connotations and helped tabloid circulation in past year). The biggest flaw of the film appears to be the plot of the resolution - the plot itself was too complex and the audience will have to watch film repeatedly to actually figure out what really went on.

Despite this, LAYER CAKE earned its place in history. One image in the film - later used in posters - helped Daniel Craig to get the highly coveted role of next James Bond. However, even those viewers who don't care about James Bond franchise could enjoy LAYER CAKE as accomplished, serious and mostly entertaining British gangster film.

RATING: 6/10 (++)

Mayor of the Sunset Strip (2003)

2005-11-14T20:49:00.000+01:00

A Film Review

The author of this review considers rock music to be one of the most overrated cultural achievements of 20th Century. So many "important" names and pieces of rock music didn't withstand the test of time and the phrase "rock star" is often associated with the transience. The transience and the fact that the glitz and glamour of rock music is often nothing more than facade for emptiness is the subject of MAYOR OF THE SUNSET STRIP, 2003 documentary film directed by George Hickenlooper.

The film, however, doesn't deal with rock musicians or rock music directly. Its protagonist is Rodney Bingenheimer, Los Angeles disc jockey on radio station KROQ. By regular standards, Bingenheimer appears to be one of the important people in rock music industry - many important rock artists, especially those from Britain, made the break into American pop and rock charts only after being endorsed by Bingenheimer through his show. The film, however, shows quiet, short, mild-mannered man who drives old car and lives in relatively small apartment, far from the luxury and glamour associated with rock deities. The film confronts this prosaic reality with golden age of 1960s rock'n'roll when young Rodney evolved from over-ambitious fame-seeker into everyone's best friend, earned prestigious title of "Mayor of Sunset Strip" and enjoyed the very lifestyle enjoyed by rock legends.

The movie is divided into two parts. The first part tells the story of Rodney's rise to his status and gives nostalgic depiction of early years of modern rock music when people with no obvious talents like Rodney could enjoy stars' lifestyle simply by being stars' friend. Many important musicians like David Bowie, Cher, Nancy Sinatra, Debbie Harry or Mick Jagger use opportunity to tell all the best things about Rodney. The second part, which deals with present, is much darker. Relationship between young Bingenheimer and his star friends in 1960s is reflected in the relationship between old Bingenheimer and aspiring yet obviously untalented homeless musician whose bills Bingenheimer pays only to keep him from streets. In the second part Bingenheimer's private life is also explored which leads to two heart-breaking scenes.

Those scenes and the early documentary footage in the film is impressive, but MAYOR OF THE SUNSET STRIP fails to build them into coherent narrative. The film lacks the proper theme and Bingenheimer, regardless of how interesting his life might look, is hardly embodiment of certain issues or cultural trends Hickenlooper was supposed to explore. There are some bits of pieces about importance of fame in modern society - mostly in the form of brief interviews - but the film actually fails to tell how exactly Bingeheimer relates to hype machines of today or how he related to hype machines of the past. It appears that Hickenlooper, despite his intent to document the prosaic reality between rock history, is too much in awe of subject matter. The result is occasionally powerful film that often looks not that different from the which is every day aired on MTV or VH1. MAYOR OF THE SUNSET STRIP could be recommended only to the big fans of Los Angeles rock music scene.

RATING: 5/10 (++)

The Cincinnati Kid (1965)

2005-11-13T21:15:00.000+01:00

A Film Review

Great films aren't the only films to age well. Even some inferior titles can look much better after passage of time. This is probably due to inferior films of the past looking much better in comparison with inferior films of today. One of the films to benefit from this phenomenon is THE CINCINNATI KID, 1965 drama directed by Norman Jewison.

The plot of the film is set in 1930s New Orleans. The protagonist is Eric Stoner a.k.a. Cincinnati Kid (played by Steve McQueen), young professional gambler who happens to be the best stud poker player in town and, perhaps, a whole country. The prestigious title of "The Man" is, however, held by much older and more experienced Lancey Howard (played by Edward G. Robinson). Lancey comes to New Orleans and displays his formidable skills by humiliating local aristocrat Mr. Slade (played by Rip Torn). When Eric challenges Lancey, Slade is more than willing to help in order to avenge his own humiliation. This help will include giving few "friendly" suggestions to Shooter (played by Karl Malden), Eric's old friend who happens to deal cards at professional games.

If made today, THE CINCINNATI KID would be gutted by critics for its slow pace, poor characterisation, unnecessary romantic subplots and almost laughable lack of subtlety in certain "symbolic" scenes. The film is, however, very good in its final scenes that depict seemingly prosaic spectacle of poker game as the contest of epic proportions. This could be attributed to editing skill of Hal Ashby, as well as Steve McQueen - embodiment of "coolness" whose screen personality looks like it was invented for these sort of films. The rest of the cast, which includes veterans like Joan Blondell and Cab Calloway, as well as reliable character actors like Jack Weston, is also impressive. This includes Ann-Margret and Tuesday Weld in thankless roles of Bad Girl and Good Girl stereotypes. Rip Torn is particularly effective in the role of menacing Southern gentleman who doesn't like to take "no" for an answer. Lalo Schiffrin delivers musical theme to this film, which is only a shadow of its future triumphs, but it nevertheless works in the context of THE CINCINNATI KID.

This is hardly the best film of its time or Steve McQueen' career, but it nevertheless could be recommended as an example of Hollywood in its past and now almost unfathomable glory.

A Sight for Sore Eyes (2003)

2005-11-11T00:35:00.000+01:00

(INQUIÉTUDES) (2003)

A Film Review

Old adage about good literature being adapted into bad movies and vice versa could be applied even for genre novels. Opus of British mystery writer Ruth Rendell - praised for the richness of her plots and characterisations - is another good example. This richness tends not to materialise on screen, because the medium of feature film either simplifies plots or characters or makes them incomprehensible in too faithful adaptations. A SIGHT FOR SORE EYES, 2004 French thriller directed by Gilles Bourdos is the example of the latter.

The protagonist of the film is Bruno Keller (played by Grégoire Colin) aspiring art student obsessed with the idea of living in temple-like house covered with white walls. For Bruno his art is an escape from the childhood traumas embodied in his alcoholic father (played by Bernard Bloch) and uncle (played by Etienne Chicot). When his father dies, Bruno kills his uncle. While thinking about ways to get rid of the body he meets Elise Gardet (played by Julie Ordon), young woman whose childhood was marred in slightly different way - eleven years ago she witnessed brutal murder of her mother. Her former therapist Brigitte (played by Anne Catillon) now lives with her as over-protective stepmother. Elise begins relationship with Bruno while increasingly paranoid Brigitte begins to lose grip on reality.

A SIGHT FOR SORE EYES might be criticised for many things, but not for production design. Since aesthetic vision plays important part in protagonist's life, great deal of effort is spent in creating memorable images and everyday surrounding that should suggest Bruno and other protagonists' alienation and descent into criminal madness. Sadly, the effort in that area isn't matched with efforts in proper storytelling. The pace of the plot is snail-like while many subplots are confusing. The audience will need to pay more attention than usual in order to actually comprehend what is going on and who the characters actually are. Some of those characters are introduced too late for the audience to care about them or for their drastic mood changes to be properly explained. Under such conditions, even the best acting can't improve general impression of the film. This includes even Swiss model Julie Ordon, one of few elements of the film that lives to its title. After watching more than two hours of A SIGHT FOR SORE EYES too many eyes will remain sore.

RATING: 3/10 (+)

Taegukgi (2004)

2005-11-09T11:12:00.000+01:00

(TAEGUKGI HWINALRIMYEO) (2004)

(BROTHERHOOD) (2004)

A Film Review

20th Century was very unkind to many nations of the world, but few saw its bad side as Korea did. If spending most of the first half under brutal Japanese yoke wasn't enough, the liberation only brought equally brutal division followed by indescribably cruel and destructive war that ended in the worst possible way - without winners and with traumas that continue to haunt Koreans to this day. Some of those frustrations served as an inspiration for SHIRI, 1999 film that would later introduce South Korean cinema to many nations of the world. In 2004 its author Kang Je-gyu explored the bloody source of current Korean division - the actual war - in his war epic TAEGUKGI. The film, one of the most expensive in South Korean history, turned out to be great box-office success.

The plot is relatively simple and starts with two brothers who live in post-WW2 Seoul, capital of South Korea and try to build better future. Jin-Tae (played by Jang Dong-gun), the older brother, dreams of marrying his sweetheart Young-shin (played by Lee Eun Ju), but first he must support the family, including ailing mother, with shoe shine business. The younger Jin-seok (played by Won Bin) is supposed to go to college. In June 1950 their plans for the future are shattered when Communists from the North invade South. In the ensuing chaos Jin-seok is drafted into the retreating South Korean army. Jin-tae also decides to join only in order to take care for his younger brother. After a while Jin-tae makes a deal with his superiors - he would volunteer for the hardest and riskiest missions, and if he survives long enough to win the highest medal, Jin-seok is going to be released from service. The fortunes of war, with American help, change and as Southern army advances northwards towards Chinese border, Jin-seok, unaware of the deal, begins to question his brother's suicidal bravery, which is often indistinguishable from mere bloodlust. Both brothers, however, are unaware that the fate intends to separate them in the cruellest way possible.

TAEGUKGI is often compared with Steven Spielberg's SAVING PRIVATE RYAN - film whose realistic portrayal of military conflict looked like shocking novelty to the audiences accustomed to PG-13 wars of Clinton's age. Two films share the same narrative device - prologue set in present-day - but the differences soon become very apparent. Unlike Spielberg, who reserved the naturalistic brutality of war only for the opening segments of film and later opted for more conventional story, Kang Je-Gyu maintains the brutal intensity of modern warfare until the very end. The ugliness of war depicted in TAEGUKGI is even more explicit and, as a result, this film makes SAVING PRIVATE RYAN look like kindergarten play. People are killed in various ways, most of them very unpleasant; all those bloody incidents are showed with disturbing amounts of detail. Even more disturbing is the depiction of effects war has on people, turning the noblest individuals into homicidal beasts.

Even more important element of TAEGUKGI is the good use of time gap between the film and the events it depicts. Half a century, together with the end of Cold War, allowed South Korean filmmakers to approach its greatest national trauma with a degree of objectivity or, at least, appearance of doing so. Although TAEGUKGI, naturally, sees war from Southern perspective and praises heroism of Southern soldiers, both sides in the film commit inhuman acts towards prisoners or innocent civilians. The war is seen less as a conflict between irreconcilable ideologies and more as a tragedy that literally splits families apart pits brother against brother. The troubled relationship between the brothers could be seen as symbolic depiction of current state of affairs on Korean Peninsula, while the near-symbolic ending suggests the ways in which those gaps could be bridged.

TAEGUKGI is impressive film, but it is far from being classic. The characters, although they serve symbolic purpose, are too simplistic. The plot is skeletal and serves only a frame for war scenes. The scenes dealing with Jin-tae and Jin-seok often contain pathos in amounts indigestible to those unaccustomed to Asian cinema. Realistic depiction of war is somewhat compromised with the conspicuous absence of Americans and Chinese. But the worst part of the film is the ending, which is all but telegraphed in the opening, thus taking away a lot of suspense.

TAEGUKGI, nevertheless, deserves praise as a film that deals with the past in an old-fashioned but effective way that would help audience comprehend certain unpleasant elements of the present.

RATING: 6/10 (++)

Trauma (2004)

2005-11-08T19:14:00.000+01:00

In the world of films, especially genre films, the line that separates "clever" from "confusing" is very thin. Many over-ambitious filmmakers often forget that and cross that line. This happened to Welsh director Marc Evans with his 2004 psychological thriller TRAUMA.

The plot begins with Ben (played by Colin Firth), aspiring London artist, waking up from coma only to learn that he survived a car crash. His beloved wife Elisa (played by Naomie Harris) wasn't so lucky. Devastated by grief and sense of guilt, Ben tries to piece his life back together by moving into new apartment, situated in former hospital building. Just as Ben is devastated with the death of Elisa, the rest of the nation mourns the brutally murdered pop singer Lauren Paris (played by Alison David). Ben is additional aware of the fact, when it turns out that Detective Constable Jackson (played by Kenneth Cranham) considers him to be the prime suspect. But that's only the part of Ben's troubles - he begins suffering from visions and hallucinations and starts believing that Elisa might not be dead. The only person who shows some sort of understanding for him is beautiful neighbour Charlotte (played by Mena Suvari).

Richard Smith's script for TRAUMA provides another example of contemporary psychological thriller where the main issue is protagonist's faltering perception of reality. The issue is usually resolved in some sort of "clever" plot twist which reveals some important characters or plot elements to be nothing other elements of protagonist's imagination. In other to make the film interesting until the very end, Smith tries to throw as much red herrings as possible. Evans also contributes to his effort with use of any "clever" cinema trick possible, trying to make the world of TRAUMA as confusing to the viewer as for the audience. He tries too much and by when the answer is given, it is unsatisfactory - the audience will have to be very patient and very concentrated to comprehend the plot. And that patience is something that the audience will have in short supply, due to TRAUMA looking more like an exercise in style rather than example of capable storytelling. Colin Firth looks fine in his role, and Mena Suvari is attractive in her portrayal of almost ethereal character; yet those looks can't compensate for the emptiness of their characters. Many subplots and characters are left unexplored and underused, making this film traumatic experience for anyone yearning for a quality genre film.

RATING: 2/10 (-)

Saw (2004)

2005-11-07T21:46:00.000+01:00

A Film Review

It is often said that imitation is the sincerest form of flattery. Aspiring Australian filmmakers James Wan and Leigh Whannel must be the great fans of David Fincher and his 1990s thrillers, at least judging by SAW, their 2004 feature film debut. The film has premiered at Sundance Film Festival only to become a sleeper hit few months later and spawn this year's sequel.

The film begins with two men - Adam (played by Leigh Whannel) and Dr. Lawrence Gordon (played by Cary Elwes) - waking up at the opposite ends of huge dirty utility room. Their foots are chained, there is dead body behind them and they can reach various objects and cryptic messages. Gordon don't know how and why he got there, but he believes that both of them are captives of Jigsaw Killer - mysterious psychopath who forces his victims to do indescribable things to themselves or other people. Gordon is soon informed that the object of the "game" is to kill Adam, otherwise his wife and daughter will be killed. Gordon begins working with Adam in order to save both of them from the vicious killer. In the meantime, Jigsaw Killer is being pursued by David Tapp (played by Danny Glover), police detective convinced that Gordon is actually the killer.

SAW has simple but very effective concept - two men are put into isolated spot and spend the entire film trying to outwit the unknown killer and each other. Importance of those choices is suggested flashback scenes that feature very graphic violence, as well with some very unpleasant scenes of unknown killer capturing Gordon's wife (played by Monica Potter) and child (played by Makenzie Vega). James Wan showed great ability to create suspense for most of the film. His achievement is even bigger considering film's incredibly low budget - most of the audience probably won't notice that scene occur in rather limited set of locations.

SAW, therefore, had all ingredients of a very good film or genre classic. However, just like so many films, it is denied of greatness in the last scenes, when some of its flaws become too apparent. The biggest mistake is revelation of the killer's identity and another is great plot twist that doesn't make any sense and exists solely for the sake of shocking the audience. In that moment SAW becomes just another collection of horror movie cliches. Even worse is Cary Elwes, whose over-the-top acting matches poor quality of his make-up. The rest of the cast is passable, including Whannel who fares well when compared with veterans like Glover or Shawnee Smith (who appears in one of the film's more memorable scenes). Inevitable comparisons with SE7EN - the film that feature similar villain - or THE GAME aren't going to be favourable to SAW. Wan and Whannel are talented filmmakers, but it will become more apparent when they start create something more original in the future.

RATING: 4/10 (+)

Alone in the Dark (2005)

2005-11-06T14:32:00.000+01:00

A Film Review

The author of this review had many bitter experiences with films not living to initial critical and box-office enthusiasm. Not surprisingly, experiences with critical and commercial failures weren't any better. However, at times it just happens that films universally perceived as cinema industry's equivalent of toxic waste turn out to be pleasant experiences. In case of 2005 action horror film ALONE IN THE DARK, "pleasant experience" translates into merely "not as bad as the reputation of director Uwe Boll".

The plot of the film is based on ALONE IN THE DARK, 1990s series of popular video games that belonged to survival horror genre. The protagonist is Edward Carnby (played by Christian Slater), survivor of traumatic childhood incident that had thought him to appreciate ancient fear of the dark. After career in Bureau 713, government's paranormal investigation agency, he now works as private investigator. He has recovered an artefact of Abkani, ancient American civilisation that vanished without trace 10,000 years ago. Because of that he is targeted by assassins hired by Prof. Lionel Hudgens (played by Matthew Walker), former Bureau 713 researcher who wants to open ancient gates between our world and world inhabited by nasty shadow-like monsters.

ALONE IN THE DARK should never be mistaken for a good film. Its poor box-office results are quite justified, but, on the other hand, almost pathological amounts of venom spewed by reviewers are not. ALONE IN THE DARK indeed features atrocious dialogue, protagonist's misplaced narration, poor editing and plenty of other questionable creative decisions. Casting doesn't belong to this category - veteran actors like Slater and Stephen Dorff (playing Carnby's former colleague) are quite relaxed in front of camera. Some of the action scenes are well-directed and even the ending - usually the weakest part of mainstream Hollywood films of the same genre - even makes some sort of sense.

Although far from deserving recommendation, ALONE IN THE DARK could spark interesting speculations about the reasons why its author is burdened with such notoriety while other authors with similar quality of opus are not. One of the explanations came in the form of conspiracy theory involving German tax laws and Boll using a loophole by deliberately making box office flops. Another explanation could be in Uwe Boll being a lightning rod for critics and often unjustly getting the treatment they are hesitant to spew on mainstream Hollywood products. In any case, ALONE IN THE DARK is better than expected, but, considering the reputation of its author, this isn't much of an achievement.

RATING: 3/10 (+)

Vera Drake (2004)

2005-11-04T17:23:00.000+01:00

A Film Review

Despite many efforts to create some sort of centrist "multi-cultural" consensus as the universal ideology of globalised post-Cold War world, there are some issues that still sharply divide people, even in supposedly enlightened Western liberal democracies. One of those thorny issues is abortion - a debate whose occasional escalation into violence in USA only underlines high levels of emotions stirred in other parts of the world. Because of that, Hollywood tackled the abortion themes very rarely, usually with unsatisfactory results due to Hollywood liberal and leftist filmmakers not being able to channel their "pro choice" views without turning such films into cheap propaganda. What most Hollywood films lack - connection with real life instead cheap stereotypes - is something British director Mike Leigh has, and his exploration of abortion issue in his 2004 drama VERA DRAKE resulted in rave reviews and prestigious awards at Venice Film Festival.

The plot is set in 1950 London, a place still recuperating from devastating effects of World War II. Poverty and food rationing, however, are at least partially alleviated in a home of Vera Drake (played by Imelda Staunton), middle-aged woman who spends any conceivable moment to make life better for her loving husband Stan (played by Phil Davis), ambitious son Sid (played by David Mays) and pathologically shy daughter Ethel (played by Alex Kelly) for whom she would find perfect match in lonely war veteran Reg (played by Eddie Marsan). Vera Drake's friends, relatives and neighbours think of her as an angel, not knowing that she also happens to be something more to numerous women whose "troubles" are removed with a help of soap, hot water, one surgical instrument, cup of tea and few kind words. When one of such procedures results in medical complications, hospital authorities inform police and Detective Inspector Webster (played by Peter Wight) quickly tracks Vera Drake down. Confronted with the illegality of her action, Vera Drake breaks down and her small family utopia is shattered.

Mike Leigh's decision to set his abortion-themed film in mid 20th Century is understandable, because Britain in those times was more impoverished and more socially stratified than now, thus making some of the abortion-related issues easier to portray. Contraception is not part of people's vocabulary, while abortions are illegal. In such conditions more women get unwanted pregnancies while, at the same time, their options are limited to two very unpleasant alternatives - either having a child that would grow up in nothing but misery or risking life in back alleys. Leigh, on the other hand, doesn't present the "pro choice" case explicitly and even those with "pro life" views might find arguments for their side in VERA DRAKE. Film suggests that Vera - one of the most angelic and kind-hearted characters to appear on silver screen - is also product of unwanted pregnancy, and that people actually might find happiness even if they live in poverty. Women who decide to abort often got pregnant because of their own stupidity and irresponsibility, and VERA DRAKE wisely avoids portraying them as victims or proto-feminist heroines. Leigh recognises divisiveness of the issue by having Vera Drake's family reacting to the revelation of her activities in very different ways.

Like in all Mike Leigh's films, the acting is simply superb. Word "great" doesn't do justice to what Imelda Staunton delivers with her performance. The rest of cast is also wonderful - they all portray simple, ordinary people who quickly win audience's heart. Even the character of police detective - embodiment of heroine's downfall - is portrayed as sympathetic human being rather than cold and heartless enforcer of oppressive laws. Although VERA DRAKE happens to look like relatively cheap film, a huge effort in researching and recreating post-war London manifests itself in many scenes. Even the Andrew Dickson's musical score - one of the weakest points of Mike Leigh's previous films - serves good dramatic purpose in VERA DRAKE.

However, even this film has its weaknesses. The shift between long, methodical exposition of Vera Drake's world in the first and its tragic dissolution in the second half of film is mishandled. Vera Drake not taking money for her services is an issue left unexplored, while the ending is unsatisfactory. But the most visible of all film's flaws is in Mike Leigh trying too hard to give social dimension to abortion issue by adding subplot about Vera Drake's rich employer's daughter solving her "problem" in nice, clean and discreet way that money and proper social position can obtain. Although Sally Hawking plays that character very well, she is instantly recognised as a plot device rather than character in her own right.

Despite those flaws, VERA DRAKE deserves praise as a very good film that approaches some difficult and divisive issues in an intelligent and humane way.

RATING: 8/10 (+++)

La Haine (1995)

2005-11-03T21:08:00.000+01:00

(Note: The review was originally written in 2003, but it is posted today due to its relevance to certain current events.)

A Film Review

Even before Iraq widened the rift between Europe and USA, most of European intellectuals had very low opinion of world's sole superpower. That view, which is now became mainstream among common Europeans, could be best summed up in stereotyping USA as country plagued by violence, crime, drugs, racism and riots - unlike refined, civic-minded and enlightened Europe whose welfare- state policies and "political correctness" made sure that such ills never affect their citizens. This is the reason why LA HAINE, 1995 French drama directed by Mathieu Kassovitz, looks incredibly ironic today, since it depicts all those "American" forms of social pathology in the very heart of "enlightened" and "refined" Europe.

The plot of LA HAINE is set in Parisian suburbs. Unlike in most American cities, Paris, inner sections are populated by upper and middle classes, and suburbs are left to, mostly immigrant, underclass. In one of those suburbs Arab teenager was beaten into coma during police interrogation. That was enough for disaffected youth to start massive riot and wreck the neighbourhood. Soon after the riots the story begins to follow three local teenagers and best friends - Arab small-time dealer Said (played by Said Taghmaoui), black boxer Hubert (played by Hubert Kounde) and small-time Jewish thief Vinz (played by Vincent Cassell). Three youths - unemployed, out of school and with little hope or prospects, spend next 24 hours doing what most youths in their situation would do - hang out and wander around the neighbourhood, getting into all kinds of trouble with police and skinheads. But the biggest trouble is Vinz, who had taken a gun, lost by a policeman during the riot; he hates police and swears that he would kill one policeman in revenge if comatose Arab boy dies.

Shot in black-and-white, LA HAINE shows the other, darker side of modern Europe with more passion than black American directors ever showed in their grim 1990s depictions of inner city reality. Just like inner-city neighbourhoods of America, Parisian suburbs are infested with violence, crime, drugs, graffiti, gangs and the police, acting more like an occupying army than force of order, only fuels the vicious cycle of violence among disaffected youths. To make things even worse for European cultural snobs, those disaffected youths have eagerly embraced American cultural imperialism - they listen to rap, use words like "homeboys" in their vocabulary and try to emulate tough guys from Hollywood movies. Unlike people in American inner city ghettos, protagonists of LA HAINE are able to overcome ethnic and racial differences - in the world of Parisian suburbs Arabs and Jews could live together, but the less visible social divisions are nevertheless in full effect. Small trip to posh section of Paris and encounters with their well-to-do countrymen would illustrate how little understanding exists between various segments of French society and that such lack of understanding would inevitably lead to hatred and violent conflict.

This conflict, which looms in the background just like the violent finale of the film, is telegraphed at the very beginning with the documentary footage of Parisian suburbs riots. Kassovitz (who appears in the film in the small role of skinhead) seems very concerned for the future of his country, since the reality of suburbs is at complete odds of official nationalist credo that tries to sweep all ethnic, racial and social tensions under the carpet. Unfortunately, his message was at times blurred with some elements that seem alien to LA HAINE; small anecdote about Siberian trains is one of such example. But Kassovitz, who had earned Best Director prize at Cannes Film Festival for this film, should nevertheless commended for the film which proved to be prophetic. In the film he told of France being just like a man falling from Eiffel Tower and constantly telling himself "So far, so good". In last few years France has seen the rise of anti-Semitic attacks and far right candidates like Le Pen making surprisingly good results at the polls. Perhaps France didn't hit the pavement, but all those snobs who like to look down on USA should start looking at their own yard.

RATING: 7/10 (+++)

Review written on September 8th 2003

The Jacket (2005)

2005-11-01T19:51:00.000+01:00

A Film Review

The author of this review has seen too many potential Hollywood classics almost inexplicably turning into forgettable disappointments. So, when the opposite - a movie bound to be failure inexplicably turning quite good - happens, I tend to really such pleasant and very rare surprise. One of those experiences was provided by THE JACKET, 2005 psychological thriller directed by John Maybury.

The protagonist of the film is Jack Starcks (played by Adrien Brody), who miraculously survived being shot in the head during Gulf War. One of the side-effects of his wound is amnesia. Few months later, while he hitchhikes through rural Vermont, he is picked up by young man who later shoots a policeman. Jack is charged for the crime and later gets committed to institution for criminally insane. There he becomes a test subject for Dr. Becker (played by Kris Kristofersson), psychiatrist whose idea of therapy involves putting patients in straightjacket and having them locked up in mortuary drawers. After one such hellish experience Jack suddenly wakes up near the road only to be picked up by young woman named Jackie (played by Keira Knightley). In her apartment he learns that the year is 2007, but that only happens to be the first in the series of shocking revelations.

The character whose grasp on reality is slipping and time travel as the plot element brought unavoidable comparisons with films like TWELVE MONKEYS, ABRE LOS OJOS or BUTTERFLY EFFECT. Massy Tadjedin's script for THE JACKET doesn't look very good when compared with scripts for each of those films. The main plot point is telegraphed relatively early, characters are one-dimensional and there are even some annoying cliches like obligatory romance, rescuing little children and some sort of sentimental happy ending. Script also fails to deliver any sort of rational of pseudo-rational explanation for time travel, making the film less attractive to all those who like to have film plots nice and tidy.

However, THE JACKET manages to overcome such constraints with the collection of diverse talents showing levels of effort seldom seen in contemporary Hollywood films. The most recognisable is Adrien Brody, great actor who risks being typecast in the roles of delicate souls being tortured and abused; despite the risk, he delivers another great performance. Keira Knightley is also very good and shows another example of British actor mastering American accent. The most pleasant surprise is Jennifer Jason Leigh, almost unrecognisable in first scenes, but whose presence holds the film together and gives it aura of being something more than cheap psychological thriller.

John Maybury, British director specialised for experimental films, also contributes to THE JACKET looking better than it actually is. Tendency to express protagonist's confusion to all kinds of camera tricks is suppressed and THE JACKET and unconventional filming techniques are used only in appropriate scenes. Canadian location and winter setting is also put to good use, creating an atmosphere that fits the script. Brian Eno also provides not memorable, but quite appropriate musical score.

In the end, those who expect another genre classic might be disappointed with THE JACKET, but they are, in most likelihood going to be in minority. More viewers are probably going to appreciate rare example of a film whose quality defies its script.

RATING: 7/10 (+++)

Pusher (1996)

2005-10-31T17:36:00.000+01:00

A Film Review

Nihilism and moral relativism of 1990s reflected itself in new ways of drug abuse being portrayed in films. Previously, the only kind of people allowed to be protagonists of these films were either the victims - drug addicts and their loved ones - or heroic crusaders trying to cleanse the streets of that evil. Partially thanks to Tarantino, drug phenomenon began to be portrayed from the perspective of those who use it as a way to make a living - dealers. The trend has quickly spread all over the world, including Denmark, small country with very vibrant cinema industry. One of the best known such films is PUSHER, 1996 drama and directorial debut of Nicolas Winding Refn.

Protagonist of the film is Frank (played by Kim Bodnia), mid-level drug dealer who operates in Copenhagen together with his best friend Tonny (played by Mads Mikkelsen). He is currently owing large sum of money to Milo (played by Zlatko Buric), his supplier and one of top Montenegrin mobsters. When he is approached by his old prison acquaintance from Sweden and offered to take part in huge heroin deal, he sees it as a fine opportunity to pay debts and even make large profit. He talks Milo into supplying the merchandise, but the actual exchange goes terribly wrong - somebody has tipped off police and Frank has to throw Milo's drugs into lake before he is arrested. Release from custody is not the end of Frank's troubles - Milo is angry and wants immediate re-compensation, otherwise Frank would have to deal with his quiet and sinister assistant Radovan (played by Slavko Labovic). Frank now has to play all tricks in his book in order to squeeze every last penny from his customers and business associates, but as the week goes by and deadline approaches, every of his schemes tends to end in disaster.

Many critics loved to describe PUSHER as "PULP FICTION made in Dogma 95 style". Their arguments are based on the use of handheld cameras, natural lighting and almost complete absence of separate music soundtrack. On the other hand, PUSHER was made with very low budget, so those characteristics could be better explained with the lack of financial resources than some kind of lofty artistic statement. In any case, that serves film very well because it adds to its grittyness and naturalism, quite fitting for its dark and depressive subject.

The best asset of the film is Kim Bodnia, an actor who gradually became one of the most recognisable stars of European cinema. Bodnia plays Frank as a complex character that can incite sympathy despite many of his actions being morally reprehensible and, later in the film, downright pathetic. Bodnia puts his macho look to good use - at first, the audience is fascinated with the way his character implicitly uses his physical presence as a business tool while dealing with his customers. Later, that look only underlines Frank's sense of helplessness when he is confronted by his colleagues who might not have his muscles or charisma, but who happen to be have higher position in drug world's food chain. Bodnia's combination of stoicism and vulnerability helps the film even in the scenes that look like cliches used solely to gain sympathy - conversation with his old mother or drug-abusing prostitute girlfriend.

Bodnia's colleagues are equally impressive, and that especially goes to Zlatko Buric and Slavko Labovic. Two of them would later repeat their roles in two PUSHER sequels, and Labovic would even play alternative version of Radovan in IN CHINA THEY EAT DOGS and its 2002 sequel.

Apart from the ending, that partially betrays its naturalism with some sort of pseudo-moralistic comeuppance for main character, PUSHER is very good film. If certain enterprising spirits start thinking twice before getting into certain over-glamorised line of work, it could deserve even more praise.

RATING: 7/10 (+++)

Broken Flowers (2005)

2005-10-30T23:11:00.000+01:00

A Film Review

Jim Jarmusch was called the king of American independent cinema long before independent films became fashionable. In past decade he had to temporarily leave his crown to some younger filmmakers with repertoires more in touch mainstream audiences and more able to build hypes around their names. However, quality of mainstream Hollywood has recently has decreased so drastically that even those less "accessible" films look refreshing in comparison. As a result, Jim Jarmusch films now can expect to have audiences that otherwise wouldn't touch independent films with ten foot pole. Jarmusch's first film to benefit from this new phenomenon is BROKEN FLOWERS, 2005 drama that not only won Grand Prix at Cannes Film Festival, but also turned out to be box-office success.

The protagonist of the film is Don Johnston (played by Bill Murray), semi-retired middle-aged computer businessman who has just been left by his much younger girlfriend Sherry (played by Julie Delpy). Don's next-door neighbour and best friend is Winston (played by Jeffrey Wright), Ethiopian immigrant who could, like Don, belong to middle or upper class if not for having to support five children. Winston, nevertheless, appears to live much fuller and happier life than Don, which manifests in his great enthusiasm for Internet and crime mysteries. This is put to good use when Don receives anonymous letter, apparently sent by one of his numerous girlfriends, informing him about existence of 19-year old son he had never met. Winston quickly narrows potential letter-senders to four names - Laura Miller (played by Sharon Stone), Dora (played by Frances Conroy), Carmen (played by Jessica Lange) and Penny (played by Tilda Swinton) - and helps Don organise long trip during which he would visit all four of them and try to discover whether the letter was genuine or not.

Just like in most Jarmusch's films, there is very little plot and the pace is glacial, often because of the scenes that don't appear to have any apparent meaning. Thankfully, the choice of music is very good - just like the protagonist, the experience is going to be made bearable for audience through excellent jazz score by Mulatu Astatke. However, the greatest asset of the film is Bill Murray, who didn't even had to put much effort in creating perfect character for this sort of film - lethargic, middle-aged former Don Juan is only a slight variation of Bob Harris from LOST IN TRANSLATION. There are few actors that can match Murray in ability to evoke so much empathy in audience by displaying so little emotions on screen. Despite being empty, self-centred and phlegmatic character, Murray's Don Jonhston quickly wins audience and the dramatic effort is powerful when he, in the latter stages of film, displays something resembling emotion.

Murray's excellent acting is well-matched by his colleagues - a large and very diverse cast that includes veterans like Stone, Lange and young newcomers like Alexia Dzina (who provides one of the most memorable scenes of the film) and Pell James. Unfortunately, some of the talents seem to be wasted because the characters they play aren't fleshed enough - especially in the case of almost unrecognisable Tilda Swinton. The worst mistake Jarmusch made was to have Jeffrey Wright played wonderful larger-than-life character who appears relatively briefly in the film and is sorely missed most of the time.

Another mistake is "clever" ending where Jarmusch tries to con audience into believing in some sort of conventional Hollywood finale only in order to provide another "artsy" plot twist. However, this ending is predictable in its unconventionality and it only leaves the bitter taste of disappointment in something that could have otherwise been a true masterpiece. BROKEN FLOWERS, however, deserves the audience because without films like these American and world cinema would never blossom.

RATING: 6/10 (++)

Vampire Clan (2002)

2005-10-30T04:51:00.000+01:00

A Film Review

Horror films often inhabit the realm of supernatural, because one of their many purposes is to make the banal reality less horrible for the audience. Because of that, many people have problems recognising the horror or sources of horror in banalities of every day. One of the films to find horror in reality is VAMPIRE CLAN, 2002 drama directed by John Webb.

The plot begins when Jeni Wendorf (played by Stacy Hogue) returns home one night only to find mutilated bodies of her parents Rick (played by David Wells) and Ruth (played by Mimi Craven) while her younger sister Heather Ann (played by Kelly Kruger) is missing. Police quickly determines Rod Farrell (played by Drew Fuller), Heather's former boyfriend and leader of small band of Goth teenagers, to be prime suspect and organises national manhunt. Rod, Heather and the rest of band are found in Louisiana and arrested. During the questioning, Rod surprises detectives by claiming to be a leader of a vampire clan.

VAMPIRE CLAN is based on true events that had shocked American public a decade ago. Film's low budget is very evident and the only thing that separates VAMPIRE CLAN from a TV film are the explicit scenes of violence and gore. However, those scenes are anything but gratuitous, because the film treats its sinister subject with seriousness of real docudrama. Relatively unknown young actors are quite good in their roles, while director John Webb does a good job of capturing audience's attention despite the actual plot being resolved at the very beginning.

As a reconstruction of true crime, VAMPIRE CLAN is very good. Unfortunately, this also means that the filmmakers are concentrated on facts at the expense of interpretations. VAMPIRE CLAN shows how the crime was committed while not telling or suggesting its ultimate motive. The audience can only guess, despite some brief hints about sexual abuse or parental irresponsibility that sounds more like template used by such stories than filmmakers' actual opinion. As a result, the film's protagonists begin to look more like cartoons than real life persons they are supposed to be. VAMPIRE CLAN is a film worth seeing, but far from transcending banality of its subject,

RATING: 5/10 (+)

The Life and Death of Peter Sellers (2004)

2005-10-26T13:01:00.000+02:00

A Film Review

It is said that doctors are the worst patients and attorneys are the worst clients. Same could be said for actors when they happen to be film characters. At least this is the impression viewer may get from THE LIFE AND DEATH OF PETER SELLERS, 2004 biographical drama directed by Stephen Hopkins.

The film, co-produced by HBO and BBC, is based on Roger Lewis' biographical book about Peter Sellers (1925 - 1980), one of the most talented British actors and icons of 20th Century's popular culture. The plot follows Sellers (played by Geoffrey Rush) from mid 1950s, when he used to be popular BBC radio comedian, and shows how his successful break into film industry and, later, Hollywood had devastating effects on his personal life, alienating him from friends, colleagues, family, and, finally, leading to his death.

Like all biopics, THE LIFE AND DEATH OF PETER SELLERS is faced with a problem of compressing complexities of someone's entire life into a single feature film. Scriptwriters Christopher Markus and Stephen McFeely confronted this task by trying to find balance between Sellers' amazing multiple screen images and his prosaic - and often obnoxious - real self. The film argues that Sellers used his roles as an escape from his personal neurosis and emptyness. As a result, Sellers comes as not particularly interesting or sympathetic character.

Thankfully, even such "empty vessels", as Sellers calls himself during the film, can be made interesting when they are played by Geoffrey Rush, Australian actor who approached the role with enthusiasm of a hungry child in a candy store. Rush plays not only Sellers, but Sellers impersonating various important characters from his life. This proves not only too confusing, but also too "artsy" and too pretentious for most audiences. On the other hand, Hopkins' use of various "clever" cinema tricks are more bearable, especially when they depict fascinating world of 1960s and 1970s macho fantasies Sellers had lived in. Rush is, of course, great in his role, while his colleagues perform admirably in the thankless task of providing him with support, most notably John Lithgow as Blake Edwards.

The biggest flaw of this film is the same flaw that affects most other biopics about popular culture icons - in order to really appreciate it, the audience has to have some prior knowledge about the icon. Therefore, unless audience can relate to the works of Edwards' or Kubrick's movies, THE LIFE AND DEATH OF PETER SELLERS would mean very little to it. On the other hand, fans of Sellers and his work would probably appreciate this flawed but fascinating tribute.

RATING: 5/10 (++)

The Interpreter (2005)

2005-10-25T18:35:00.000+02:00

A Film Review

Hollywood executives have long been afraid of rapid rise of anti-Americanism affecting the foreign markets - the only thing that makes many of their current products financially sound. United Nations also has PR problems of its own, since the last decade witnessed transformation from inefficient but generally harmless club of dedicated idealist into cesspool of corruption. Interests of those institutions, therefore, matched resulting in THE INTERPRETER, 2005 thriller directed by Sydney Pollack.

The protagonist of the film is Sylvia Broome (played by Nicole Kidman), woman who works in United Nations building as an interpreter. She grew up in Matobo, African country whose president Zuwanie (played by Earl Cameron), once hailed as great liberator, is notorious because of killings, ethnic cleansing and other forms of oppression. One night she overhears two men discussing the apparent assassination of Zuwanie during his trip to New York, where the dictator is supposed to address UN General Assembly, promise reforms and reconciliation, thus thwarting the moves to try him at International Criminal Court. Broome immediately informs the authorities and it is given protection by Secret Service agents Keller (played by Sean Penn) and Woods (played by Catherine Keener), part of the team that should keep Zuwanie alive during his visit. Keller, however, begins to suspect Broome and her story, especially when some details of her radical past in Matobo begin to come out, including some very personal reasons why she would like to see Zuwanie dead or removed from power.

Most of the viewers even remotely familiar with world's current affairs are probably going to recognise Matobo and Zuwanie as fictional substitutes for Zimbabwe and Robert Mugabe. This is supposed to give real life relevance to THE INTERPRETER in order to make it something more than just another pointless Hollywood political thriller. Another thing that makes THE INTERPRETER different is the use of genuine UN locations in New York - a concession filmmaker more than apparently won at the expense of film's objectivity towards that institution. As a result, the protagonists uses every imaginable opportunity to underline the importance and usefulness of UN for today's world. This vision of UN is shared by many American leftists and liberals - including Hollywood filmmakers - who see pacifist UN as the only credible alternative to militant USA in the role of world's policeman.

This strong and not that subtle message is, however, buried under the mountain of cliches and implausibilities created by screenwriting committe which, reportedly, included five different authors. Sydney Pollack's old-fashioned by efficient direction only manages to hide those flaws for a while, because too many scenes feature unnecessary dialogue and completely needless subplots. One example is Sean Penn's character recovering from wife's death, and the film spends too much time on that, slowing the pace to a crawl. Another example is a character of Zuwanie's chief opponent (played by George Harris) who just happens to live in Brooklyn and use bus every day - only in order to provide film with its most spectacular, but least credible action scene.

But the worst flaw is casting of otherwise talented Kidman in the role which is less of a human character and more of an idealised vision of every Western liberal - beautiful, intelligent, environmentally conscious, with talent in music and refined cultural taste, multi-cultural to the bone and, last but not least, able to make right choice in the best possible moment. Her obvious perfection shatters any suspension of disbelief and destroys any resemblance of film to real life. Everything ends with a melodramatic fairytale finale that suggests efficiency of UN as a tool of international justice and peace - something with many people in places like Rwanda or Srebrenica would have plenty of reasons to disagree with. THE INTERPRETER could be watched, but it nevertheless leaves a bad taste of a film that made their authors feel good, while denying the same experience to the audience.

RATING: 4/10 (+)

Slipstream (2005)

2005-10-24T23:23:00.000+02:00

A Film Review

It is becoming difficult to find anything new and refreshing in films about time travel. SLIPSTREAM, 2005 science fiction film directed by Peter van Eyssen, initially gives impression of being such rare find. Narration by film's protagonist Stuart Conway (played by Sean Astin) tries to explain the concept and its practical applications. Conway, a quiet, mild-mannered and nerdish physicist employed in government's top secret laboratory, has invented and constructed miniature time travel device. The device allows him to go back ten minutes in time and he goes to bank in order to puts it to best possible use by making repeated cash withdrawals and discovering the best ways to seduce beautiful bank teller. Little does he know that he is being watched by Sarah Tanner (played by Ivana Milicevic) and Jake Hallman (played by Kevin Otto) - two FBI agents assigned to follow him as part of routine security clearance. He, as well as the agents, are surprised when the bank gets robbed by a gang led by volatile Briggs (played by Vinnie Jones). Chaos ensues, shots are fired, people get killed and Conway has to use his device in order to prevent situation from becoming even more catastrophic.

At first, it looks like the unconventional, nerdish protagonist and equally unconventional use of time travel device would result in unconventional film and that a scientific idea won't be abused as a cheap gimmick for uninspired action film. But such hopes disappear soon after the plot moves to a bank, where the predictable heist is followed by predictable shootout. By the film's end the audience will have opportunity to watch spectacular road crash, hostage crisis and passenger jet crashing into mountain. Van Eyssen directs those scenes with great skill, although at times he succumbs to the desire towards MTV-style "coolness", which doesn't work well, especially when accompanied by often irritating musical score. With Ivana Milicevic miscast as tough federal agent and Vinnie Jones typecast as psychopathic gangster, it is Astin that keeps film bearable for the audience. Shot in South Africa with relatively small budget, SLIPSTREAM had potential to become something more than combination of poor man's MATRIX and GROUNDHOG DAY.

RATING: 4/10 (+)

The Woodsman (2004)

2005-10-22T18:45:00.000+02:00

A Film Review

In today's world, or at least in its "Western" part, scope of tolerated sexual activities is continuing to broaden. The only exception seems to be paedophilia, which recently became convenient spot for moralists and conservatives to channel the outrage they can't express towards other, "politically correct" forms of sex. This reflects on popular culture, where the paedophilia appears to be worse problem than drug abuse, domestic violence, global warming or terrorism. Hollywood gave its contribution to the phenomenon with simplistic portrayals of paedophiles. So, it takes a lot of courage to go against the current and treat paedophiles as human beings. THE WOODSMAN, 2004 drama directed by Nicole Kassell is one of such films.

The film is based on the play by Stephen Fechter, who co-wrote the script with Kassell. The protagonist is Walter (played by Kevin Bacon), convicted child molester who returns to Philadelphia who was paroled after serving 12 years in prison. Walter is determined not to return behind bars and tries to do the right thing - he gets a job in local sawmill, keeps to himself and regularly visits therapist. But his old life nevertheless finds a way to affect him - either through encounters with his kind-hearted Portorican brother-in-law Carlos (played by Benjamin Bratt) and hostile police detective Sergeant Lucas (played by Mos Def) or romance with co-worker Vicki (played by Kyra Sedgwick), woman who has some difficult issues of her own. The biggest problem appears to be his apartment, which happens to overlook school yard and gives Walter ability to witness another paedophile (played by Kevin Rice) at work. Gradually, Walter begins to return to his old ways and stalks Robin (played by Hannah Pilkes), 11-year old girl who likes to watch birds in the park.

THE WOODSMAN indicates its theatrical origin by not having much of a plot. Instead, the film works as intriguing and often disturbing character study. Many of the characters, like Carlos, appear to be brought only to help describe Walter's character rather than advance the plot. Because of this, THE WOODSMAN, more than most other films, depends on good acting. Thankfully, Bacon, who was executive producer of the film, is brilliant in his difficult and thankless role. With his understated but powerful performance, Bacon breaks many Hollywood stereotypes in portrayal of paedophilia - he is not some pathetic old, middle-to-upper class monster whose perversion could be often interpreted as consequence of rejection by adult women. Instead, Bacon's character, even in his 40ies and after twelve years behind bars, looks disturbingly normal; on the surface he is quiet, unassuming blue-collar man who minds his own business. He is even attractive enough to become interest of one female character in the film. And, furthermore, he is a man with enough intellect to realise his affliction and try to fight it the best way he can. Bacon succeeds in what many films of this nature fail to do - he invokes sympathy for his character while never justifying nor condoning his actions.

Bacon's role - which, according to many, missed "Oscar" nomination only due to Academy's bigotry and lack of courage - is enhanced by the rest of cast, including his wife Kyra Sedwigck or rapper Mos Def in difficult and thankless role of intimidating policeman. Kassell also shows great skill as a director - he allows plot to build slowly, with great eye for detail; on the other hand, pacing is nearly flawless and the audience will be surprised to find so much content in hour and half of running time.

THE WOODSMAN is surprisingly good film, but at this stage it is far from becoming classic. The minimalist plot - which was partially built on few hardly believable details - ends too neatly, and some may argue that the authors took simplistic and predictable method for protagonist's redemption. But THE WOODSMAN nevertheless deserves recommendation because it deals with one disturbing phenomenon in an honest and humane way.

RATING: 7/10 (+++)

Executive Protection (2001)

2005-10-19T14:14:00.000+02:00

(LIVVAKTERNA) (2001)

A Film Review

Action genre is probably the last place where the audience could discover serious and sober exploration of important social, economical and political issues, especially those usually ignored by today's "infotainment" media. One of the rare exceptions to this is Sweden, country famous for quality crime and action films about Martin Beck and Carl Hamilton - based on the characters created with clear political or ideological agenda. So, it isn't surprising that some Swedish action films tend to engage, rather than insult viewers' intelligence. One of them is EXECUTIVE PROTECTION, 2001 film directed by Anders Nilsson.

EXECUTIVE PROTECTION is the second film in the series about Johan Falk (played by Jacob Eklund), maverick police detective from Gothenburg. While he attends a funeral of his adoptive father in rural Sweden, he meets old friends, including rich industrialist Sven Persson (played by Samuel Fröler). Sven asks Johan a favour because he made a mistake of major investment in Estonia - a prime target for extortion by local gangs. Even worse mistake was hiring German "security specialist" and former STASI operative Nikolaus Lehman (played by Christoph M. Ort) to handle the problem. Lehman and his team simply snuffed the extortionists and, much to Sven's horror, demanded outrageous sum for his service. Sven and his family are now subject of increasingly unpleasant intimidation campaign, and Sven asks Johan for help. Johan, knowing that bureaucratic Swedish police can't handle the job, goes for help among his former colleagues that run private security firm. They set up a 24/7 protection around Sven and his family, but Lehman proves to be more skilful and more ruthless than anyone has imagined.

As an action film, EXECUTIVE PROTECTION had budget significantly lower than its Hollywood genre counterparts. This is reflected in isolated rural setting and somewhat limited number of action scenes or characters serving as cannon fodder. On the other hand, Nilsson, who had experience with action genre in the past, compensates the lack of usual thrills with steady and confident direction, and, until the very end where usual cliches (ridiculously close race against time) take over, EXECUTIVE PROTECTION looks much better than an average Hollywood action film.

The reason for this is in very good script by Nilsson and Joakim Hansson. The plot is revealed slowly, but the audience is allowed to understand its fine points. The acting is great, although the character of female security specialist Pernilla appears to be invented only to justify casting of Alexandra Rapaport. However, the biggest asset of the film is in its ability to tell not only exciting, but also socially and politically relevant story. Through their characters, filmmakers argue that the end of Cold War and European unification could have ultimate aftermath far from the idealistic visions of 1989. They claim that post-Communist chaos and anarchy in Eastern Europe could spread westwards through the pathways created by globalisation process. In other words, the forces behind deadly combination of street thuggery and crony capitalism that dominates many areas of Eastern Europe are going to apply some of their techniques perfected during privatisation process in order to gain equal power in countries like Sweden, which so far haven't experienced such phenomena. EXECUTIVE PROTECTION is, therefore, a film that could be used as an interesting argument in current debates about European Union expanding eastwards. And even those who don't care about those issues are going to appreciate EXECUTIVE PROTECTION as a good piece of genre entertainment.

RATING: 6/10 (++)

The Chorus (2004)

2005-10-12T16:31:00.000+02:00

(LES CHORISTES) (2004)

A Film Review

"When in Rome do as Romans do" is a principle apparently adopted by many non-American filmmakers with "Oscar" ambitions. Since for many of them Academy Award represents the only opportunity to make inroads into Hollywood, many films look identical to Hollywood mainstream in every detail other than setting or language. One manifestations of that phenomenon could be abundance of non-American Oscar contenders that feature uplifting yet sentimental stories and adorable children as protagonists. THE CHORUS, 2004 French drama directed by Christophe Barratier, belongs to this category.

The script, written by Barratier and Philippe Lopes-Curval, is based on 1945 classic French film A CAGE OF NIGHTINGALES. The film begins in present-day when famous conductor Pierre Morhange (played by Jacques Perrin) attends his mother's funeral and meets an old childhood friend Pepinot (played by Didier Flamand) who tells him about diary left by their old teacher Clement Mathieu (played by Gerard Jugnot). The plot than goes back to 1949 when Mathieu is failed musician forced to take all kinds of odd jobs, including that of a teacher in reform school for wayward boys. The institution is reserved for most hopeless of all delinquents and run by tyrannical headmaster Rachin (played by François Berléand) who believes in corporate punishment as the only educational tool. Mathieu has different ideas and, after stoically suffering all kinds of verbal abuse and sadistic pranks, begins to win boys' hearts and minds by setting up a boys' choir.

Barratier appears to have done his homework - THE CHORUS doesn't lack a single cliche from the films about dedicated teachers changing the lives of unprivileged or dysfunctional pupils. Again, the art is used a perfect tool to tame aggressive young minds and channel their construction into something more constructive than violence and other forms of social pathology. Again, the noble teacher has to fight prejudice, conservatism and bureaucracy - this time embodied in character played by François Berléand, actor who seems to be subscribed to every main villain's role in French films. Barratier even adds subplot about protagonist having crush on one of his pupil's young and single mother, simply in remove any doubts about his motivation for helping youths.

Having a plot so safe and so formulaic, THE CHORUS was on its way to become just another forgettable example of saccharine cinema. Thankfully, even the most formulaic films can be rescued when formulas are applied by real talents. Comedian Gerard Jugnot successfully carries film on his shoulders, thanks to his plain middle-aged look that provides realistic dimension to the film. The balance of humour and pathos - one of the most important thing for this kind of films - is achieved in THE CHORUS. The music, although not particularly memorable, is enjoyable and the professional boys choir - whose members play in the film - provides good soundtrack. For most of the audience THE CHORUS will end like a pleasant viewing experience, although few would dare to admit it.

RATING: 6/10 (++)

The Return (2003)

2005-10-11T19:19:00.000+02:00

(VOZVRASHCHENIYE) (2003)

A Film Review

Last few decades weren't very kind to Russia or Russian film. Collapse of Communism brought the end to the state-sponsored film industry and almost completely erased Russia from the world cinema map. It took almost decade and half for Russian films to raise some kind of interest outside national borders or give hints that Russian cinema might return to its former glory. In 2003 this happened with THE RETURN, drama directed by Andrei Zvyagintsev. This directorial debut of a notable Russian film and TV actor won Golden Lion at Venice Film Festival.

The plot takes place in a seaside town of Northern Russia where teenager Andrey (played by Vladimir Garin) and his younger brother Ivan (played by Ivan Dobronravov) are surprised to find their father (played by Konstantin Lavronenko) returning from twelve years of absence. They don't know their father nor the reason why he left the family and even more intrigued when their loving mother (played by Natalya Vdovina) agrees to let them join father on a fishing trip. In next seven days they slowly discover that the real purpose of journey is far from recreational - father uses every opportunity to put boys to various mental and physical ordeals, which come to the climax at the remote island. Boys react to abuse differently - Andrey wants to connect with cold and distant paternal figure while Ivan mistrusts father and defies him at every opportunity. Escalating conflict between the two will result in tragedy.

THE RETURN could be best described as the embodiment of "less is more" principle. Shot with low budget and minimal number of actors, this film puts Northern Russian locations to excellent use. As the brothers' journey goes on, traces of civilisation - usually decayed artefacts of once mighty empires - are replaced with ethereally beautiful forests and lakes, lovingly recorded by Mikhail Kritchman's cinematography. But these sights of beauty gradually become more menacing, underlining the frailty of the boys, who are helpless both confronted with nature and their increasingly tyrannical father. All those beautiful sights hide dark secrets that, just like the secret behind father's long absence, are better not to reveal.

The casting - which was of utmost importance in this kind of film - is excellent. Konstantin Lavronenko as father is perfect as dark, mysterious and authoritative force that, despite his questionable acts, could not be put into Manichaean classification of Hollywood characters. Vladimir Garin, who tragically died shortly before the film's premiere, is also very good, although somewhat overshadowed by younger Ivan Dobronravov who stands out as more rebellious of two brothers.

The film's main weakness is what could have been its main strength - the main source of dramatic tension is mystery about father. The audience doesn't know why he left the family, what he did for living and what his ulterior motives for the trip or boys' abuse are really are. After the predictably melodramatic end, the audience is left guessing and THE RETURN looks unfinished. This void was often filled with various speculations and interpretations, especially among Western critics who saw the film's story as religious allegory or tacit condemnation of President Putin's neo-authoritarian policies. Regardless of its flaws, THE RETURN deserves praise as more than simply a good film. Its title is quite fitting, because it represents magnificent return of a great cinema tradition to the world stage.

RATING: 7/10 (++)

The Cowboys (1972)

2005-10-11T14:57:00.000+02:00

A Film Review

Long time ago John Wayne used to be the embodiment of everything America wanted to be. These days John Wayne is often perceived as the embodiment of everything America should abandon. Yet, some of his films that reflect the ideology and values associated with him look refreshing even to contemporary leftists and liberals. This is probably due to Hollywood's ability - now lost - to promote simple ideas and simple truths in a convincing way. One of the best examples could be found in THE COWBOYS, 1972 western directed by Mark Rydell.

In this film John Wayne plays William Andersen, old rancher faced with sudden loss of labour force due to a gold rush. This happened at worst possible moment - just before the cattle drive that was supposed to pay his bills. His friend Anse Petersen (played by Slim Pickens) suggests that he hires local teenagers as cowboys and he reluctantly agrees, not being particularly enthusiastic about group of boys, aged 9 to 15, that he would have to train and lead. The group, which is joined by black cook Jedediah Nightlinger (played by Roscoe Lee Browne), faces many obstacles on their trek, the worst being group of rustlers led by sinister Asa Watts (played by Bruce Dern). The boys, faced with hunger, hard work and danger, learn many important lessons that would help them act like grown men.

It would be pointless to name all elements in which this film insults modern-day sentiments of "political correctness". THE COWBOYS, among other things, feature positive attitudes towards child labour, masculine authority, vigilante justice and children using guns. The only potentially subversive scene features a group of young travelling prostitutes led by ageing madam (played by Colleen Dewhurst). Although introduced probably in order to fill the conventional quota of female roles, those characters could be interpreted as some kind of female equivalent of John Wayne's character and his boys. Screenwriters' reluctance to explore this opportunity is one major weakness of the film, while the other is failure to explain how young boys suddenly transform into efficient killing machines.

Despite those flaws and the somewhat slow pace that could be less tolerable to younger audiences, THE COWBOYS is a film that can expect audience even today. John Wayne is great in one of his iconic roles, while the rest of cast features some interesting names. Bruce Dern is great in small, but chillingly memorable role of psychopathic villain. Young Adolph Martinez of future SANTA BARBARA fame is also very good in the role of a boy who must fight racial stereotypes. Rydell directed film with great skill, putting locations of American Southwest to good use. The film is accompanied by very good score of John Williams that adds to the epic character of the film. All in all, THE COWBOYS shows how old Hollywood promoted conservative agenda with the skill and efficiency modern-day liberals and leftists can only dream about.

RATING: 6/10 (++)

Godsend (2004)

2005-10-10T22:12:00.000+02:00

A Film Review

The author of this review is quite aware that people go to theatres to be entertained above else and, therefore, there is little room for some serious discussion about important issues in contemporary Hollywood movies. However, I'm still getting increasingly annoyed with some intriguing scientific concepts being reduced to cheap B-movie plot gimmicks. One of the worst examples could be current debate about human cloning, which is abused by the screenwriters of GODSEND, 2004 thriller directed by Nick Hamm.

Film begins when high school teacher Paul Duncan (played by Greg Kinnear) and his photographer wife Jessie (played by Rebecca Romijn) lose their adorable 8-year old son Adam (played by Cameron Bright) in a traffic accident. The devastated couple is approached by Dr. Richard Wells (played by Robert de Niro), top medical scientist who developed various cloning techniques and offered an opportunity to have their son reborn as a clone. After some hesitation, they agree to take part in illegal experiment and Jessie later bears son identical to Adam. Their happy life starts to change after new Adam's eighth birthday - their son begins to suffer from terrible visions and his behaviour becomes anti-social. Paul begins to suspect that personality change might have something to do with a cloning procedure that apparently didn't go as perfect as Dr. Wells claimed.

Even from the first, cliche-ridden scenes (adorable family just waiting to be struck by tragedy, street incident showing how noble one protagonist is) GODSEND shows that it is not going to rise above Hollywood average. British director Nick Hamm, on the other hand, maintains viewers' interest by using the acting talents of young Cameron Bright, as well as rural Canadian locations. Unfortunately, the suspicions about film's ultimate quality begin with the appearance of Robert de Niro - once great actor whose name on a poster now tells anyone interested in good film to run to the hills. In the final sections of the film, the Mark Bomback's script - that have taken a safe route of conforming to combination of mainstream Judeo-Christian values and Hollywood's traditional technophobia - begins to collapse under the series of implausibilites and cheap plot "twists" that lead to one of the most disappointing and underwhelming endings in recent Hollywood history. By that time, both those expecting serious film about human cloning and those wanting quality horror film are going to want hour and half of their lives back.

RATING: 2/10 (-)

Devour (2005)

2005-10-09T17:44:00.000+02:00

A Film Review

We live in fast-changing world and it is fascinating to see how popular culture, even millennia-old myths and urban legends, adapt to new technology. One of the examples for that is a belief, rather popular in certain quarters few decades ago, that heavy metal songs have contain hidden Satanist messages. This urban legend is updated in order to serve as the plot element for DEVOUR, 2005 horror film directed by David Winkler.

Protagonist of the film is Jake Gray (played by Jensen Ackles), computer science student who just turned 21. His friends Conrad (played by Teach) and Dakota (played by Dominque Swain) invite him to the bizarre on-line game called "Pathway". Jake reluctantly joins, already troubled by strange dreams and visions of brutal violence. Soon it becomes apparent that "Pathway" is more than a game and that it includes persons, organisation or force that could affect players' real lives. When Conrad and Dakota both get involved in brutal murders, Jake begins to ask some questions about true nature of the force he would have to face, especially after seeing demonic beings in his visions.

Despite its low budget, DEVOUR looked like a good opportunity for something rarely seen in Hollywood these days - a decent horror film. Script by Adam and Seth Gross had many interesting characters and subplots. The best thing about it is the ending - something that is usually the sore spot for most genre movies today. Unfortunately, unlike so many potentially great film ruined by bad ending, DEVOUR has misfortune of having good ending that can't save generally disappointing film. The weakest link of DEVOUR is director Winkler whose rapid editing leaves too many scenes unfinished and makes the whole film look cheaper than it actually is. The actors are more than fine, especially tragically underused Dominique Swain. DEVOUR also benefits from Vancouver locations, but they also bring unpleasant comparisons with classic episodes of THE X-FILES and underline the impression of DEVOUR being one big wasted opportunity.

RATING: 4/10 (+)

The Card Player (2004)

2005-10-06T18:08:00.000+02:00

(IL CARTAIO) (2004)

A Film Review

Any ground-breaking filmmaker who remains in business long enough risks seeing his work becoming mainstream. Same principle could be applied to Dario Argento, Italian film director famous for his legendary 1970s "giallo" films. His latest works, despite Argento's best efforts, look not that different from the genre films coming from today's mainstream Hollywood. One such example is Argento's 2004 thriller THE CARD PLAYER.

The protagonist of the film is Anna Mari (played by Stefania Rocca), female police detective from Rome whose latest case involves one particularly nasty serial killer. Unknown psychopath kidnaps women, puts them in front of webcam and dares policemen to a play a game of online poker for their lives. First such challenge is ignored in police and results in a young woman being killed. Since she happened to be British citizen, British embassy sends its resident police official John Brennan (played by Liam Cunningham) to assist the investigation. After another murder, this time caused by police personnel's ineptness in poker games, Anna decides to hire Remo (played by Silvio Muccino), teenager with incredible poker talent. He manages to save Lucia (played by Fiora Argento), police chief's daughter, from the maniac but Anna nevertheless continues investigation and discovers that the killer seems to know too much about her.

If not for Rome locations and absence of Hollywood actors - closest thing to that is Irish actor Liam Cunnigham, probably introduced in order to make this film more accessible to English-speaking markets - THE CARD PLAYER looks very much like so many "high concept" Hollywood thrillers about psychopathic killers with too much imagination and too much resources at their hands. There is very little gore and nudity in the film, and the plot resolution is predictable. Disappointment at the end has more to do with the poor choice of accompanying music than poor choice of script, though. The online poker games, which are supposed to be the high point of the film, are directed in a manner suggesting that Argento can't adapt thrills of digital entertainment to the thrills of cinema. However, the acting in the film is very good, Rome locations are put to good use and there are couple of interesting scenes. THE CARD PLAYER could be recommended as more than passable entertainment, although Argento fans would most likely prefer his earlier work.

RATING: 5/10 (++)

Ken Park (2002)

2005-10-06T15:56:00.000+02:00

A Film Review

All those opposed to nudity, explicit sex and other more graphic forms of film erotica often try to hide their political and philosophical agendas by employing strictly artistic arguments. According to them, explicit erotica too often doesn't serve any other purpose than to shock or titillate audience and thus hide the fact that a film doesn't have artistic merit. One of the films where this argument could be made is KEN PARK, controversial 2002 drama directed by Larry Clark and Edward Lachman.

The film is set in Californian town Visalia and begins with the suicide of adolescent skater Ken Park (played by Adam Chubbuk). The plot continues to describe the lives four of his friends. Tate (played by James Ransone) lives with his grandparents and reacts to their kindness with increasing levels of violence. Claude (played by Stephen Jasso) is considered effeminate and gay-like by his macho father (played by Wade Williams) only to become target of his sexual abuse. Peaches (played by Tiffany Limos) lives with Catholic fundamentalist father whom he tries to defy by engaging in BDSM practices with her boyfriend. Shawn (played by James Bullard) is involved in sexual relationship with Zoe (played by Maeve Quinlan), mother of his girlfriend.

KEN PARK received great deal of controversy - in other words, free publicity - due to the scenes that contain non-simulated urination and sexual activity. When the authors like Larry Clark - who already created controversial reputation due to his tendency to make films featuring adolescent characters in the birthday suits or having sex - resort to this kind of artistic decision, it is usually not a sign of a great artistic confidence. Actually, according to interviews, Clark struggled with the ideas for KEN PARK for almost a decade before being provided with script written by Harmony Korine, who had written screenplay for his first and best film KIDS.

Although KIDS and KEN PARK superficially resemble each other in their naturalistic portrayal of dysfunctional alienated youths involved in various forms of social pathology, it becomes very clear that the first film, unlike KEN PARK, had something resembling plot and clearly defined characters. Korine's idea to make KEN PARK deal with dysfunctional youths' parents only resulted in series of unconnected vignettes and characters who tragically stereotypical - religious fundamentalists are suppressing incestuous urges while openly homophobic macho men are closet gays. In this kind of film, especially in the scenes when the audience is likely to pay more attention to someone's private parts than characters or plot, any kind of stereotype only suffocates whatever meaningful content have been left on the screen. It is sad to see otherwise good actors like Amanda Plummer waste their talent and risk their reputation by appearing in films like this. It is equally sad to see young and good actors who might easily be branded by KEN PARK till the end of their careers. The movie is well-shot, but it is the only good thing that could be said about KEN PARK. Clark and Lachman tried to show themselves as uncompromising artists that would stop at nothing in order to bring ugly realities of the world to the screen, but the only ugly reality revealed was their own shallowness.

RATING: 2/10 (-)

Knight Club (2001)

2005-10-05T15:02:00.000+02:00

A Film Review

Being a bouncer is one of the least appreciated professions in the world despite the fact that it requires good fitness, martial, as well as psychological and diplomatic skill that most people don't possess. One of the few films to appreciate this fact is KNIGHT CLUB, 2001 drama written and directed by Russell Gannon.

The protagonist of the film is Gary Grieco (played by Lochlyn Munro), struggling Hollywood actor who successfully uses his skills to con his way into a popular Los Angeles night club. When his deception is about to discovered, he desperately takes the offer to become a bouncer. First incident discovers his new talent, which is recognised by Dirk Gueron (played by Lou Diamond Phillips), leader of Knight Club, group of elite Los Angeles bouncers. Dirk befriends and tutors Gary, allowing him to work in most prestigious night clubs and develop network of influential friends. Gary begins to live a good life, but the lure of even more money from Russian mobster Dimitri (played by Russell Gannon) proves to be too much. Gary betrays his Dirk in order to get a job of a bouncer in Dimitri's club.

Jim Lotfi's script for KNIGHT CLUB occasionally tries to be an honest and realistic portrayal of the dark side of Hollywood. World of elite night clubs and bouncers who are their informal lords and one of the least known pieces of Hollywood machine was provide an excellent and original perspective on the centre of world's entertainment industry. Made with small budget and without content constraints of big studio production, KNIGHT CLUB often has rawness that other films on that subject lack. However, the potentially intriguing story and set of characters are buried under the mountain of abysmal acting. Simplistic moralising, underlined with the use of poem at the end, is not going to improve generally disappointing impression of the film.

RATING: 3/10 (+)

Shackles (2005)

2005-10-04T17:15:00.000+02:00

A Film Review

The author of this review seems to adopt more conservative views with time. One manifestation of this phenomenon is decreased level of understanding for liberal Hollywood filmmakers and their promotion of kind-hearted progressive teachers as a cure for drugs, poverty, crime, violence and other inner-city problems. This is the reason why approached SHACKLES, 2005 prison drama directed by Charles Winkler, with great deal of scepticism.

The protagonist of the film is Ben Cross (played by D.L. Hughley), unemployed high school teacher who had sent one of his pupils into coma and now has great difficulties in finding work. The only opportunity comes in the form of special school program for juvenile delinquents and young offenders in Schakleton detention facility. Cross has a task of attracting certain number of inmates to the classrooms in order to have the program continued. After few unsuccessful attempts, he discovers that Gabriel Garcia (played by Jose Pablo Cantillo), one of his rebellious pupils, has a great talent for poetry. He decides to organise a poetry slam in prison, but his efforts are frowned upon by conservative prison administration.

SHACKLES doesn't stray from the ground countless other Hollywood films have covered - both the teacher with murky past and its violent students find path to redemption; the art is a magical wand that channels youthful energy into something more constructive than violence; noble efforts or bridging the class and race divide are thwarted by soulless bureaucracy and repressive establishment. What makes this film bearable is the fact that SHACKLES tells an old story in occasionally inventive way. Winkler's use of HDTV technology and split screens make SHACKLES look interesting, raw and almost documentary. The casting, based on young and relatively unknown actors, also helps the film, especially in the case of Cantillo who convincingly portrayed youthful angst. Because of that the generally good impression of the film survives heavy-handed sentimental finale where the authors spell their message to the audience with the subtlety of Donald Rumsfeld's military strategy. There is one thing in SHACKLES better than a film itself - poetry, which will sound powerful and attractive even to those who don't subscribe to filmmakers' views.

RATING: 5/10 (++)

Puerto Vallarta Squeeze (2003)

2005-10-03T16:17:00.000+02:00

A Film Review

If there is one thing that will doom Hollywood it is the increase of cliches, formulas and predictability that plague today's films, especially those made by big studios. Those made with lesser budgets are somewhat more immune to this plague, but when cliches happen, the result is not pretty. One of such examples is the ending of PUERTO VALLARTA SQUEEZE, 2003 drama directed by Arthur Allan Seidelman.

The plot, based on the novel by Robert James Waller, begins in Mexican city of Puerto Vallarta in 1990. Washed-up American writer Danny Pastor (played by Craig Wasson) and his Mexican girlfriend Maria de la Luz Santos (played by Giovanna Zacarias) are witnessing the double assassination on the street. Few hours later they are approached by Clayton Price (played by Scott Glen), another American who claims to be stranded and offers substantial amount of money for discreet ride northwards, towards US border. Pastor and Luz, in desperate need of money, agree, not knowing that the Price is a former Vietnam veteran and CIA-trained assassin responsible for murders. His act has caused massive manhunt by Mexican authorities, and the efforts to apprehend him are joined by two CIA agents - older Walter McGrane (played by Harvey Keitel) and younger Weatherford (played by Jonathan Brandis). While all this is going on, trio travels to north and Luz begins to develop feelings for mysterious stranger.

In the beginning, PUERTO VALLARTA SQUEEZE looks very refreshing. The exotic locations of Mexico are well-matched by unconventional characters and bizarre love traingle. The plot is good opportunity to spot some tragically underused talents like Craig Wasson. For Scott Glen, specialised for supporting roles of tough guys, this film was a rare occasion to play romantic lead. Because of that, the audience are lulled into not expecting cliches and when they start appearing, film starts to rapidly deteriorate. Harvey Keitel gives another routine performance, while Jonathan Brandis - actor who took his life shortly after the premiere - is almost forgettable. The ending of the film - that significantly strays from the novel - is especially disappointing, because it predictably sacrifices plausibility to Hollywood conventions. Seidelman, director with long television career, makes this film watchable, but the experience contains too many "deja vus" to be recommended.

RATING: 4/10 (+)

A Home at the End of the World (2004)

2005-09-28T11:37:00.000+02:00

A Film Review

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)

2005-09-26T15:22:00.000+02:00

A Film Review

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)

2005-09-24T14:52:00.000+02:00

(LA BALSA DE PIEDRA) (2002)

A Film Review

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)

2005-09-22T17:30:00.000+02:00

A Film Review

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)

2005-09-20T20:30:00.000+02:00

(SEN TO CHIHIRO NO KAMIKAKUSHI) (2001)

A Film Review

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)

2005-09-17T18:39:00.000+02:00

A Film Review

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)

2005-09-16T16:56:00.000+02:00

A Film Review

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)

2005-09-13T01:03:00.000+02:00

A Film Review

"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)

2005-09-12T15:26:00.000+02:00

(EL ABRAZO PARTIDO) (2004)

A Film Review

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)

2005-09-07T19:58:00.000+02:00

A Film Review

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)

2005-09-03T15:35:00.000+02:00

A Film Review

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 (++)

The Life Aquatic with Steve Zissou (2004)

2005-08-31T23:05:00.000+02:00

A Film Review

Despite all the continents being discovered and almost all territories being mapped, 20th Century had its share of great explorers. One of the best known was Jacques Cousteau (1910 - 1997), French naval officer whose enthusiasm for undersea exploration was matched by his filmmaking talent. He made great number of undersea documentaries and became one of the greatest scientific icons of 20th Century. Many artists paid him homage, including John Denver in one of his songs. The most spectacular homage so far is THE LIFE AQUATIC WITH STEVE ZISSOU, 2004 comedy directed by Wes Anderson.

The protagonist of the film is Steve Zissou (played by Bill Murray), Cousteau-like undersea explorer and documentary filmmaker who became famous by series of films depicting adventures of his research ship "Belafonte". However, the last expedition turned into disaster when his trusted assistant Esteban (played by Seymour Cassell) apparently got devoured by mythical Jaguar shark. Zissou spent years trying to get funding for new expedition, determined to find the monster and avenge his friend's death. New opportunity arises with the arrival of Ned (played by Owen Wilson), young airline pilot who claims to be his son. Zissou brings him on the ship together with Jane Winslett-Richardson (played by Cate Blanchett), pregnant British reporter who would chronicle the expedition.

Wes Anderson built his reputation on movies made in distinct style and populated by unusual characters. THE LIFE AQUATIC will maintain such reputation. Anderson made the film almost completely in long static shots that allow audience to enjoy good cinematography and impressive production and costume design. One of the most impressive shots gives cross section of Zisssou's ship. The acting in the film is great, especially in the case of Bill Murray who have collaborated with Anderson in RUSHMORE. Anderson also shows what creativity unburdened by Hollywood conventions can do - film owes much of its attraction and surreal atmosphere to stop motion animation of exotic sea creatures or use of Brazilian actor and singer Seu Jorge to cover David Bowie's songs in Portuguese.

THE LIFE AQUATIC is a film very different from what Hollywood accustomed audience to. Yet, those who aren't satisfied with films being merely unusual will find some flaws in it. The main problem is lack of humour, which could be devastating for a film that is supposed to be comedy. There are some hilarious scenes, but they occur relatively rarely, at inopportune moments. The pacing of the film is very slow, often drowned by dramatic scenes that don't make much of an impact and that includes melodramatic and very predictable ending. Some characters, like Zissou's wife, played by Anjelica Huston, are tragically underused while others, like Zissou's archrival played by Jeff Goldblum, could have been left on cutting room floor. It is sad to see such magnificent display of talents not weaved into coherent story, but this flaw shouldn't discourage anyone from watching THE LIFE AQUATIC.

RATING: 6/10 (++)

Mean Creek (2004)

2005-08-30T19:55:00.000+02:00

A Film Review

One of the most annoying traits of modern Hollywood is in the trailers and their tendency to tell audience every important detail of the movies' plots. This phenomenon can affect both top Hollywood blockbusters and independent dramas. One of the examples of the latter is the trailer for MEAN CREEK, 2004 drama written and directed by Jacob Aaron Estes.

The plot of the film begins with Sam (played by Rory Culkin) being mercilessly bullied at school by George (played by Josh Peck), fat dyslexic who failed grade twice and uses his size to intimidate other pupils. When Sam complains about it to his older brother Rocky (played by Trevor Morgan), they devise a plan to lure George to a boat trip with other boys and then "teach him a lesson" through cruel practical joke. On the trip George reveals completely unknown and much more pleasant side of his character, so Sam has second thoughts and wants the "lesson" to be called off. But circumstances and characters conspire to end idyllic afternoon in tragedy.

Even those who haven't seen the trailer would find the plot of MEAN CREEK to be somewhat predictable. More disappointing is the plot's sudden and somewhat un-cathartic resolution. However, MEAN CREEK depends more on characters than plot, and this is where Jacob Aaron Estes' script and direction excel. Good camera work, idyllic Oregon locations and brilliant pacing are well-matched by the superb acting of young actors. Josh Peck had the most difficult task - he had to portray the character who was most obnoxious at the beginning only to garner sympathy at the end. Other actors were also very good, especially Rory Culkin and Carly Schroeder in a roles of young people forced to face difficult moral dilemmas young people were not supposed to face. Despite having some scenes that are very powerful in the less pleasant way, MEAN CREEK deserves recommendation as an example of everything that is good in American independent cinema.

RATING: 6/10 (++)

The Forgotten (2004)

2005-08-24T15:57:00.000+02:00

A Film Review

Current box-office slump in North America could be attributed, among other things, to audience getting tired of promise in Hollywood trailers that never gets delivered in actual feature films. One of such undelivered promises is THE FORGOTTEN, 2004 thriller directed by Joseph Ruben.

Protagonist of this film is Telly Parretta (played by Julianne Moore), New York woman who still grieves over her son Sam (played by Christopher Kovaleski) who died in plane crash one year ago. Her husband Jim (played by Anthony Edwards) and psychotherapist Dr. Jack Munce (played by Gary Sinise) are trying to help her get through this difficult time. After a while Telly begins to noticing strange things - Sam's photographs begin to disappear from family albums and, when confronted about it, Jim claims that two of them never had a child and that her son was product of imagination. Telly's subsequent inquiry discover no traces of plane crash in the media but Ash Correll (played by Dominic West), a hockey player whose child also died, might give an answer whether she is affected by madness or something more sinister.

Basic idea of Gerald Di Pego's script wasn't particularly original, but it was a sound basis for what was supposed to be disturbing and intriguing thriller where the audience, just like the heroine, has to tackle different perceptions of reality. Joseph Ruben was capable director and Julianne Moore was surrounded by very talented cast of character actors. Unfortunately, Di Pego didn't have enough skill to maintain the high level of tension throughout the whole script, so he early opted to deprive the audience of any sense of wonder. The protagonist and the audience have an answer to their dilemmas delivered on silver platter and what follows afterwards is safe, predictable and lame plot with unsatisfying and un-cathartic resolution after which most viewers are going to feel cheated. Few films have title more deserving than THE FORGOTTEN.

RATING: 3/10 (+)

Cursed (2005)

2005-08-21T18:54:00.000+02:00

A Film Review

Almost a decade ago Wes Craven and Kevin Williamson resurrected the horror genre in Hollywood with his SCREAM. Today it seems those two men are about to bury horror genre again. This impression might be gained from his latest film CURSED, written by Williamson and directed by Craven.

The plot is set in Los Angeles where television producer Ellie Myers (played by Christina Ricci) lives looks after her teenage brother Jimmy (played by Jesse Eisenberg) after their parent's death. One night at Mullholland Drive they get involved in traffic accident which escalates into something more sinister which would result with one woman brutally murdered and two of them bitten by something. While Ellie tries to ignore the incident, Jimmy notices changes in his unexplained changes in his physique and behaviour that transform him from high school nerd into high school jock. Jimmy is convinced that two of them are about to transform to werewolves and the only way to stop the curse is finding and killing the werewolf that infected them.

There is growing consensus, even the most sympathetic critics, of CURSED being one of the worst films the careers of Craven and Williamson. What looked refreshing one decade ago now turns into routine combination of cliches, cheap pop culture references and plot twists that can't surprise even the least experienced viewer. Even worse is complete waste of talents - otherwise effective comedienne Judy Greer almost ruins film with her obnoxious and unfunny character and empty dialogue lines, while the rest of cast is lacking any enthusiasm for the roles. Craven's direction is often uninspired, apart from the scene when a character played by Mya gets attacked by werewolf.

Craven and Williamson, on the other hand, have some arguments in defence of their reputation. The production was plagued by technical difficulties, creative conflicts, actors walking out from set, constant re-shootings and re-editing and unfavourable reactions at the test screenings. In the end studio decided to cut film in order to receive PG-13 rating, thus making CURSED more confusing and allowing Craven and Williamson to disown the project. However, film whose authors require so many excuses doesn't deserve an audience.

The Gathering (2002)

2005-08-18T22:47:00.000+02:00

A Film Review

The saddest thing about today's state of genre movies is filmmakers' tendency to waste excellent ideas in mediocre scripts. One of such examples could be found in THE GATHERING, 2002 British horror film directed by Brian Gilbert.

The plot begins in small English town when a young couple dies in gruesome accident that would unearth 1st Century AD church. Simon Kirkman (played by Simon Dillane) is a scientist entrusted by Church to examine the find. At the same time his wife Marion (played by Kerry Fox) drives a car and accidentally hits American tourist Cassie Grant (played by Christina Ricci). Young woman miraculously avoids serious injuries, but she loses memory and Marion brings her to her home in order to help her recover. There Cassie begins to experience frightening visions of violence, while the sinister-looking strangers begin to appear in town.

THE GATHERING is based on the script by Anthony Horrowitz, British writer best known for the popular TV series FOYLE'S WAR. This should have guaranteed an interesting thriller, because Horrowitz knows how to handle complex plots. The idea behind the plot was original and the beginning indicates that THE GATHERING might turn out to be above average horror thriller. Unfortunately, the great mystery is revealed long time before film's end, leaving the otherwise capable actors and director Gilbert to wrestle with formulaic and predictable finale, which is at the same time full of plot holes and implausibilities. Gilbert directed film very well and THE GATHERING indeed features some memorable scenes and images. Unfortunately, the huge gathering of talents and obvious effort invested in this film only makes the general impression more disappointing.

RATING: 4/10 (+)

Backbeat (1995)

2005-08-17T23:29:00.000+02:00

A Film Review

In today's image-dominated world many celebrities found immortality through early death. James Dean, Marilyn Monroe, John F. Kennedy, Che Guevara and John Lennon are just some of the examples - people who became deities because, rather than in spite of their early demise. Sometimes that phenomenon can benefit people by mere accident. One of such tales is a BACKBEAT, 1995 biographical drama directed by Iain Softley.

The plot of the film begins in 1960 Liverpool when young and aspiring painter Stuart Sutcliffe (played by Stephen Dorff) happens to be the best friend of an aspiring rock and roll musician John Lennon (played by Ian Hart). Sutcliffe buys bass guitar and joins Lennon and the rest of the band called Beatles when they travel to Hamburg in order to perform in seedy clubs of Hamburg. The life is hard but fun, but Sutcliffe begins to have doubts about being in the band, especially after encounter with group of German beatniks that includes photographer Astrid Kirchher (played by Sheryl Lee). Sutcliffe falls in love with her and although she helps Beatles in developing their look, other band members, especially Paul McCartney (played by Gary Bakewell) use that affair as an argument to eject Sutcliffe from band. While Lennon tries to stand behind his best friend, Sutcliffe gradually decides to turn to painting rather than rock and roll music.

While the story of the "fifth Beatle" might not be of much interest to the Beatles fans, it is nevertheless a very good excuse for Softley to reconstruct the early years of the world's best known rock and roll band. The casting is somewhat unusual - American actors Stephen Dorff and Sheryl Lee play English and German character, respectively - but very effective. Ian Hart, a native of Liverpool, is very convincing in the role of Lennon. The other period details - clothes and scenery - are also in the film, despite the relatively low budget. The biggest problem for BACKBEAT is the simplistic plot which just happens to end when the other, more important, story was only about to begin. But the ending of this solid, and for the most part, fascinating reconstruction of the rock history only points to the tragic irony of immortality being achieved through early death.

RATING: 6/10 (++)

The Manchurian Candidate (2004)

2005-08-12T21:30:00.000+02:00

A Film Review

The very things elevates one film into a classic can sink another into oblivion. 1962 version of THE MANCHURIAN CANDIDATE became timeless by being a product of its time. 2004 remake, directed by Jonathan Demme, is going to sink into oblivion by being a product of its time.

The script by Daniel Pyne and Dean Georgaris adapted original Cold War plot of Richard Condon's novel into the modern setting. The film begins in 1991, during first Gulf War, when a US Army patrol commanded by Captain Bennett Marco (played by Denzel Washington) gets ambushed by Iraqis. In a confusing battle Staff Sergeant Raymond Shaw (played by Liev Schrieber) heroically rescues his comrades from certain death and later receives Medal of Honour that would ultimately launch his political career. Years later Major Marco is troubled by nightmares that suggest that something quite different happen, and he begins to doubt his own memories when another survivors confront him with the tales of identical nightmare. In the meantime, Eleanor Shaw (played by Meryl Streep), Shaw's overambitious mother and powerful US senator, manipulates Democratic Party into choosing her son for vice-presidential candidate. While the campaign intensifies, Marco conducts his own investigation and discovers that he, Shaw and every other unit member was brainwashed by scientists employed by Manchurian Global, powerful multinational corporation.

The original version of THE MANCHURIAN CANDIDATE became popular film by exploiting Cold War paranoia of American public. New version tries to do the same with War on Terror, but with less coherence and less success. Instead of global terrorists, the ultimate villains in this film are multinational corporations who use terrorism to get rich and powerful at the expense of American public and democratic institutions. This isn't surprising, since those corporations are often viewed as major sponsors and ultimate masters of Republican Party. While not mentioning his name, the film uses every opportunity to attack George W. Bush and his policies. This isn't surprising because the release of film occurred during 2004 presidential campaign. By presenting dystopic vision of USA as paranoid, semi-totalitarian country few steps away from total corporate control, makers of THE MANCHURIAN CANDIDATE obviously tried to convince voters to remove Bush from the White House.

Unfortunately, the attempt to make new THE MANCHURIAN CANDIDATE politically relevant ruined the film. The holes of the original plot look like unbridgeable chasms in the new version. Script doesn't explain why would multinational businessmen would bother with expensive, long, risky and ultimately impractical mind control procedures when politicians could be kept on a leash through more traditional, simpler and safer methods like ordinary corruption. Many scenes that looked shocking in the original look ridiculous in new version, while the ending is mother of all disappointments.

Not all scenes in the film are bad. Some of the dialogues in the film are intriguing and the acting is good, especially in the case of Liev Schrieber who is almost better than Laurence Harvey in the original version. Denzel Washington, on the other hand, isn't that effective, while Meryl Streep with all her talent simply couldn't match the intensity of Angela Lansbury in 1962 version. Even without unavoidable comparisons with the original, THE MANCHURIAN CANDIDATE is a disappointment. It is also one of the worst remakes to come from Hollywood in recent years. And, considering average quality of Hollywood remakes in recent years, this tells a lot why THE MANCHURIAN CANDIDATE failed in 2004, together with the cause it had supported.

RATING: 3/10 (+)

The Manchurian Candidate (1962)

2005-07-31T23:55:00.000+02:00

A Film Review

There are instances when history can play cruel tricks on films. Some titles destined for greatness may sink into insignificance because some trivial event that makes them irrelevant to the public. But there are other examples - films that reached immortality due to some events they couldn't even dream about. THE MANCHURIAN CANDIDATE, 1962 political thriller directed by John Frankehnheimer, is one such film.

The plot, based on the novel by Bill Condon, begins in 1952 during Korean War. Small American unit, led by Captain Bennett Marco (played by Frank Sinatra), is led to ambush by treacherous guide/interpreter Chunjin (played by Henry Silva). Marco and his men are captured by Soviet elite unit, shipped to Manchuria and subjected to three days of brainwashing. They are injected with false memories of heroic escape during which utterly unpopular Staff Sergeant Raymond Shaw (played by Laurence Harvey) showed enough bravery to get Congressional Medal of Honour. Shaw's tyrannical mother (played by Angela Lansbury) and her husband, right-wing senator John Iselin (played by James Gregory), try to use this medal for their own ambitious political agenda, but Shaw doesn't want to have anything with it. Two years later, Marco and other survivors from the unit are plagued by nightmares. Marco, who was promoted to the rank of major and now works in military intelligence, suspects that Shaw has been brainwashed into becoming sleeper assassin for Communist bloc.

THE MANCHURIAN CANDIDATE today enjoys enviable reputation of 1960s classic and one of Hollywood's few masterpieces in political thriller genre. It is also the best known title in the filmography of John Frankenheimer, director who would later become hailed as the master of that particular genre.

To a certain extent, THE MANCHURIAN CANDIDATE is worthy of its reputation. Frankenheimer, one of the first directors to gain the experience in the new medium of television, introduced many innovative techniques and showed great talent in this film. One of the best examples of Frankenheimer's talent can be seen at the very beginning when the whole process of brainwashing is explained to audience in one of the most shocking and most disturbing scenes in the history of cinema. Because of that, the pace of the film never suffers from Condon's complex and often cryptic plot; the audience is intrigued by the multitude of interesting and colourful characters, as well as their unconventional interactions. The end scene is also very effective, because Frankhenheimer makes it look like documentary footage and thus helps audience to suspend the disbelief.

Another reason why the audience can accept this film is in the fine acting. One of the examples is Frank Sinatra, who provides quality of every-day regular person to his character and thus allows audience to accept the complex plot, which is mostly seen through his eyes. Angela Lansbury, on the other hand, almost goes over the top by playing her diabolical character, but, thankfully, she never crosses the line that separates overacting from truly powerful performance. Laurence Harvey, whose role is hardest, wasn't so fortunate casting choice - his British accent is at odds with American character; he handles this complicated role as best as he could. Same can be said of Janet Leigh, whose character appears only to have regular Hollywood female star on the film's poster.

THE MANCHURIAN CANDIDATE is very good film, but it is nevertheless a product of its time and many elements of its cryptic plot are going to be incomprehensible to those unfamiliar with Cold War America. George Axelrod's script could be interpreted as a reaction of left-leaning liberal Hollywood to right-wing rhetoric and paranoia of McCarthy era. This motive is used with little subtlety - one of the most pathetic characters in the film is obviously modelled on McCarthy, and his worst enemy is a senator that supports noble liberal causes. The script goes even further - it not only mocks McCarthy's anti-Communist paranoia, but makes a case that Communism and anti-Communism fuel each other in the symbiotic relationship at the expense of liberal democracy. In other words, fighting Red Menace through repression would deprive USA from its traditional liberties - the very thing that makes the America superior to its ideological adversary.

Unfortunately, those intriguing ideas could be only glimpsed through often convoluted plot that takes too many liberties with viewers' common sense and logic. It is good acting and superb direction that raises THE MANCHURIAN CANDIDATE from the average. But it took something else to make this film a classic - Kennedy assassination, with which many details of the film's plot have a disturbing similarity. THE MANCHURIAN CANDIDATE maintained its legendary status because of that tragedy and its long-time effect on American collective psyche. However, even when taken out of its historic context, this film is a thought-provoking piece of quality filmmaking that deserves recommendation.

RATING: 7/10 (+++)

Constantine (2005)

2005-07-26T23:34:00.000+02:00

A Film Review

Some things in life are inevitable - like death, taxes and Hollywood ruining cult comic books. The example for the latter could be found in CONSTANTINE, 2005 horror film directed by Francis Lawrence.

CONSTANTINE was named after John Constatine, protagonist of HELLBLAZER series of comic books. Started in 1980s, the series dealt with misadventures of an antihero who used his magical abilities and fought various demonic forces in order to survive rather than save the world. Constantine, drawn in the image of Sting and using distinctive language of blue-collar Englishmen, was one of the most recognisable of modern comic books.

Of course, when Hollywood adapted the series to the big screen, hardly anything of the comic book remained, apart from character's name and smoking habit. Almost anything else was changed - London became Los Angeles, Constantine transformed from British into American and instead of looking like Sting he looked like Neo from MATRIX. The last decision, made in order to cast Keanu Reeves in main role, doomed the film, at least if anyone remotely familiar with the original comic book is concerned. Needless to say, writers Kevin Brodbin and Frank A. Cappello transformed complex plot and multi-layered characterisation from the comic books into simplified and predictable plot that uses every pseudo-religious cliche imaginable from exorcism scenes and legendary Spear of Christ to obligatory appearance of Satan himself.

Keanu Reeves might indeed be limited actor, unable to play complex, multi-dimensional characters. But we can't know for sure based on CONSTANTINE, because the scriptwriters altered protagonist into conventional and not particularly convincing hero. Rachel Weisz, on the other hand, is much better, despite the thankless role that includes another cliche in the form of twin sister. The same can be said of Tilda Swinton as Archangel Gabriel and Peter Stormare who provides one of film's few entertaining moments while playing Satan. Unfortunately, their efforts aren't enough to raise CONSTANTINE above the average levels of Hollywood mediocrity. With some decent special effects and occasionally interesting scene, CONSTANTINE is watchable, but the viewing experience is still too painful for those who had misfortune of reading the comic books beforehand.

RATING: 3/10 (+)

Anchorman: The Legend of Ron Burgundy (2004)

2005-07-25T12:22:00.000+02:00

A Film Review

Hollywood comedies, like Hollywood films in general, are worse now than they used to be. Among those comedies that defy such trend most notable are set in the past. This isn't so surprising, because those comedies tend to relate to older audience, which not only can understand some arcane pop culture references, but also presumably has better taste. One of the films to benefit from this phenomenon is ANCHORMAN: THE LEGEND OF RON BURGUNDY, 2004 comedy directed by Adam McKay.

The plot is set in 1970s San Diego, in a time when the television news were exclusive domain of macho men, usually gathered in "action news" team. One such group is led by Ron Burgundy (played by Will Ferrell), news anchor for local station Channel 4. Self-obsessed Burgundy and his posse are enjoying fame and everything hedonistic 1970s have to offer. But their idyll comes crashing down when the station, in order to provide some diversity to the news, brings aspiring female reporter Veronica Cartwright (played by Christina Applegate) to the team. Burgundy and his friends are appalled with the prospects of a woman challenging their sexist sentiments, but they are also attracted to her.

Like most films created by veterans of Saturday Night Live, ANCHORMAN: THE LEGEND OF RON BURGUNDY is basically a single joke extended to 90 minutes. However, Ferrell and McKay, who wrote the script, overcame those limitations by adding interesting characters, plenty of pop culture references, politically incorrect humour and couple of surreal scenes in best possible moments. Although Ferrell sometimes overacts in his role, this isn't annoying, mostly thanks to the very talented supporting cast and few star comedians appearing in cameo roles. But the best impression is left by Christina Applegate who shows great comedic abilities and again proves that her talents were tragically underused by Hollywood. Although some scenes don't work and although some couldn't see much point in bashing 1970s macho culture, ANCHORMAN: THE LEGEND OF RON BURGUNDY shows that the past has bright future in Hollywood comedies.

RATING: 6/10 (++)

New York, New York (1977)

2005-07-24T13:55:00.000+02:00

A Film Review

Martin Scorsese is arguably the greatest American film director living today. Yet, his greatness, like anyone's greatness, should never be mistaken for infallibility. Recently Scorsese disappointed many of those succumbing to GANGS OF NEW YORK and THE AVIATOR pre-"Oscar" publicity campaigns. Those who remember old days are probably aware that Scorsese had failed films in the past. Most notable among them was 1977 musical drama NEW YORK, NEW YORK.

The plot of the film starts in 1945, with the Americans celebrating the end of World War II. Saxophone player Jimmy Doyle (played by Robert De Niro) tries to take opportunity given by mass delirium and take aspiring singer Francine Evans (played by Liza Minelli) to bed. Francine initially rejects him, but two of them discover each other's talents and join the same big band that tours the country. Gradually they fall in love, marry and have a child. As their band becomes successful, Francine begins to yearn for solo career. Differences in temperament and musical tastes between Jimmy and Francine lead to inevitable separation.

Martin Scorsese envisioned NEW YORK, NEW YORK to be homage to classic 1940s and 1950s MGM musicals, which he had liked to watch in his formative years. The idea was to have a film with spectacular music and dance numbers, obviously fake sets and unrealistic costumes, but the plot and characters were supposed to be dark and realistic, more in tune with the sentiments of New Hollywood expressed in Scorsese's previous films like MEAN STREETS, ALICE DOESN'T LIVE HERE ANY MORE and TAXI DRIVER.

The amalgam between those approaches to filmmaking - symbolised in the casting that paired New Hollywood icon Robert De Niro with Liza Minelli, accomplished singer and daughter of MGM musical icon Judy Garland - didn't achieve what was supposed to do. De Niro with his Method acting looks alien to the film better suited to the talents of Liza Minelli. Some of the scenes are overlong, especially Doyle's failed attempt of seduction at the beginning. Others, like the one about parking dispute, should have been left on the cutting room floor. Because of that, NEW YORK, NEW YORK often looks uneven and incoherent, and it is easy to understand why it turned out to be both commercial and critical flop.

On the other hand, the Scorsese's talent in many of the scenes is undisputed. This is especially evident in "Happy Endings" number - which was introduced in 1981 version of the film. All those patient enough to sit through De Niro's theatrics and Earl Mac Rauch and Mardik Martin's uninspired dialogue are going to be rewarded with some scenes very pleasing to the eye and ears. The best thing in NEW YORK, NEW YORK are songs. The title song later became one of the popular pieces of music of all times. Because of that Scorsese deserves praise, although his film still should be viewed as failure.

RATING: 5/10 (++)

The Football Factory (2004)

2005-07-22T01:00:00.000+02:00

A Film Review

Many Europeans like to perceive their continent as one of the least violent places on planet. This perception, often taken as a fact whenever someone debates USA or its current policies, is hard to defend in context of what accompanies sports events in Old Continent. Europe's most popular sport - football (soccer) - is almost impossible to divide from the phenomenon of football (soccer) hooliganism. England, a country where modern football was invented, also gave birth to modern football hooliganism. This phenomenon gradually developed in subculture of its own, which later became subject of many books, sociological studies and films. Some of the films dealing with the subject became controversial, like THE FOOTBALL FACTORY, 2004 drama written and directed by Nick Love.

The protagonist of this film, based on the novel by John King, is Tommy Johnson (played by David Dyer), young man whose life revolves about drinking beer, casual sex and occasional use of drugs. His biggest thrill, however, comes every Saturday when he joins his fellow Headhunters - militant supporters of Chelsea football club - in their bloody battles with other football hooligan groups. Weeks before Chelsea is to play a Cup match against arch-rival Millwall and Headhunters fight battle against Bushwhackers Tommy starts having visions about his imminent death, which leads him to start questioning his lifestyle and loyalty to group that includes drug dealers, right-wing extremists and violent psychopaths.

Makers of THE FOOTBALL FACTORY were accused of celebrating hooligan lifestyle and those accusations intensified after film sparking a fight between rival football fan groups in Sweden. Nick Love could counter this argument by pointing to the character of Bill Farrell (played by Dudley Sutton), 70-year old WW2 veteran who praises martial spirit of young hooligans while lambasting their right-wing ideology. Even more telling are scenes in which bleak housing estates are spelled out as the prime reason why so many British youth embraced hooligan lifestyle. THE FOOTBALL FACTORY goes even further, by blaming hypocritical middle class for abandoning blue collar Britons to the vicious cycle of poverty, drug, violence and right-wing politics. This use of film as a weapon in class warfare is hardly original - many British filmmakers expressed similar sentiments in the past, although they don't look as relevant in Blair's Britain as they did during Margaret Thatcher.

The acting in THE FOOTBALL FACTORY is superb, as it is to be expected from a British film. Yet, excellent performers can't compensate for the film's biggest problem - lack of originality. While few films have dealt with the issues of soccer hooliganism, the way Love approaches the problem is too similar to the way Danny Boyle approached heroin addicts' subculture in TRAINSPOTTING. With this in mind, THE FOOTBALL FACTORY begins to look like obviously derivative product. Too many scenes are being borrowed from older and usually superior films like LOCK, STOCK AND TWO SMOKING BARRELS and GOODFELLAS. The ending, despite great efforts to make it unconventional, is both predictable and disappointing. What looked refreshing in 1990s is now turning British cinema industry into spent force.

RATING: 4/10 (+)

A Very Long Engagement (2004)

2005-07-21T22:55:00.000+02:00

(UN LONG DIMANCHE DE FIANÇAILLES) (2004)

A Film Review

One of the most annoying stereotypes used by Hollywood and other forms of American entertainment industry is the alleged cowardice and lack of martial spirits among French people. Those views are difficult to reconcile with historical record, which includes characters like Louis XIV and Napoleon and France enjoying centuries-long reputation of Europe's greatest military power and most belligerent country. However, France in 20th Century, just like the rest of the Continent, lost the taste for combat due to traumatic experiences of two world wars. In the last year, two French films dealt with those traumatic events. First was STRAYED by Andre Techine, and the second was A VERY LONG ENGAGEMENT, 2004 period drama directed by Jean-Pierre Jeunet.

The film, based on the novel by Sebastien Japrisot, begins in January 1917, during the last stages of Battle of Somme. Few years earlier millions of Frenchmen enthusiastically joined their British and Russian allies against Germany and Austria-Hungary, determined to liberate Alsace and Lorraine from German yoke. But all their bravery achieved nothing but an endless line of trenches where the soldiers have to deal with mud, disease, shelling, poison gas and incompetent officers who occasionally have them mowed down by German machineguns during futile infantry charges. After months and years of such hardships, many of the men had enough and tried to end their misery by self-inflicted wounds that would have made them unfit for military service. French military brass sees such deception as a crime punishable by death, but having the men shot might risks mutinies, so condemned men are instead led to no man's land where the dirty work should be done by Germans. One of such groups included 19-year old Manech (played by Gaspard Ulliel). Three years later his fiancée Mathilde (played by Audrey Tatou) is convinced that Manech somehow survived that ordeal. She begins her own investigation, helped by the Parisian private detective Germain Pire (played by Ticky Holgado). She is soon confronted by series of conflicting and confusing accounts about her fiancé's ultimate fate, but even more confusing is the fact that some of the witnesses are being killed in gruesome way.

For those who know him for his romantic comedy AMELIE, Jean-Pierre Jeunet's decision to direct a war film looked strange. Yet, Jeunet is hardly a stranger to the stories in which large numbers of people get killed in gruesome fashion, as those who watched his underrated ALIEN: RESURRECTION might attest. The plot of Japrisot's novel served as an opportunity for Jeunet to show that he could handle light-hearted and disturbing material in the same film. Thanks to the huge budget, CGI and Bruno Delbonnel's cinematography, early 20th Century France is reconstructed in all of its glory and misery. Scenes depicting bleak and banal reality of the trench life provide sharp contrast to scenes depicting the idyllic Breton countryside where Mathilde lives, as well as magnificence of Paris, reconstructed in loving detail and shot through warm, sepia filters. Because of that, A VERY LONG ENGAGEMENT is a successful genre combination of a war film, period romance, detective story and black comedy.

More impressive than any visual trick is the gallery of memorable characters, all being played by experienced actors. Some critics saw Audrey Tatou as merely repeating the role she had played in AMELIE, but even if there is many similarities, they aren't that visible because the story isn't centred on Mathilde's character exclusively. Almost any of the condemned men is given a back story and the audience is anxious to find what ultimately happened to them. The acting is great - some of Jeunet's regulars, like Dominique Pinon, are well matched with major stars like Tcheky Karyo or Jodie Foster appearing in virtual cameos. Especially moving is the performance by Ticky Holgado, at least for those aware that the actor was dying from cancer while playing a comical role.

However, otherwise great impression left by the film is marred by one unfortunate casting choice. Gaspard Ulliel, who was very effective in STRAYED, appears to lack proper chemistry with Tatou and the love scenes, which appear in flashback, almost ruin any suspension of disbelief. Thankfully, those scenes are relatively short. On the other hand, some other scenes - like the hospital incident at the end - are too long, too elaborate or too spectacular to be taken seriously. Yet, even with such flaws A VERY LONG ENGAGEMENT deserves recommendation. There are very few films that deal with such depressing chapters of history in a way which is realistic and entertaining at the same time.

RATING: 7/10 (+++)

Legend of Suriyothai (2001)

2005-07-18T23:27:00.000+02:00

A Film Review

Hollywood in recent years taught us that the films are the last place where the people should learn about history. Queen Sirikit of Thailand had other ideas. Convinced that Thailand's history textbooks aren't detailed enough, she taught her cousin and renowned Thai filmmaker Chatrichalerm Yukol into making a film that would deal with one important chapter of that country's history. The result was LEGEND OF SURIYOTHAI, 2001 historical spectacle which later turned into one of the biggest box-office triumphs of Thai cinema. This brought attention of Francis Ford Coppola who helped the film with international distribution.

The plot of film is set in early 16th Century Siam. The country which would ultimately become modern-day Thailand is composed of many principalities gathered around mighty city of Ayutthaya and the national unity is maintained through the complex set of dynastic alliances. The story begins in 1528 when Princess Suriyothai (played by M.L. Pyampas Bhirombhakdi) has to sacrifice her love for childhood friend and distant relative Prince Piren (played by Chatachai Plengpanich) in order to marry Prince Thien (played by Sarunyu Wongkrachang) from different dynasty. The marriage, although political in nature, is happy one but the rest of Siam won't be so fortunate in next two decades. The country is going to be hit by small pox epidemic, invasions from neighbouring Burma, dynastic coups and endless intrigues, especially when king's consort Srisudachan (played by Mari Charoenpura) decides to put herself and her lover to the throne.

Although its budget is small compared with contemporary Hollywood blockbusters, LEGEND OF SURIYOTHAI looks very much like the "larger than life" film epics of 1950s and 1960s. Lack of budget for CGI and big stars was compensated with the support of Thai government - thousands of soldiers and sailors, as well as hundreds of elephants serve in spectacular battle scenes. Filmmakers spent years researching the period and almost any detail in the film - costumes, sets and even locations - is authentic. The movie is also very realistic in showing some unpleasant, but banal aspects of history that include beheadings, ritualistic killing of children and some unorthodox sexual practices. The result of all those efforts is a film that looks more impressive than its Hollywood counterparts despite some of very obvious shortcomings.

The main problem of the film is in some 40 minutes of original footage being edited out of new version for international markets. The plot at times looks accelerated and characters appear and disappear without serving any apparent dramatic purpose. Producers to some degree compensate that with extensive use of titles and narration that would help with viewers unfamiliar with Thai history to connect the dots. But this won't solve the film's main problem. In order to emphasise patriotic credentials of the heroine, filmmakers keep her character remains one-dimensional until the very end. To make things even worse, actress playing Suriyothai looks inexperienced and her acting is wooden. Other actors are much better, especially Mari Charoenpura who gives very human face to her villainous character.

While some viewers may be disappointed with the entertainment provided by LEGEND OF SURIYOTHAI, this film nevertheless gives a fascinating glimpse into one of the lesser known chapters of world's history. And fulfilling this educational purpose is reason enough for this film to receive recommendation.

RATING: 6/10 (++)

Resident Evil: Apocalypse (2004)

2005-07-14T14:51:00.000+02:00

A Film Review

In 2002 Paul W. Anderson wrote and directed RESIDENT EVIL and thus proved that a video game could be adapted into successful film. Its success was sufficient enough to warrant a sequel, RESIDENT EVIL: APOCALYPSE, directed two years later by Alexander Witt.

The film begins almost exactly when the last ended - with Alice (played by Milla Jovovich), former security agent of Umbrella Corporation and the only survivor of the deadly T-virus outbreak in Corporation's secret underground laboratory, waking up and finding that the disease has spread to Raccoon City. Corporation evacuates its top officials and scientists, including Dr. Charles Ashford (played by Jared Harris) before having town sealed and leaving entire population to the mercy of virus that turns them into carnivorous zombies. A small group of survivors, which includes disgraced policewoman Jill Valentine (played by Sienna Guillory), is contacted by Ashford who promises that he will guide them to safety if they find his daughter Angie (played by Sophie Vavasseur). The group, which is joined by Alice, agrees but its soon becomes apparent that they would have to deal not only with zombies, but also with the fact that the zombie-infested town allowed Umbrella Corporation to test all kinds of nasty weapons on human targets.

RESIDENT EVIL: APOCALYPSE had bigger budget than the original and this reflected in more spectacular setting - entire futuristic city instead of isolated lab - as well as deadlier weapons, increased number of explosions as well as in the increased bodycount. But the Paul W.S. Anderson's approach to screenwriting remained the same, thus depriving the film of any originality in the plot or characters. Shallowness of the content is, on the other hand, somewhat compensated with the interesting production design and energetic direction by Alexander Witt. Just like in the original, Jovovich, this time teamed with Sienna Guillory, continues to prove her ability to play action heroines and two actresses make a formidable duo. Because of that RESIDENT EVIL: APOCALYPSE is watchable even in scenes when uninspired script gives some atrocious lines to Mike Epps' comic relief character. There are times when the film, just like the original, shows that it could be something more, especially in the scene when survivors take shelter in the church. This and other wasted opportunities aren't reason why RESIDENT EVIL: APOCALYPSE shouldn't get recommendation. But, most importantly, with high levels of graphic violence, plenty of foul language and occasional nudity, this film will satisfy the audience that likes that sort of entertainment.

RATING: 5/10 (++)

Resident Evil (2002)

2005-07-13T23:27:00.000+02:00

A Film Review

Big screen adaptations of popular video games are widely perceived as a futile task, but there are some filmmakers able to perform that task better than others. Paul W.S. Anderson created such reputation with his work on MORTAL KOMBAT. Few years later he began to adapt RESIDENT EVIL, Japanese video game often cited as the first example of horror survival genre. Result of Anderson's effort is 2002 film that created a franchise of its own.

The plot, set in the near future, begins in huge underground laboratory owned by Umbrella Corporation, business entity whose products are present 90 % of all American households. What homemakers don't know is the fact that Umbrella makes most of its profits to biogenetic research. Most of that research has been conducted in "Hive", huge underground lab complex. An accidental release of deadly T-virus triggers gassing of the whole complex and deaths of 500 scientists and officials. Team of special operatives comes to "Hive" to investigate, and their only help is Alice (played by Milla Jovovich), amnesiac woman who used to be "Umbrella" security agent. All of them would have to deal with "Red Queen", supercomputer that had them trapped in order to prevent further spreading of disease, but also with small army of hungry zombies created by virus.

All those expecting to see particularly complex plot, intriguing characters or exploration of important social issues are most likely to be disappointed with RESIDENT EVIL. Anderson, who also wrote the script for the film, is more interested in the "high concept" he borrowed from the game - fighting zombies in dark corridors - and his strictly technical approach has resulted in a film that would satisfy the fans of horror action genre. Berlin studios were put to good use and contributed a lot to somewhat surreal atmosphere of the film, same as the use of techno soundtrack. The film borrowed few elements from other genre classics, most notably ALIENS, so RESIDENT EVIL features not one, but two strong female protagonists. Michelle Rodriguez is very effective in her role, but she can't steal the show from Milal Jovovich. Although she appears scantilly clad for most of the film, Jovovich proves not only that she can act, but also that she can carry the film like an action heroine. That potential was recognised but not properly used by her ex-husband Luc Besson. Anderson didn't repeat this mistake, but there are times when RESIDENT EVIL looks unfinished or below its potential, especially in the scenes featuring tragically underused German actress Heike Makatsch. Yet, even with these flaws RESIDENT EVIL deserves recommendation as a flawed but generally entertaining piece of genre cinema.

RATING: 5/10 (++)

The Machinist (2004)

2005-07-12T23:07:00.000+02:00

(IL MAQUINISTA) (2004)

A Film Review

This year's record box office slump in America only confirmed what many critics claimed for years - Hollywood lost ability to bring anything new or attractive to the audience. There are very few mainstream films that could be characterised as original or extraordinary. One of them is THE MACHINIST, 2004 thriller directed by Brad Anderson.

Protagonist of the film is Trevor Reznick (played by Christian Bale), drill shop operator who suffers from insomnia and hasn't slept for a year. While this state of affairs didn't affect his work ability, it manifested itself in dramatic loss of weight and Trevor becoming alienated from his colleagues. Two bright spots in his life are Stevie (played by Jennifer Jason Leigh), prostitute who often offers services with a discount, and Marie (played by Aiatana Sanchez-Gijon), a waitress in an airport diner where Trevor comes every night. Trevor's life routine becomes to unravel after an enconunter with Ivan (played by John Sharian), sinister-looking man who claims to be his colleague. Ivan's presence distracts Trevor enough to cause a terrible accident and this is followed with mysterious post-it notes left in his apartment. Trevor begins to suspect that everyone around him is involved in a conspiracy.

Although set in unnamed American city, THE MACHINIST is very European film. Not only Barcelona provides locations, but also there are lot of references to European cultural legacy, namely the works of Kafka and Dostoyevsky. The latter provides one of the vital clues for the plot resolution. Dark cinematography of Xavi Jimenez and Charli Jiminez provides surreal atmosphere, very much like in 2001 Spanish thriller INTACTO. Roque Baños music, inspired by Bernard Herrmann's masterful score for Hitchock's films, also contribute a lot to THE MACHINIST.

The acting is, of course, superb. John Sharian, whose character looks very much like Marlon Brando's Colonel Kurtz in APOCALYPSE NOW, is very good. Same can be said for Jennifer Jason Leigh, who manages to push her "prostitute with a heart of gold" character beyond stereotypes. But the most impressive work is by Christian Bale who is almost unrecognisable due to spectacular weight loss which made Welsh screen icon resemble teen fashion models and concentration camp survivors. Bale captivates the audience not only by his strange appearance, but also by his acting skills and very credible portrayal of an individual's descent into madness.

However, effort by screenwriter Scott Kossar wasn't that impressive. The plot resolution is simple, banal and in many ways disappointing. The great plot twist is hardly original and THE MACHINIST will not going to be particularly praised by those more familiar with the genre classics. Yet, the great effort invested in this film is more than enough for THE MACHINIST to deserve recommendation. Another recommendation might come from this film replacing phrase "going De Niro" with the phrase "going Bale" in many vocabularies.

RATING: 6/10 (++)

Chariots of Fire (1981)

2005-07-05T16:15:00.000+02:00

A Film Review

Few people these days are willing to view "Oscars" as true measure of some film's quality, because too many of "Oscar"-awarded films tend not to age well and have their reputation maintained after initial hype. This phenomenon isn't exactly new and in past three decades there were plenty of examples of "Oscars" not preventing some films from sinking into obscurity. One of such examples is CHARIOTS OF FIRE, 1981 drama directed by Hugh Hudson.

Among the few people that remember majority is most likely to recognise musical score by Vangelis while not remembering the plot. It is set in 1924 Britain and tells a story of two very different men who are going to represent that country at Olympic Games in Paris. Harold Abrahams (played by Ben Cross), a son of wealthy Jewish financier, has enrolled at Cambridge and sees athletics as his way to fight latent anti-Semitism. Eric Liddell (played by Ian Charleson) is a devout Scottish Christian who sees his athletic prowess as a way to honour God. Two of them compete against each other only to become part of British track team at Olympics where they would have to compete with highly favoured Americans.

It could be said that CHARIOTS OF FIRE is a successful film. The early 1920s period in Britain is well-reconstructed with relatively small budgets. The roles are played by a diverse cast, ranging from highly respected veterans like Sir John Gielgud to virtually unknown and relatively young actors like Cross, Charleson, Nigel Havers and Nicholas Farrell, many of whom would later become some of the most recognisable faces of British cinema and television. Script by Colin Welland tells a story very competently, while Vangelis delivers one of his first great film scores which, despite the use of modern electronic instruments, doesn't seem out of place in period piece.

If the movie succeeds it is in spite rather than because of Hugh Hudson's direction. This was Hudson's first feature and it shows in couple of scenes where there is either too much cheap pathos - especially slow-motion scenes of track athletes - or film looks cheaper than it actually is. The viewers more familiar with British television are left to wonder whether CHARIOTS OF FIRE could work better if made with lesser budget and more experienced director. It isn't hard to imagine why Hudson didn't get far in his subsequent career. It could be argued that the producer David Puttnam, rather than Hudson, is the most responsible for the film's ultimate success.

Success of the film also could be explained with the specific political context in which it was released. Story about athletes having to make difficult moral choices and noble sport ideals being corrupted by nationalism and politics was very relevant after the boycotts of 1980 Olympic Games in Moscow. The movie, despite Puttnam's attempts to inject left-wing politics in it, was seen as an example of unapologetic flag-waving - something sorely needed for the audiences in declining Britain of late 1970s and early 1980s. In many ways CHARIOTS OF FIRE represented British equivalent of ROCKY - a film that marked the tilting of political balance to the right that would occur under Margaret Thatcher, just as America had gone through the same process with Ronald Reagan.

However, even without its historic, cultural and political context, CHARIOTS OF FIRE should be recommended. The film is worth watching despite providing another reason to put words "Oscar" and "overrated" in the same sentence.

RATING: 7/10 (+++)

Owning Mahowny (2003)

2005-07-03T13:25:00.000+02:00

A Film Review

Most of the people, and that includes heads of Hollywood studios, have difficulties in comprehending that some of the most spectacular disasters in history have their roots in things that are quite banal. One such real life example served as a basis for OWNING MAHOWNY, 2003 Canadian drama directed by Richard Kwietniowski.

Based on the book STUNG by Gary Roos, the films begins in early 1980s Toronto where Brian Mahowny (played by Philip Seymour Hoffman) works as one of the top managers in prestigious Canadian bank. Mahowny has quickly risen through the ranks, enjoys great respect by bank's bosses and clients alike, but his success apparently didn't affect his lifestyle - he wears cheap suits, drives old automobile, lives in apartment with conspicous absence of furniture and dates rather unglamourous colleague Belinda (played by Minnie Driver). There is one passion in Mahowny's life - he likes to bet on horses and this is the reason why owes some 10,300 $ to local bookie Frank Perlin (played by Maury Chaykin). When Frank threatens not to take his bets any more, desperate Mahowny solves problem by manipulating bank's books. This solution, however, proves to be temporary and Mahowny tries to cover his wrongdoing by stealing even more money and traveling to Atlantic City where he hopes that he would win at the table. Large sums of money and Mahowny's impulsive behaviour catch attention of Victor Foss (played by John Hurt), casino manager who would do anything in order to please his new and mysterious client.

Although based on real events, OWNING MAHOWNY doesn't bother itself with a plot. The essence of the film is character study. Philip Seymour Hoffman, one of the most dependable character actors and independent cinema icon, is wonderful in his portrayal of a generally decent man whose otherwise perfect life starts to disintegrate under the weight of gambling addiction. This process is presented through the series of banal and very predictable incidents, but Hoffman has managed to win audience's sympathies for his character, which results in some very powerful scenes. The most moving is the one happening in Atlantic City when the casino employees start to root for protagonist during one of his rare but spectacular winning streaks, hoping against the hope that Mahowny would quit.

Hoffman is strong, but not strong enough to carry film by himself, at least not when burdened by Maurice Chauvet's script. Simplistic plot is advanced through the series of predictable situation and characters that, compared with Mahowny, look one-dimensional. This leads to great waste of talent, especially in case of Minnie Driver, almost unrecognisable under the bad wig, or John Hurt whose character of sleazy casino manager looks simply cartoonish. Even more disappointing is the subplot about ambitious Canadian policeman (played by Ian Tracey) who discovers Mahowny's suspicious activities by accident. Those plot elements also point towards even bigger problem - the movie doesn't bother to explain why and how Mahowny became an addict and even more fascinating story about the aftermath of the affair is left out. Because of that OWNING MAHOWNY starts looking like second-tier television movie and what was fascinating character study becomes banal and unconvincing cautionary tale.

RATING: 5/10 (+)

Criminal (2004)

2005-07-02T14:50:00.000+02:00

A Film Review

Hollywood remake of non-Hollywood film is always a tricky business. When American filmmakers stray from the original, they risk being accused of butchery. When they stick to original, they are bound to make the weaknesses of original more apparent than its strength. CRIMINAL, 2004 thriller written and directed by Gregory Jacobs and based on 2000 Argentine film NUEVE REINAS (NINE QUEENS) belongs to the latter category.

Like all recent American remakes, CRIMINAL has the original plot brought in contemporary USA. It starts with Richard Gaddis (played by John C. Reilly), seasoned con artist who notices young Mexican Rodrigo (played by Diego Luna) trying to pull a simple scam in a casino. When the youth gets in trouble, Gaddis intervenes and decides to tutor him in the art of scams and possibly make him a partner. Soon opportunity for a big score arrives in the form William Hannigan (played by Peter Mullan), media tycoon interested in rare banknotes. He took a room in a hotel where Richard's estranged sister Valerie (played by Maggie Gyllenhaal) works as a concierge. Richard and Rodrigo team up with one of Richard's old partners in order to sell him forged banknote.

CRIMINAL is a work of Gregory Jacobs, long-time collaborator of Steven Soderbergh, who co-wrote the script. The film is competently directed and acted, mostly thanks to the efforts of experienced character actors like Reilly, Gyllenhaal and Mullan. Compared with them Diego Luna is bland, but nevertheless effective, although at times it appears that he was cast more because of his appeal to Latino audiences in USA then acting ability.

However, all this is of little importance when it becomes apparent that Jacobs and Soderbergh didn't bother to change Fabien Bielinsky's original script in any significant way. Complex plot that was fascinating four years earlier looks banal and melodramatic, especially at the end which isn't any surprise at all. Those viewers who watched NUEVE REINAS beforehand will be affected with increasingly unpleasant feeling of deja vu. Even more annoying is the lack of proper social, economic and political context for the plot. NUEVE REINAS stood out among Argentine films for the prophetic dimension of its final scenes. This and other elements are missing from CRIMINAL and turn it into another Hollywood example of pointlessness.

RATING: 4/10 (+)

Baltic Storm (2003)

2005-07-01T14:09:00.000+02:00

A Film Review

James Cameron, while he was promoting TITANIC, liked to describe 1912 sinking of the world's most modern and luxurious passenger liner as a moment which challenged general belief in omnipotence of modern technology, paving wave for even more heart-breaking disillusionments of 20th Century. One of such disillusionments happened on September 28th 1994 when a ferry boat "M/S Estonia" sank on the route between Talinn and Stockholm, carrying 852 people to the bottom of Baltic Sea. This proved to be the worst naval disaster in recent European history and the victims' families had to deal not only by unimaginable failure of sophisticated technology and precautions designed to prevent such tragedy from happening, but also by the way governments handled the investigation. There were many unanswered questions leading to multitude of conspiracy theories, the best known being based on the book by German investigative reporter Jutta Rabe. Fictionalised adaptation of her work became BALTIC STORM, 2003 thriller written and directed by Reuben Leder.

After a prologue that reminds the audience about the end of Cold War and emergence of new countries like Estonia, the plot introduces Jutta Rabe's alter ego in the form of Berlin TV reporter Julia Reuter (played by Greta Scacchi). In September 1994 she receives tip from Gehrig (played by Dieter Laser), former Stasi official and her long-time informer - a top Russian weapons scientist and valuable cargo of top secret weapons are being smuggled from Estonia to Sweden on board "M/S Estonia". When Russian intelligence services hear about, they send a covert team that kills a scientist and blow up the ship. Only few people survive, including Swedish lawyer Erik Westermark (played by Jürgen Prochnow) whose son went missing. He later swears that he saw some survivors officially declared missing while recuperating in hospital. He and Julia team up in order to discover the truth, but their crusade is being hampered from all quarters, most notably by Estonian and Swedish governments, which take great pains to prevent people from accessing the wreck and recording evidence of explosion.

Estonia disaster was a real and very traumatic event for the Baltic nations, especially small Estonia. The audience is reminded of that in a documentary footage that represent the most powerful and moving pieces of BALTIC STORM. Unfortunately, those clips only make the rest of the movie look banal and exploitative. Plot trying to connect those events with a sale of former Soviet technology, ex-KGB hitmen, silencing of inconvenient witnesses and conspiracy even more sinister than those described in THE X-FILES is unconvincing, especially when Donald Sutherland appears only in order to represent the bogeyman-like US government. Instead of making a case against official truth, BALTIC STORM looks like a collection of cheap B-movie cliches. Even worse is the abysmal direction, use of annoying techno music for action scenes, but hardly anything can match the unimaginably awful levels of acting. Prochnow, whomore or less sleepwalks through his role, is actually one of the better performers in this film. In the end, BALTIC STORM is going to achieve the opposite of what its makers intended - instead of giving the true, or at least probable, account of what really happened in Baltic a decade ago, this film insults the memory of victims by reducing them as convenient plot element in uninspired B-movie. BALTIC STORM is another movie that proves old adage of history repeating itself first as a tragedy than as a farce.

RATING: 2/10 (-)

Luther (2003)

2005-07-01T03:17:00.000+02:00

A Film Review

Social conservatives often complain about the lack of explicit religious themes in contemporary cinema. This could be explained with most of those films having rather limited appeal - by fully endorsing one religion they tend to alienate viewers who are atheists or have different religious beliefs. A good example is LUTHER, 2003 German biopic directed by Eric Till, a movie hardly to make strong impression on viewers in predominatly Catholic countries.

The film deals with one of the most important figures in European history. It starts in 1507 Germany when young law student Martin Luther (played by Joseph Fiennes) decides to become priest. Soon he is ordained, becomes Augustine monk and makes a pilgrimage to Rome. There he is digusted with corruption and selling of indulgences - documents that allow sinners and their relatives to evade God's wrath in exchange for financing Catholic Church. Luther sees this as betrayal of Christian principles and on October 31st 1517 nails his famous 95 Theses to the doors of Wittenberg church. Pope Leo X (played by Uwe Ochsenknecht) reacts by trying to make Luther recant, but it soon becomes apparent that Catholic Church has lost the ability to quickly silence those opposed to its religious supremacy. Luther, whose views became widely known and popular thanks to the recently invented printing press, refuses to yield to papal authority. He has people on his side, while Saxon prince Frederick the Wise (played by Peter Ustinov) provides political protection, and this provides a fertile ground for the movement that would become known as Protestant Reformation.

Makers of LUTHER had difficult task of having to tackle not only complex theological issues by also putting them into proper historical context. In the first half of the film Eric Till succeeds in that task. Joseph Fiennes is very good as a young monk driven by personal demons, strong religious conviction and deep sense of outrage over injustices and corruption. Peter Ustinov is also very good in one of his last roles, while Bruno Ganz is very moving as Luther's friend and mentor Johann von Staupitz - character very different from the one he played in DER UNTERGANG. A great effort was made with costumes and production design and early 16th Century Germany is successfully brought to screen despite the lack of budgets. Even some minor historical flaws (Pope worrying about Turks threatening Vienna years before it really happened) could be forgiven.

Problems for LUTHER appear in second half, when it becomes apparent that the film was partially financed by Lutheran groups. Script by Cammille Thomasson and Bart Gavigan now has to deal with Luther as a leader of a powerful movement instead of brave and lone dissenter. Description of the events is less detailed, which isn't that surprising considering Luther's controversial role in German Peasant's War and his developing anti-Semitism. In second half LUTHER becomes less of a historical movie and more of dry and routine noting of the important events in Luther's life, including the marriage to Katharina von Bora (played by Claire Cox).

However, even with apparent lack of objectivity, LUTHER proves to be more interesting and more accurate depiction of history than anything recently produced by Hollywood.

RATING: 5/10 (++)

Vidas Privadas (2001)

2005-06-29T23:43:00.000+02:00

A Film Review

Thanks to American cultural imperialism, Hollywood doesn't have to provide historical, geographic or cultural background to plots set in particular times and places. Few American filmmakers have to bother with explaining who fought who in American Civil War or on Normandy beaches. This is a luxury non-American filmmakers can't afford, and one of good examples is VIDAS PRIVADAS, 2001 Spanish-Argentine co-production written and directed by Fito Paez.

Protagonist of the film Carmen Uranga (played by Cecilia Roth), Argentine woman who spent two decades in Madrid. She reluctantly returns to her native Buenos Aires in order to visit her ailing father and settle some inheritance issues. Carmen also has more personal problem in her inability to have normal sexual relations. Instead she arranges couples to have sex while she listens. One of the hired performers is aspiring male model Gustavo "Gana" Bertollini (played by Gael Garcia Bernal). After one "regular" session, Carmen hires him to read pornographic fiction, unaware that the youth will fall in love with her and that the relationship will ultimately with return of some painful memories.

VIDAS PRIVADAS is well-acted film, which isn't that surprising with Cecilia Roth, the most respected Argentine actress and Paez's real life wife, playing the lead role. She is also helped with a small but very good cast of Argentine actors and Mexican superstar Gael Garcia Bernal. Strong acting, however, won't compensate some serious flaws in script and direction. The beginning of the film, when audience meets characters in all their quirkiness, is the best, but the second half represents big disappointment with "surprising" plot twist that belongs more to telenovela than serious drama. Paez also has some problems with direction, making some scenes rushed and confusing. But the worst problem is in average viewers' inability to properly comprehend the film due to their lack of familiarity with certain tragic chapters of Argentine history. Those chapters are the very essence of the plot's resolution and without them film loses much of its impact. Argentine viewers probably won't have problem understanding what this movie is all about, but the rest of the audience will be at odds with its cryptic nature.

RATING: 4/10 (+)

Intacto (2001)

2005-06-29T14:13:00.000+02:00

A Film Review

Spanish cinema industry is the most vital of all European cinema industries. One measure of such vitality is its current status of Hollywood's remake-fodder. Many Spanish films has recently caught the attention of critics and earned a lot of praise, especially those belonging to the thriller genre. One of them is INTACTO, 2001 directorial debut of Juan Carlos Fresnadillo, which also happens to be one of very few directorial debuts slated to be remade in Hollywood.

The films begins in a desert casino run by Samuel Berg (played by Max von Sydow), Holocaust survivor with an unusual luck and even less usual ability to steal other people's luck. One of Samuel's chief employees is Federico (played by Eusebio Poncela), earthquake survivor with the same gift, used to help casino when customers start winning too much. When Federico tries to start his own business, Samuel takes away his luck. Seven years later Federico tries to get back at Samuel by finding people with extraordinary luck and make them play against his former mentor. One of the candidates is Tomas Sanz (played by Leonardo Sbaraglia), bank robber who miraculously survived disastrous plane crash. Federico helps him escape from hospital and introduces him to the underworld of people testing their extraordinary luck through bizarre games of chances. In the same time, Tomas is being pursued by Sara (played by Monica Lopez), police inspector who miraculously survived a car crash that claimed lives of her husband and daughter.

INTACTO has very interesting idea that captivates the audience's attention from the very beginning. Even more important is Fresnadillo's decision not to tell whether the "gift" of his protagonist is indeed some sort of supernatural force or simply combination of statistics of self-fulfilling prophecies. This answer is left to the viewers, who also can enjoy the stylish atmosphere of a world which is surreal and banally realistic at the same time. Cinematography by Xavi Gimenez and Lucio Godoy's music help a lot in creating such effect. Fresnadillo also shows great talent in setting up some memorable scenes, showing great deal of admiration towards the works of David Lynch.

However, the most memorable element of INTACTO is Max von Sydow, veteran Swedish actor whose iconic presence could lift even the less accomplished film. His scenes, at the beginning and at the end of the film, are the best. The rest of cast is also good, especially Eusebio Poncela whose character is as pathetic as von Sydow's was formidable. Unforunately, by the end of the film it becomes apparent that Fresnadillo couldn't decide what exactly to do with such great premise. The plot resolution appears to be forced and unconvincing. But, the general impression left by INTACTO is still good. It is one of those European genre films that look much superior to Hollywood even when they are obviously below the standards of genre excellence.

RATING: 6/10 (++)

A Shot at Glory (2000)

2005-06-28T02:40:00.000+02:00

A Film Review

Soccer is the most popular sport in the world today, but its popularity didn't manifest itself on the silver screen. There are relatively few soccer-themed films, and even fewer are those that involve use of American acting talent. Judging by A SHOT AT GLORY, 2000 drama directed by Michael Corrente, those films will continue to be rare.

The plot is set in Scotland, small country whose soccer league with sectarian-filled rivalry between Glasgow Rangers and Glasgow Celtic is well-known beyond British Isles. This rivalry doesn't affect FC Kilnockie, a lower division club whose American owner Peter Cameron (played by Michael Keaton) threatens to have it sold to Ireland unless the results are improved. For the old coach Gordon McLeod (played by Robert Duvall) the only way to avoid the disaster is national cup competition. The underpaid team is boosted with the arrival of a former Celtic player Jackie McQuillan (played by Ally McCoist) who also happens to be ex-husband of McLeod's estranged daughter Kate (played by Kirsty Mitchell).

Even at old age, Robert Duvall doesn't shy away from trying new things, and A SHOT AT GLORY is one of them. Like always, he gives more than solid performance and tackles Scottish accent convincingly. Real-life Glasgow Rangers player Ally McCoist is also very good in his acting debut. Unfortunately, Dennis O'Neill's script isn't that good when it comes to reconciling realities of European soccer with conventions of American sports movies. The plot is filled with clichés – athletes that have to learn important moral lessons, old coach who exercises ghosts of the past, underdogs fighting their way to the big final game, obligatory romance etc. Because of those clichés film is very predictable and even the "surprise" ending isn't that surprising. Wonderful Scottish scenery does help a little in alleviating those problems, but not enough. Characters played by Michael Keaton and Cole Hauser seem to be introduced only to have the film marketable in USA, thus depriving A SHOT AT GLORY of its realism. Corrente also can't solve the problem of having 90 minutes of soccer being realistically portrayed in feature film which also makes A SHOT AT GLORY look more like a standard Hollywood product than celebration of Beautiful Game.

RATING: 4/10 (+)

United States of Leland (2003)

2005-06-28T01:48:00.000+02:00

A Film Review

For many Americans faced with the new and disturbing phenomenon of school shootings in 1990s, "why" was the first rational reaction. One of the films that attempts to give an answer to this question is UNITED STATES OF LELAND, 2003 drama written and directed by Matthew Ryan Hoge.

The film begins when Leland P. Fitzgerald (played by Ryan Gosling), a quiet, seemingly sensitive teenager, commits unspeakable crime of knifing autistic boy to death at school playground. He is arrested and brought to juvenile detention centre to await trial. There he meets history teacher Pearl Madison (played by Don Cheadle) who is fascinated with boy and wants to discover what made him do such a horrible thing. Pearl's motives aren't exactly educational – he wants to become a writer, and since Leland happens to be estranged son of famous novelist Albert T. Fitzgerald (played by Kevin Spacey), a book based on conversations with Leland is bound to be bestseller. Leland, despite not remembering his crime, has less problems coming to terms with consequences of his action than Becky Pollard (played by Jena Malone), his former girlfriend and victim's sister, as well as the rest of her family.

Hoge had very good idea - to explore some post-Columbine issue from an existentialist perspective. At first, it looks that UNITED STATES OF LELAND will succeed in doing that. Ryan Gosling is great in a difficult role of character who must win audience's sympathies despite bloodiness of his actions. The character of Pearl – his spiritual councillor with issues of his own – is also fascinating and well-played by Don Cheadle. Unfortunately, Hoge squanders this wonderful idea with poor script. Use of flashbacks is confusing enough, but the audience is really at odds with too many characters and too many unexplored subplots. Kevin Spacey, who produced the film, is wasted in completely unnecessary role. What was supposed to be profound comes as pretentious, especially at the end with the surprise twist which wasn't a surprise at all. UNITED STATES OF LELAND begins with a question "why", but after the end credits that question will be asked by viewers who witnessed a missed opportunity.

RATING: 4/10 (+)

The Motorcycle Diaries (2004)

2005-06-27T15:16:00.000+02:00

(DIARIOS DE MOTOCICLETA) (2004)

A Film Review

No Communist icon has filled so many capitalist coffers as Ernesto "Che" Guevara. Youthful look of that Latin American revolutionary leader, forever preserved by his martyrdom, as well as total irrelevance of his questionable ideas and revolutionary methods in post-Cold War world, turned him into the most convenient icon for rebellious youths in developed Western countries. His face is ubiquitous thanks mostly to the T-shirts made in Third World sweatshops by multinational corporations – the very embodiment of evil Che Guevara tried to fight. There are, however, better ways to pay homage to this great and controversial historical icon, and one of them is THE MOTORCYCLE DIARIES, 2004 biographical drama directed by Brazilian filmmaker Walter Salles.

The film deals with the event that preceded Che's revolutionary career. It starts in 1952 Buenos Aires where Ernesto "Fuser" Guevara (played by Gael Garcia Bernal), 23-year old medical students a semester short of graduation decides to spend few months travelling across South America with his best friend, 29-year old biochemist Alberto Granado (played by Rodrigo De la Serna). They start with an old motorcycle they would have to ditch and continue on foot. Their path leads them through Argentina, Chile and, ultimately Peru. Along the way they experience all kinds of adventures, but young Guevara is becoming less thrilled with the adventure and more affected with the poverty, injustice and oppression he had witnessed in various countries. Two of them finally come to volunteer as physicians in leper colony where Guevara's idealism and political ideas start to take shape.

Some critics accused THE MOTORCYCLE DIARIES of glorifying a historical character of a questionable reputation that includes brutal elimination of political enemies, advocating terrorism as justifiable tool of social change and, which is even more important, giving bad example to the thousands of his gullible supporters whose futile revolutionary attempts only made oppression and injustice bloodier. But this criticism isn't valid. THE MOTORCYCLE DIARIES doesn't glorify Che nor endorses his politics. Instead it only shows what made Che into revolutionary. The film portrays Che not as a revolutionary superhero, but as a normal human being who sees his trek as an wonderful opportunity to explore new lands, pick girls, live without job or parental authorities and do all the things carefree young people like to do.

Walter Salles, who gained road movie credentials with CENTRAL STATION, makes this formative journey look fascinating. The movie is shot on authentic locations, all being wonderfully captured by Eric Gautier's cinematography. Local people are used as extras and actors in small roles, underling the film's authenticity. On the other hand, one of two actors playing the protagonists of this saga proved to be somewhat more questionable choice. Rodrigo De la Serna, Argentinian actor and real-life cousin of Che, is very effective as the older and seemingly wiser character who has little understanding for Che's newly found idealism. He also provides a lot of humour in many charming little vignettes. On the other hand Mexican superstar Gale Garcia Bernal appears to be chosen for this role less because of his acting ability and more because of his immense popularity among cinema audiences – a popularity which is supposed to match Che's charisma. Bernal tries hard, but he lacks physical resemblance with Che and sometimes, in an effort to be worthy of such formidable character, tries too hard. As a result, his Che is at times too solemn and too serious.

Yet, despite that little flaw, for most of the viewers, regardless of their political beliefs, THE MOTORCYCLE DIARIES is a journey worth taking.

RATING: 7/10 (+++)

Stander (2003)

2005-06-26T15:23:00.000+02:00

A Film Review

"Opportunity turns honest man into thief" is an Italian proverb that could be applied to the protagonist of STANDER, 2003 crime drama directed by Bronwen Hughes. The plot takes place in 1976 South Africa where men like Andres Stander (played by Thomas Jane) had it all. As a member of privileged Boer family and son of highly respected general (played by Marcus Weyers) he rose in the ranks of South African law enforcement, became the youngest police captain in history and married beautiful Bekkie (played by Deborah Kara Unger). But this idyll is crumbling when the oppressed black majority start to demand the end of apartheid regime and Stander has to take part in bloody suppression of demonstrations in Soweto. This traumatic experience gives him an idea – if police is busy fighting demonstrators, it wouldn't have resources to deal with regular crime. Stander begins the series of audacious armed robberies that would end with his capture three years later. Sentenced to 75 years of prison, he befriends career criminals Lee McCall (played by Dexter Fletcher) and Allan Heyl (played by David O'Hara) and after successful escape starts even more spectacular series of robberies, becoming some sort of folk hero in the process.

Based on the true story hardly known outside South Africa, STANDER is surprisingly accomplished film. Thomas Jane gives very good performance, successfully tackling both the complex character and South African accent. The action scenes are wonderfully directed, while the cinematography of Jess Hall and effective use of 1970s soundtrack give the film a proper period atmosphere. The film does a credible job in showing how the different worlds clashes in apartheid South Africa – not only the affluent whites and oppressed blacks, but also the highly regimented social system with 1970s hedonism and individualism. Hughes, responsible for utterly disappointing romantic comedy FORCES OF NATURE, took a great risk by entering this unfamiliar territory and the risk paid off.

STANDER deservingly gained a lot of praise, but it also had some flaws. The major problem is in Bima Staggs's script which tries too hard to put Stander's story in broader social, historical and political context. The film argues that Stander became criminal because he was disgusted with the brutality of the regime whose laws he had to protect, as well as guilt-stricken about his own role in such brutality. This is explicitly presented in almost surreal scene which is supposed to moving, but comes out as Hollywood invention rather than something based on fact. What STANDER fails to present is an answer why the protagonist chose bank robbing as a way to exercise those demons when other options – emigration, resigning from police or joining anti-apartheid movements – were open. Another of the film's problem is the obligatory romance which manifests itself in a steamy but completely unnecessary sex scene.

However, despite those flaws, STANDER deserves recommendation as fascinating film that confirms the old adage of truth being stranger than fiction.

RATING: 6/10 (++)

Assault on Precint 13 (2005)

2005-06-25T14:37:00.000+02:00

A Film Review

Many critics have valid arguments when they lambaste modern Hollywood for the increasingly annoying practice of remaking any successful film of the past. In case of ASSAULT ON PRECINT 13, Jean-François Richet's 2005 version of John Carpenter's 1976 cult classic, this arguments aren't so strong, because the original ASSAULT was itself a remake of Howard Hawks' 1959 western RIO BRAVO. Richet's film is, therefore, an original variation of a theme much older than most of the cinema treasure being so savagely and ineffectively plundered by contemporary studios.

The plot is set in Detroit on New Year's Eve. Precint 13, the oldest such police building in town, is about to be closed down next day, and it is manned only by burned-down Sergeant Jake Fornick (played by Ethan Hawke), veteran policeman Jasper (played by Brian Dennehy) and foul-mouthed secretary Iris (played by Drea de Matteo). Their routine is interrupted when bad weather forces prison bus to make detour and policemen now have to deal with prisoners, including Bishop (played by Laurence Fishburne), gangster who killed undercover police officer. Soon after that phone lines are down, cell phones are jammed and masked gunmen attack the precint. At first Fornick believes that the assailants are Bishop's men who want to set their boss free, but it turns out that the assailants' leader is Maurice Duval (played by Gabriel Byrne), corrupt leader of elite police unit who worries that Bishop's trial would expose him and his men. Bishop must die, together with everyone in the precint. This forces Fornick to make difficult decision and make temporary alliance with despised criminal in order to ensure mutual survival.

Equipped with bigger budget, Richet easily succeeded in making his version of ASSAULT OF PRECINT 13 look more spectacular than Carpenter's. The action scenes are more intense and the violence is more graphic. The cast is made of stars and plenty of recognisable faces, including rapper JA Rule. However, the large budget also made the film less interesting – with so many stars and their position within on the cast list it was easy to predict what would happen to each of the characters. James De Monaco's script also brought too many character development compared with Carpenter's ascetic original. Too often this drags movie's plot, especially in the case of police psychologist, played by Maria Bello. On the other, this also provided for some fine acting, for which good example could be found in John Leguizamo and his character of drugged-out ranting prisoner. Gabriel Byrne, on the other hand, doesn't provide anything in his role of corrupt policeman, who is less convincing than Carpenter's army of zombie-like gang bangers.

James De Monaco's script also represents disappointment because it, unlike Carpenter's original, has some serious plot holes – too many important things in this film happen by accident, while some scenes defy continuity. Subversive politics of the original and Carpenter's near-dystopic comment on 1970s nihilism is replaced by cheap formula and Hollywood "political correctness". Yet, despite all those flaws and unavoidable disappointments for any fan of the original ASSAULT ON PRECINT 13, Richet's film provides more than enough entertainment in its 109 minutes and deserves recommendation.

RATING: 6/10 (++)

Elvis Has Left the Building (2004)

2005-06-24T03:47:00.000+02:00

A Film Review

Hollywood seems to be running out of interesting or original ideas these days. This I sad, but even sadder thing happens when Hollywood does find interesting idea only to have it wasted. One of such examples is ELVIS HAS LEFT THE BUILDING, 2004 black comedy directed by Joel Zwick.

The protagonist of the film is Harmony Jones (played by Kim Basinger), a woman whose life revolves about travelling and trying to convince women to buy Pink Lady cosmetic products. Two things are going to change her life. First is encounter with Miles Taylor (played by John Corbett), bored and soon-to-be-divorced ad executive who falls in love with her. The other is tendency of Elvis impersonators to accidentally die in her presence. Harmony now has to run, while the deaths are investigated by FBI.

ELVIS HAS LEFT THE BUILDING probably looked very good on paper. Although this isn’t the first Hollywood movie to exploit Elvis mythology, few had such a quirky premise. The talent involved was also promising – director Joel Zwick made a huge hit with MY BIG FAT GREEK WEDDING, while the cast included the likes of Kim Basinger and Angie Dickinson. Basinger is actually very good in film, using one of the rare opportunities to show comedic abilities. Unfortunately, she is the only one to provide some humour in the film. The script by Michell Ganem and Adam-Michael Garber is simply terrible – it provides many talented actors with atrocious dialogues and utterly unfunny jokes. A good example is writer’s apparent opinion that the sight of Denise Richards as Elvis impersonator is enough for audience to roll on the floor laughing. What is even worse is Zwick’s inability to comprehend those problems; his direction is inept, making the film looking cheaper than it actually is. When it comes to Hollywood’s ability to pay homage to one of the world’s greatest icons, Elvis has really left the building.

RATING: 3/10 (+)

Blueberry (2004)

2005-06-23T03:59:00.000+02:00

(RENEGADE) (2004)

A Film Review

Just like Europe produces their own comic book heroes very different from those created in America, so the Old Continent creates their very special screen adaptations of those comic books. But, although their comic books and comic book adaptation are different, Europe and America share one thing – most of comic book heroes usually disappoint their avid fans whenever appear on screen. BLUEBERRY, 2004 French western directed by Jan Kounen, isn’t exception.

The titles say that the film is “loosely based on” the famous comic book series by Jean “Moebius” Giraud. The plot starts in 1870s Arizona boom town of Palomito where young Mike Blueberry (played by Hugh O’Connor), a Louisiana Cajun, comes to live with his tyrannical uncle (played by Tcheky Karyo). Mike falls in love with local prostitute Madeleine (played by Vahina Giocante), but one night in her bed goes disastrously wrong with the arrival of her abusive boyfriend/customer Wally Blount (played by Michael Madsen). The confrontation leaves Madeleine dead and Mike, wounded and psychologically scarred, escapes only to be adopted by Apache tribe. Years later, older and wiser Mike (played by Vincent Cassel) is a sheriff of Palomito, and his mission is to maintain peace between settlers and Apaches. But this balance is shattered when Prussian geologist Prosit (played by Eddie Izzard) finds old Spanish map indicating gold deposits in Apache-populated mountains. Among various characters in search of fortune is Mike’s old nemesis Blount, who appears to know that mountains hide something more precious than gold.

At first, it looks that BLUEBERRY has anything that film worthy of such highly respected source material should have – a diverse and truly talented cast (which includes veteran Ernest Borgnine and Juliette Lewis playing with her father Geoffrey Lewis), beautiful cinematography and exotic locations. But, somehow Jan Kounen, Dutch director who cooperated with Vincent Cassel in ultra-violent DOBERMANN, fails to put any of those resources to some sensible use.

The first problem is the script. To say that the plot and characters don’t make any sense is an understatement. The audience will need a lot of patience and ability to spot tiny details in order to have some basic idea what is actually going on in the film. Kounen’s rapid editing style, which served him so well in DOBERMANN, completely ruins BLUEBERRY.

However, it soon becomes quite apparent that BLUEBERRY was took less inspiration from the works of Giraud than the works of Carlos Castaneda. Because of that a large section of the film deals with Apache shamans (with almost unrecognisable Temuera Morrison as Don Juan-like character), while almost two hours of film’s length could be explained with the scenes describing protagonist’s psychedelic visions. Those scenes, made with CGI, are fascinating – for about two seconds. After that they become so tiresome that the average viewer gets impression of watching a screensaver instead of feature film.

Although BLUEBERRY at times comes close to the “it is so bad that it is so good" point, most of the audience would be wise to spend two hours on something better than this colossal waste of cult comic book’s reputation.

RATING: 2/10 (-)

Heart of the Beholder (2005)

2005-06-21T14:36:00.000+02:00

A Film Review

The author of this review has few subjects as dear to his heart as the freedom of expression. This is one of the most important achievements of the modern civilisation – without which these lines would never be written. It is also one of the least appreciated achievements of modern civilisation. I tend to believe that I’m more aware of its worth because I vividly remember the times when this freedom didn’t exist in my country. I also remember the times when this freedom was introduced only to be gradually suppressed together with other freedoms.

A good illustration for this is the strange fate of THE LAST TEMPTATION OF CHRIST in my home town. The film was shown in theatres during the last days of Communism. A year or two later it appeared in one of the local video stores, being prominently displayed in catalogue. Some time later I went to rent it only to find baffled clerk who claimed not only that such film couldn’t be rented, but that it “never been in the video store” despite the catalogue pointing otherwise. It became quite clear that the disappearance of the film had little to do with property rights or economics – its content was unacceptable for new rulers just like the films questioning Communist dogmas had been unacceptable for apparatchiks of the past. But its “mysterious” disappearance was followed by some other disappearances in the town – this time families began to disappear from their homes overnight. It was just another reminder of the Albert Einstein’s words about burning of books ultimately leading to burning of people.

Because of that I was pleasantly surprised to find the film dealing not only with the subject, but also with the events that have certain macabre similarity with the events I had witnessed. That film is HEART OF THE BEHOLDER, 2005 drama written and directed by Ken Tipton and based on Tipton’s own experiences in 1980s St. Louis.

The plot of the film begins in 1980 when Mike Howard (played by Matt Letscher) leaves his job of computer technician and invests all of his family’s savings into the very first video store in St. Louis. After a slow start, the business is booming and Howard begins to live American Dream. Unfortunately, some of the titles available in store bring attention of Citizens For Decency, fundamentalist Christian group led by Reverend Brewer (played by John Prosky). The group begins to put pressure on Mike, especially when his store becomes the only place in St. Louis where people can rent THE LAST TEMPTATION OF CHRIST. The store is subjected by endless picketing, and the campaign escalates into threats and acts of vandalism. Howard doesn’t want to yield to the pressure so Brewer and his group blackmail City Attorney Erik Manion (played by John Dye) into prosecuting Howard on obscenity charges. Howard wins in court, but the legal fees and pressure lead to his business going bankrupt and Howard loses family in the process. When Howard learns the truth about the way he was ruined, he is determined to have revenge.

Based on true events and originally envisioned as TV movie, HEART OF THE BEHOLDER is a very personal film. Ken Tipton, who, apart from appearing in various small roles had very little experience behind the camera, invested a lot of passion in this project and it could be felt on the screen. Great deal of effort is made in order for film to look authentic despite its low budget – there are many interesting period references and some entertaining anecdotes give a lot of charm to the film. The acting is also good, with some notable names like Michael Dorn and Tony Tood making cameo appearances (the latter being almost unrecognisable in the role of Chuck Berry). The most pleasant surprise is Arden Myrin who steals the show in the role of Howard’s store clerk.

However, the very issue which film is all about – freedom of speech and its frailty in even such traditionally democratic countries like USA – is at odds with the light-hearted tone of the film. There is nothing wrong in presenting the important messages through comic ways, but it requires right balance and talents which Ken Tipton apparently didn’t have. The villains in the film look like buffoons and are played over the top. This occasionally turns HEART OF THE BEHOLDER in unintentional parody of itself. The most problematic is the attempt to provide neat Hollywood ending, which ultimately shatters film’s credibility.

However, despite all those problems, HEART OF THE BEHOLDER succeeds in telling a compelling story in an entertaining and interesting way that won’t prevent some of the audience to think about certain important issues.

RATING: 5/10 (++)

Cherish (2002)

2005-06-20T11:20:00.000+02:00

A Film Review

Too many times interesting ideas become sorry excuse for the mediocrity of Hollywood “high concept” movies. Occasionally, same phenomenon can be observed in independent low-budget films like CHERISH, 2002 comedy written and directed by Finn Taylor.

Protagonist of the film is Zoe (played by Robin Tunney), San Francisco office worker who tries to improve her miserable love life by fuelling it with alcohol any time she goes out. One night, upon return from a brief date, mysterious man kidnaps her and takes her car, which results is a traffic incident leaving one policeman dead. Carjackers runs away, leaving Zoe to face vehicular manslaughter charges. Her attorney manages to get her out of jail and arranges that she awaits trial in house arrest, having an electronic bracelet, regularly maintained by kind-hearted police technician Daly (played by Tim Blake Nelson), at her ankle. Zoe must never leave her apartment and that becomes a problem when the mysterious man starts to stalk her. Zoe now must find a way to escape and find the evidence that would clear her name.

CHERISH had everything a successful low budget film should have – simple but brilliant idea that was made for low budget films, very good and diverse cast, excellent 1980s pop soundtrack and plenty of quirky characters and situations. Unfortunately, Finn Taylor forgot to connect all of those elements into a coherent whole. The most important reason why the film ultimately fails is the decision to make it not as a thriller, but as a comedy. The problem is in Taylor not having enough sense of humour to make the jokes funny, while the “serious” sections of the film look too odd to be taken seriously. Although fans of Robin Tunney – who shows enormous talent in difficult in ultimately thankless role – and 1980s pop music will like this film, the rest of the audience will, at the best, see CHERISH as nothing more than interesting failure.

RATING: 4/10 (+)

Sky Captain and the World of Tomorrow (2004)

2005-06-19T15:48:00.000+02:00

A Film Review

Hollywood is currently drowning in the sea of mediocrity and this is a really sad state of affairs. But even sadder thing is when Hollywood does produce something original and refreshing only to see it tragically underappreciated and misunderstood. One of such examples is SKY CAPTAIN AND THE WORLD OF TOMORROW, 2004 science fiction adventure written and directed by Kerry Conran.

The simple idea behind the film proved to be too complicated to some reviewers when they tried to describe the plot. The story begins in New York, which looks very much like the New York in late 1930s, but some details point to alternative history universe. Polly Perkins (played by Gwyneth Paltrow) is newspaper reporter investigating the mysterious disappearances of renowned scientists. Those disappearances coincide with the arrival of giant robots that are raiding major cities of the world in search of power and other strategic resources. The only force that could stop the robots is mercenary army called Flying Legion, whose leader and best pilot is Joe Sullivan a.k.a. Sky Captain (played by Jude Law). He reluctantly agrees to join Polly in her investigation, when the clues begin to connect missing scientists with mysterious Dr. Totenkopf, who might have something to do with the robots.

The author of SKY CAPTAIN AND THE WORLD OF TOMORROW took inspiration from the sources similar to those that led Lucas and Spielberg to create STAR WARS and INDIANA JONES trilogy – pulp literature, comic books and movie serials that characterised much of the popular culture in 1930s America. Those forms of popular culture were often branded as escapist, because they provided people with images of exotic lands and futuristic technology, thus helping them to forget the harsh realities of Great Depression. Conran took such escapism very seriously and transformed it into a fascinating fictional universe in which the present day is looks exactly like the future imagined in 1930s pulp culture. Intercontinental travel depends on zeppelins, countries of the world aren’t preparing for world war, British Empire is global policeman, USA doesn’t have a strong army and has to rely to mercenaries for the protection.

Unlike other films inspired by 1930s popular culture, like THE SHADOW and PHANTOM, that approached their anachronistic subject superficially, SKY CAPTAIN AND THE WORLD OF TOMORROW delivers a rich tapestry of details that require repeated viewings in order to be properly enjoyed. Many of those details are taken from the popular films of the period, while the architecture and fashion gives unmistakable influence of 1930s. Even the cinematography by Eric Adkins with its sepia tones provides almost surreal experience of 1930s film. To make things even more fascinating, almost entire film was made on computer, with actors brought to camera only later, almost without a single prop or set.

The film is visually fascinating, but so much care about its look and atmosphere was brought at the expense of plot and characters. Jude Law and Gwyneth Paltrow, who play the protagonists, work very hard in order to resurrect 1930s movie archetypes, but their efforts are doomed because of the one-dimensional nature of their characters and uninspired dialogue. Other actors are wasted in even less memorable roles, including Angelina Jolie whose brief and not particularly memorable appearance leaves little doubt that her casting was motivated by strictly commercial considerations. Jolie is easily overshadowed by much briefer, although more memorable appearance of Sir Laurence Olivier, whose image and voice were digitally manipulated to bring the great actor to his first posthumous acting role.

Yet, even with those flaws that were, in a way, unavoidable this delightfully anachronistic piece of digital mastery deserves full recommendation as one of the most important films of our times.

RATING: 7/10 (+++)

The Chronicles of Riddick (2004)

2005-06-17T13:59:00.000+02:00

A Film Review

In 2000 David Twohy enjoyed a degree of success with PITCH BLACK, his science fiction horror film that was compared with Ridley Scott’s ALIEN and turned Vin Diesel into charismatic action star. The latter was the reason for PITCH BLACK to get a sequel that would deal with Diesel’s character. The sequel, named THE CHRONICLES OF RIDDICK, was directed by Twohy in 2004.

The plot begins five years after the events of PITCH BLACK. Riddick (played by Vin Diesel), multiple murderer on the run from authorities, is tracked by bounty hunters only to be brought in touch with his old friend Imam (played by Keith David). Imam’s home planet Helion Prime is threatened by Necromongers, militant religious sect that converts everyone to its cause and destroys those who refuse to do so. Riddick would have to confront not only Necromongers and their Lord Marshall (played by Colm Feore), but also his past.

THE CHRONICLES OF RIDDICK could serve as a good argument for all those who consider large budgets as the main reason for the decline of quality in Hollywood films. Unlike the original, it was made under market-friendly PG-13 rating, thus depriving audience of the language and violence that made PITCH BLACK look believable despite far-fetched premise. And, just like in many summer blockbusters of that particular genre, THE CHRONICLES OF RIDDICK is filled with the spectacular action scenes that often serve no purpose other than show film’s CGI budget. Script was, just like in many similar films, of little consideration. The only exception was made with Necromongers and its leader who were made to look like futuristic version of George W. Bush during invasion of Iraq, in an apparent attempt to pander to rising anti-American sentiments in global markets.

Needless to say, all this commercial calculation didn’t pay off. There are few entertaining moments in the film and Nicholas Chinlund is very effective in the role of a bounty hunter. But most other actors, Diesel included, are wasted in tragically underwritten and stereotypical roles. The main problem for THE CHRONICLES OF RIDDICK, however, is in the plot, which is simply too complicated and too ambitious. Twohy apparently mistook the larger budget of this film for the opportunity to replace simplicity of PITCH BLACK with the epic scope worthy of STAR WARS saga. As a result, there are many scenes and subplots that don’t make much of a sense and the plot of THE CHRONICLES OF RIDDICK could be properly understood only after watching DVD extras. Failure to tell a coherent story means the failure of the film in its entirety, so THE CHRONICLES OF RIDDICK should be seen as a failure.

RATING: 3/10 (+)

Pitch Black (2000)

2005-06-16T15:44:00.000+02:00

A Film Review

Science fiction is often described as "a genre of ideas". Science fiction films, on the other hand, speak against this definition. Ideas behind those films are often not particularly original or in any connection with common sense. It is in the way they are presented that make for the quality in science fiction films. PITCH BLACK, 2000 science fiction written and directed by David Twohy, is good example.

The plot is set in distant future when a passenger space ship gets hit by meteorites and makes emergency landing on the surface of an unknown desert planet with three suns in the sky. Only a handful of people have survived the crash and Fry (played by Radha Mitchell), pilot who volunteers to become group's leader, has to deal with two problems – lack of water and Riddick (played by Vin Diesel), convicted murderer who was being taken to prison by his guard Johns (played by Cole Hauser) and who took the crash as an opportunity for escape. While Johns tries to talk other survivors in tracking him down, Fry discovers apparently abandoned human colony with conspicuously preserved space ship that could fly after minimal repair. Fry and others will soon discover the reason why there aren't any colonists – a total eclipse, which happens every 22 years, leaves the planet in complete darkness and brings some forms of the local fauna from the underground. The creatures can't stand the light but the darkness allows them brief opportunity to enjoy some exotic food on the surface.

After its premiere PITCH BLACK was hailed as the new ALIEN, a SF horror classic in the same category with Ridley Scott's masterpiece. Although such praise wasn't justified, PITCH BLACK deserves to be recommended as a solid piece of genre entertainment. Twohy managed to overcome relatively low budget with ingenuity and good use of Australian locations. But the most important factor is human – Twohy learned a lot from Scott's film. The script allows audience to start caring for the characters and action scenes even allow for some minor glimpses into future world, which is in a way distant reflection of our own, with all of gender, race, religious, social and other differences. There are some interesting plot twists and many characters aren't what they are supposed to be. The acting is, of course, very good. Vin Diesel is very effective in almost iconic role of a "cool" but lovable rouge, while Radha Mitchell does nice job as Ripley-like pilot. Keith David, however, steals the show in the role of Muslim pilgrim.

The major problem for PITCH BLACK is in this science fiction film, like so many recent Hollywood examples of the genre, not taking "science" very seriously. Too many elements of the plot are too convenient to bear serious scrutiny. Most of them deal with the bizarre ecology of the planet that is hard to reconcile with fauna described in the film. On the other hand, those who don't care much about little details are going to be entertained by superb acting, excellent action scenes and credible drama. At least for a while, PITCH BLACK brightened the prospects for all those who like quality science fiction in Hollywood.

RATING: 6/10 (++)

Buffalo Soldiers (2001)

2005-06-12T13:18:00.000+02:00

A Film Review

Attacks of September 11th 2001 had profound effect on American film industry, because after them many important or popular films could not be seen without, in one way or the other, being compared with real life. But the effect of that fateful day wasn’t limited to the past films. Some of the films that were supposed to be released were put on hold, because the studios were worried about their tone or subject matter being inappropriate for prevailing mindset in America. One of such films was BUFFALO SOLDIERS, 2001 black comedy directed by Greg Jordan. It took few years and a certain change of political climate for this film to be available.

The plot, based on the novel by Richard O’Connor, is set in West Germany at the end of Cold War. With Soviet invasion becoming less likely, American troops guarding the Free World are becoming bored out of their minds and engage in all kinds of misbehaviour, like abusing drugs and crushing cars of hapless West German civilians with their tanks. Specialist Ray Elwood (played by Joaquin Phoenix) decides to spend his time more constructively – he and couple of soldiers set up their own heroin production and arms smuggling racket. All this happens under the eyes of Colonel Wallace Berman (played by Ed Harris), kind-hearted but clueless battalion commander, who is blissfully unaware even of Elwood having an affair with his wife (played by Elizabeth McGovern). Things change when the new, tough Sergeant Robert K. Lee (played by Scott Glen) arrives to base and begins to hamper Elwood’s illegal activities. Elwood tries to retaliate by starting an affair with Lee’s daughter Robyn (played by Anna Paquin) but this only leads to personal conflict escalating to almost surreal proportions.

BUFFALO SOLDIERS had its premiere on September 7th 2001. It isn’t hard to understand why Miramax chose not to distribute the film after the whole social climate in America changed four days later. In a country which went to great pains to describe “men and women of armed forces” as noble and heroic defenders of democracy it was hard to accept the film where those same men and women are portrayed as murderers, drug dealers and other examples of human filth. Thankfully for Miramax, war in Iraq created enough of anti-military sentiment in USA for BUFFALO SOLDIERS to become acceptable for American audience and later enjoy even greater acceptance abroad.

If BUFFALO SOLDIERS is indeed “anti-American” or “anti-military”, it is only in a sense that it shows some unpleasant truths that aren’t limited to the world’s greatest superpower or its current government. The sorry state of US military depicted in the film is even explicitly explained through the protagonist’s opening narration – after Vietnam War and abolition of draft, there was very little chance of military being the reflection of American society in general. In other words, when prosperous industrial nations make their militaries professional, they are bound to be faced with militaries comprised of those people who are marginalised in those societies because of their skin colour, low education, low income, low intelligence, criminal tendencies or all of that. And, as Robert Aldrich implicitly suggested in THE DIRTY DOZEN, certain qualities that make a good soldier would be completely unacceptable for individuals in civilian life. This heretical thesis is explicitly stated in BUFFALO SOLDIER – the more humane and scrupulous character is, the less likely it is that he would make a fine soldier and vice versa.

One of the greatest achievements of BUFFALO SOLDIERS is in the way it delivers such ultimately depressive content in humorous fashion. Even more important is ability of screenwriter Eric Weiss to avoid some of Hollywood clichés, especially those related to the protagonist. Elwood, brilliantly played by Joaquin Phoenix, is anti-hero whose actions might look despicable, but they are only reflections of a society; in other words, Elwood might be corrupt, but he isn’t better or worse than the very system to whom he belongs. What is even more important is his humanity – the film suggests that Elwood might have something of a conscience, but, unlike conventional Hollywood films, he doesn’t get one great epiphany at the end.

Unfortunately, BUFFALO SOLDIERS did succumb to certain Hollywood conventions. The most noticeable is obligatory romantic subplot involving Sergeant Lee’s daughter – although Anna Paquin again shows his great acting ability, the whole romance is too distracting and blunts the satiric edge of the film. Even more annoying is heavy-handed symbolism at the very end of the film. However, even with such flaws, BUFFALO SOLDIERS is a dark, entertaining and thought-provoking film that could be recommended to pacifists and militarists alike.

RATING: 7/10 (+++)

Bad Santa (2003)

2005-06-12T11:10:00.000+02:00

A Film Review

The author of this review is among those people who are getting increasingly troubled with the whole concept of Christmas in modern world. What used to be a time of joy is now turning into unbearable emotional and financial burden, as well as ultra-commercial travesty which has little to do with people’s religion or culture. Hollywood has contributed a lot to those trends, so I was pleased to learn about at least one Hollywood film that treats Christmas subversively. Unfortunately, BAD SANTA, 2003 black comedy directed by Terry Zwigoff, turned out to be a disappointment.

Protagonist of the film is Willie Stoke (played by Billy Bob Thornton), man who earns his living working as a Santa Claus in department stores. He is, however, far from the usual image of Santa Claus – he drinks heavily, even on job, uses foul mouth while talking to children and has a habit of engaging in unorthodox sexual practices with overweight women. His latest job brings him to Phoenix where Bob Chipesca (played by John Ritter), the store manager, doesn’t dare firing him because Willie’s partner and best friend happens to be Marcus (played by Tony Cox), black midget whose removal might bring bad publicity. Gin (played by Bernie Mac), department store’s security chief is much more perceptive and he learns about Willie and Marcus being duo of career criminals who use their disguise to rob department stores on Christmas. While Gin wants to get some of their loot, two new characters enter Willie’s life – Sue (played by Lauren Graham), barmaid with Santa fetish and retarded 8-year old boy (played by Brett Kelly) who somehow looks into Willie as surrogate father and invites him into his luxurious albeit parentless home.

The concept behind BAD SANTA is simply brilliant. Character of Willie embodies the complete anti-thesis of everything Christmas was supposed to symbolise – goodness, family values, charity. And the plot itself is metaphorical condemnation of the vulgar materialism that hijacked what had used to be deeply spiritual holiday. Unfortunately, by the middle of the film BAD SANTA loses most of its subversive value because writers Glen Ficcara and John Requa don’t know how to finish story, at least not without succumbing to all-too-familiar Hollywood clichés. So, the despicable protagonist falls in love in beautiful woman and befriends little child who serves as tool of his ultimate redemption. The promising start of the film is ruined by weak and predictable ending.

BAD SANTA is ultimately disappointing film, but this can’t be said of the acting performances in it. Billy Bob Thornton is fascinating in the role of loser who is anything but lovable, but whose character glues audience to the screen. Tony Cox is also good, as well as John Ritter in the last film role of his life. But this fine acting, and occasional good joke at the beginning, can’t hide the fact that BAD SANTA is one of those few Hollywood films that live to their names.

RATING: 4/10 (+)

Shattered Glass (2003)

2005-06-10T13:37:00.000+02:00

A Film Review

Recent outing of Mark Felt as Deep Throat brought some sort of closure to Watergate scandal. But the scandal had already died, simply by losing every bit of relevancy to today’s world. The real nail to the coffin was the end of the myths Watergate created – myths embodied in Alan J. Pakula’s ALL THE PRESIDENT’S MEN. Generations were being told the story about two intrepid reporters who uncovered the dangerous conspiracy, saved the democracy and established the media as the most effective check on every government. But this myth began to crumble long time ago, only to be completely wrecked in November 2004. Not only the power of media failed to have its desired impact at the polls, but one of the most decisive events of the campaigns – leaking the fake memos – showed the media being as arrogant and ultimately corrupt as the Presidents they were supposed to bring down. The latest scandal was, however, just one of many. Similar events happened before and one of them is a subject of SHATTERED GLASS, 2003 drama written and directed by Billy Ray.

The plot begins in 1995 in the editorial offices of “New Republic”, one of America’s most respected and influential weekly magazines. Stephen Glass (played by Hayden Christensen) is a young journalist who quickly becomes one of the most popular members of staff. This is due to his charming personality and due to the exciting and saucy articles he writes. Glass quickly becomes magazine’s star and because of that editor Michael Kelly (played by Hank Azaria) chooses to ignore certain questionable details in one of his stories. In 1998 everything changes after Glass’ article about teenage hacker being hired as security specialist for a software company. The article brings attention of Adam Penenberg (played by Steve Zahn), investigative journalist for “Forbes Digital”. When Penenberg’s attempts to find any confirmation for the claims made in the article fail, he concludes that the story is bogus and confronts “New Republic” with its findings. New editor of “New Republic” is unpopular Chuck Lane (played by Peter Saarsgard), a former colleague of Glass. At first reluctant to go against the magazine’s star and editorial staff’s darling, he starts investigation of his own, while Glass desperately tries to prove that he didn’t make up the story.

It isn’t that surprising that SHATTERED GLASS was made in the realm of American independent cinema. It deals with some serious issues in a very serious manner and, what it is even more important, it shatters the illusion – the very core of the business mainstream Hollywood is based on. The film’s pace is excellent, direction is solid, as well as dialogues. The only little bit of criticism could be found in the framing device – fantasy scene during which Glass, as a now highly member of journalistic aristocracy, gives lecture to awestruck high school students. The scene gives too much foreshadowing and the revelations in the film have less impact because of that.

The acting is also very good. Role of Glass is so far the best in Christensen’s career – he is much more convincing in the role of real-life pathetic loser than tragic hero of Lucas’ fictional universe. Peter Saarsgard as troubled editor is much more effective, while Zahn gives uncharacteristically subdued, yet adequate performance as Glass’ nemesis. Other actors are also fine, although their roles – like Glass’ office cheerleaders played by Chloe Savigny and Melanie Lynskey – are there more in order to provide some big names on posters rather than serving dramatic purpose.

Some commentators criticised SHATTERED GLASS for its alleged lack of objectivity and the fact that Chuck Lane served as film’s advisor. But the film can clearly be seen as an explicit criticism of the whole journalistic establishment to whom Lane belongs. The self-righteous guardians of liberal democracy and public interest were allowed themselves to be duped by not particularly distinguished individual, simply in order to maintain the illusion of the professional integrity. By having few Monicagate references, creator of SHATTERED GLASS suggests that such self-deluding mindset can flourish even in utopian times of peace and economic progress; just as Clinton allowed himself to be tarnished because of the personal arrogance, so did American media. And in a way, the affair behind this film was just one crack in the construction that would collapse on September 11th 2001. If Billy Ray tried to explore that angle, SHATTERED GLASS could have been much better. But even in its present form this film deserves to be recommended as cautionary tale for future generations.

RATING: 6/10 (++)

Not Another Teen Movie (2001)

2005-06-10T11:43:00.000+02:00

A Film Review

Thanks to SCREAM, late 1990s witnessed the renaissance of teenage slasher films, so it didn’t take much convincing for Hollywood to try exploiting 1980s nostalgia with the another genre specific for that period. The result was the deluge of teen-themed comedies. And just like teenage slasher horrors in SCARY MOVIE, those comedies became the subject of parody in NOT ANOTHER TEEN MOVIE, 2001 comedy by Joel Gallen.

Like in many contemporary Hollywood parodies, the plot, based on the script written by five different screenwriters, is just an excuse for the series of gags. However, main narrative is modelled on SHE’S ALL THAT and is set in one Los Angeles high school. Its most popular student is typical jock Jake Wyler (played by Chris Evans) who makes a bet that he could seduced the ugliest girl in school and have it elected for prom queen. He decides to seduce Janey Briggs (played by Chyler Leigh), a mousy rebel artist, who is at first reluctant to answer to his advances but gradually sees that she is in love with him just as he is in love with her.

Parodies gained an unenviable reputation in last few years, mostly due to be perceived as just another manifestation of Hollywood’s unoriginality. NOT ANOTHER TEEN MOVIE, on the other hand, seems to be more faithful to its title despite taking inspiration from each and every teen film produced in Hollywood in late 1990s. The main reason is in filmmakers’ decision to have it R-rated, which allowed that some of the gags, characters and situations from original PG-13 films now look refreshing. Another, even more important reason why NOT ANOTHER MOVIE works is in broadening the scope of parody. While most of today’s Hollywood parodies don’t bother to take inspiration from anything older than eighteen months, screenwriting committee did its homework for this film and had paid homage to the early 1980s classics. This homage reflects not only in jokes, but also in many interesting cameo appearances, including Molly Ringwald. Filmmakers showed great affection for the material they parodied and this is always an important ingredient for any successful parody.

The young, relaxed but very talented cast obviously contributed to the success of NOT ANOTHER TEEN MOVIE. Many of them had performances that easily outshine those that they were supposed to parody. One such example is Sam Huntington in an incredible cover version of Chris Klein’s character from AMERICAN PIE. Of course, not all jokes in the film – whether the audience is familiar with early 1980s teen films or not – work and on occasions Gallen succumbs to the temptations of gross-out humour. But, in general, NOT ANOTHER TEEN MOVIE gives impression of being the product of certain intellectual effort, while being entertaining at the same time, and in modern Hollywood this is an achievement worthy of recommendation.

RATING: 6/10 (++)

Wuthering Heights (2003)

2005-06-09T10:20:00.000+02:00

A Film Review

Quarter of century after MTV was founded, there is a growing consensus about that institution being responsible for the decline of rock music. Film critics who experienced two decades of MTV-educated film directors share the same sentiments. Now it seems that the destructive appetites of MTV aren’t limited to the music or film. Other aspects of culture, including classic literature, seem ripe for ruin. At least this is the impression you might get from WUTHERING HEIGHTS, 2003 film adaptation of Emily Brontë’s novel, directed by Suri Krishnamma.

The novel was set in 19th Century England but MTV producers decided to make their adaptation more “accessible” to their targeted audience, so the setting was changed into the only one average MTV consumer might envision – present-day California. So the Yorkshire estate becomes lighthouse where old Earnshaw (played by John Doe) lives with his children and adopts young street urchin who would grow up and become Heath (played by Mike Vogel). Heath and his foster sister Cathy (played by Erika Christensen) fall in love with each other, but their romance is doomed. Cathy ends up with kind-hearted rich neighbour Edward (played by Christopher Masterson) while Heath uses all his frustration to become successful rock star.

What looked like a good idea in ROMEO+JULIET – transporting classic literature into modern setting – turns into monstrosity in WUTHERING HEIGHTS. The characters and plots of Emily Brontë’s novel were not only richer and more complex than in Shakespeare’s dramas, but also more connected to the time and place where they were created. Some situations and events that make sense in 19th Century rural England look ridiculously anachronistic in modern California. However, there is little opportunity to poke fun at this, because Max Enscoe’s and Annie de Young’s script is shallow and boring. Suri Krishnamma’s direction doesn’t help, because too much time is spent on California scenery and actors whose looks are supposed to compensate for the apparent lack of acting talent. To make things worse, since this is MTV movie, a large section of the film is dedicated what MTV tries to sell as music, making WUTHERING HEIGHTS into even less bearable experience to any viewer with some taste. Erika Christensen with her un-Hollywood looks is the only truly human element of the film, but her efforts aren’t enough for WUTHERING HEIGHTS to sink into well-deserved oblivion.

RATING: 2/10 (-)

Wuthering Heights (1992)

2005-06-08T13:15:00.000+02:00

A Film Review

There comes the time when the author of this review has to admit that there are holes in his “general culture”. In other words, there are some Great Books I haven’t read nor I’m familiar enough to consider myself as much erudite as I would like to be. One of those examples is WUTHERING HEIGHTS, novel by Emily Brontë and one of the classics of English literature.

Having little time to read the novel, I watched Discovery Channel documentary series dedicated to Great Books. One of the episodes was dedicated to WUTHERING HEIGHTS. I was slightly disappointed with it. The documentary went to great lengths in order to provide as much details about life of Emily Brontë as possible. As result, there was very little to time to deal with the novel itself. What little information I received about plot and characters led me to believe that the novel was not as great as it had been cracked up to be. Some of my suspicions were proven correct with the WUTHERING HEIGHTS, 1992 film adaptation directed by Peter Kosminsky.

The plot, set in rural Yorkshire in early 19th Century, describes the conflict between individual passion and strict norms of English society. Two major protagonist are Heathcliff (played by Ralph Fiennes), a poor gypsy adopted by landowning family, and landowner’s daughter and Heathcliff’s foster sister Catherine Earnshaw (played by Juliette Binoche). Two of them grow up and fall desperately in love with each other, but, since Heathcliff doesn’t have proper background, she marries wealthy landowner Edgar Linton (played by Simon Shepherd). Hurt and humiliated, Heathcliff leaves the manor only to return years later as a very rich but still embittered man with terrible vengeance on his mind.

WUTHERING HEIGHTS is a very dark film, and this might come as a shock to those viewers who based their perception of rural 19th Century England on the novels by Jane Austen. Vision of Emily Brontë is much more realistic and shows how people’s happiness can be destroyed both by social pressure and their own personal demons. While the novel was referenced as best known Gothic romance, the film is more Gothic than romantic and the protagonists often commit violent and morally questionable acts. This is a problem for WUTHERING HEIGHTS, because viewers are forced with sympathise with people who couldn’t tolerate in real life.

While the costumes, production design and cinematography is great – as it was the case with most classic literary adaptations in 1990s – that can’t be said of acting. Ralph Fiennes is, to a certain degree, effective as troubled Heatchliff, but he lacks chemistry with Juliette Binoche who is too cold as film’s heroine. Matters aren’t helped with the decision to cast Binoche in dual role of Catherine Earnshaw and Cathy Linton. Music score by Ryuichi Sakamoto makes this film sound good, but the general impression is still mostly disappointing and WUTHERING HEIGHTS could be recommended only to those already interested in the novel.

RATING: 4/10 (+)

Casino Royale (1967)

2005-06-07T11:24:00.000+02:00

A Film Review

Remakes became not only very common, but also very depressing practice in contemporary Hollywood. Too many times great films of the past have their reputation scarred by the incompetence of present-day hacks. There are few instances when connoisseurs of classic films can have hopes of new version being superior to the original. One of those examples is CASINO ROYALE, 1967 action comedy directed by Val Guest, Ken Hughes, John Huston, Joseph McGrath and Robert Parrish.

CASINO ROYALE is a James Bond film, which happens to be the least known and the least appreciated of all James Bond films. It was one of two Bond made outside regular Bond franchise. Based on the very first Ian Fleming’s novel (itself adapted for television in 1954), it was supposed to rival of YOU ONLY LIVE TWICE. The movie did have some commercial success, but it quickly sank into oblivion, being either ignored or despised by most of Bond fans.

While all Bond films are, to a certain extent, products of their times, few try so hard to convince audience in it as CASINO ROYALE does. What was envisioned as mere parody of Bond films soon deteriorated into a desperate attempt to look “hip” or whatever average Hollywood executive thought to be “hip” in mid to late 1960s. This reflected not only on film’s content, but also on its structure and narrative techniques. Five directors were hired and worked independently from each other, often without any clue what the others were doing and with very vague idea of what the script – written by three different people – was about.

As a result, CASINO ROYALE doesn’t have anything resembling a coherent plot. There are some bits and pieces about retired Sir James Bond (played by David Niven), British secret agent (played by Peter Sellers) using “James Bond” as alias, Bond’s nephew “Jimmy” Bond (played by Woody Allen), Sir James Bond’s daughter Mata Bond (played by Joanna Pettet) all being involved in something resembling joint effort by British, American, French and Soviet secret services to thwart SMERSH and its evil plans. At the end, few people will know or care of what the film was really about. This will be the aftermath of the series of spectacular but ultimately pointless scenes marked with atrocious dialogue.

Of course, there are few entertaining scenes, especially in the section where Ursulla Andress in a way spoofs her role in DR. NO. But most of the audience is going to be bored – only a very small minority of those acquainted with the more arcane aspects of 1960s cinema are going to have some appreciation for CASINO ROYALE. And even they are going to use CASINO ROYALE as a cautionary tale about the effects of psychedelic drugs. The commercial success of the film is more the product of a mental state of the audience, produced by certain substances that later went out of fashion, taking the film into the path to oblivion. Some aspects of it – including the excellent musical score by Burt Bacharach – proved to be more enduring. And today CASINO ROYALE gives a hope that Hollywood will finally produce a remake better than original.

RATING: 4/10 (+)

Mr. 3000 (2004)

2005-05-23T14:49:00.000+02:00

A Film Review

One of the great ironies of baseball is in huge disparity between its filmability and the actual popularity of the sport outside US borders. Baseball has provided and continues to provide basis for many popular and successful Hollywood films, but success of those films is limited because hardly anyone outside US (and few other nations’) border have a clue about baseball and its complicated rules. On the other hand, non-US audiences that couldn’t properly enjoy baseball-themed films might comfort themselves with not being disappointed with MR. 3000, sports comedy directed by Charles Stone III.

The protagonist of the film is Stan Ross (played by Bernie Mac), arrogant and selfish hitter for Milwaukee Brewers. Film begins in 1995 when Ross makes 3000th hit and decides to quit baseball in order to start making lucrative endorsements as “Mr. 3000”. Nine years later it turns out that a statistical error was made and that Ross actually made only 2997 hits. Ross, faced with the prospect of never entering Hall of Fame, decides to rejoin his old team in order to make those three extra hits. However, being out of shape and out of touch with younger team mates makes this task nearly impossible.

The best thing about the film is Bernie Mac who plays the character very familiar to fans of professional sport – an arrogant and selfish star who thinks he is greater than the sport itself. Mac plays Ross very convincingly , but the screenwriters weren’t up to the task. In the second half Hollywood clichés take over and Ross begins predictable but not very credible transformation into gentler, nicer and humbler human being. Somewhat surprising twist at the end makes MR. 3000 interesting, but this happens too late to improve generally disappointing impression of this film.

RATING: 3/10 (+)

Dodgeball: A True Underdog Story (2004)

2005-05-13T11:34:00.000+02:00

A Film Review

Hollywood is getting increasingly infantile, and one of the manifestations of that phenomenon could be found in a huge hit which happens to deal with sport most people never think about after leaving grammar school. Infantile or not, some of those films can be entertaining, and DODGEBAL: A TRUE UNDERDOG STORY, 2004 comedy written and directed by Rawson Marshall Thurber.

The plot begins in Los Angeles where Peter La Fleur (played by Vince Vaughn), owner of run-down gym frequented by colourful misfits, is faced with huge financial problems. The gym is about to be foreclosed and, in most likelihood, sold to White Goodman (played by Ben Stiller), health guru, owner of corporate gym and La Fleur’s archrival. The only way for La Fleur is to prevent this is to organise dodgeball team and win the prize on the dodgeball tournament in Las Vegas. Goodman reacts by setting up his own team against which La Fleur and his friends don’t stand a chance. But things change where La Fleur gets in touch with legendary dodgeball coach Patches O’Houllihan (played by Rip Torn).

Anyone expecting to find something deep and meaningful in DODGEBALL: A TRUE UNDERDOG STORY should look somewhere else. For the filmmakers, the medium of sports film parody is nothing more than opportunity for the series of gags based on as much toilet humour as PG-13 rating will allow. However, thanks to Thurber’s capable direction and what seems to be a very enthusiastic cast, most of those gags work. Although the script sticks to clichés – including La Fleur’s romantic interest, played by Ben Stiller’s wife Christine Taylor – some of creative decisions were very fortunate. Stiller, who plays his villain over the top, is well matched by very subdued Vaughn in the role of protagonist. Although DODGEBALL: A TRUE UNDERDOG STORY in many ways looks like the embodiment of many things that are wrong in contemporary Hollywood, there are films more deserving to be evaded by the audience.

RATING: 5/10 (++)

Finding Neverland (2004)

2005-05-11T18:38:00.000+02:00

“It is that time of the year” is a phrase the author of this review uttered when he saw FINDING NEVERLAND, 2004 biographic drama directed by Marc Forster. It was very clear that this film serves certain purpose – harvesting as many Academy Awards as possible. In the end, despite many critics praising it, FINDING NEVERLAND, faced with much formidable competition in the form of MILLION DOLLAR BABY and THE AVIATOR, failed in its mission and got only Academy Award for Jan A.P. Kaczmarek’s music score.

The plot of film, based on the stage play by Allan Knee, deals with Sir James Matthew Barrie (1860-1937), Scottish playwright best known as the creator of PETER PAN. In the beginning of the film Barrie (played by Johnny Depp) is troubled by the failure of his plays. Everything changes after meeting with recently widowed Sylvia Llewelyn Davies (played by Kate Winslet) and four of her young sons. Barrie quickly befriends the boys and spends large amount of time with them, telling and inventing all kinds of adventure stories. Because of that Barrie’s marriage to actress Mary Ansell (played by Radha Mitchell) starts to fall apart, while Sylvia’s mother Emma du Maurier (played by Julie Christie) thinks that Barrie’s presence in her family could harm Sylvia’s marriage prospects and positions in society. All those problems, however, don’t prevent Barrie from taking inspiration from children in order to write his theatrical masterpiece.

A lot of effort was invested in FINDING NEVERLAND. Apart from the usual attention to period details of Edwardian London, production values could be seen in collection of notable acting talents. Johnny Depp plays Barrie very well – his character is enigmatic, but innocent in the same time and when he discards any speculations about real nature of his relationship with boys - in a scene introduced more likely in order to satisfy modern sentiments than for the sake of historic accuracy – the audience believes him. Depp’s acting is well-matched by veterans like Christie and always dependable Winslet. Even actors in minor roles are good, including Kelly MacDonald in the role of Peter Pan.

Unfortunately, FINDING NEVERLAND never puts all those talents to the proper, mostly due to David Magee’s script, which tries to inject some unnecessary drama into already fascinating story. Those efforts only make the story look artificial and clichéd, while the characters come on screen as cold Hollywood stereotypes instead of human beings. The only spark of genuine humanity appears at the very end, but by that time most great opportunities of FINDING NEVERLAND are already lost.

RATING: 4/10 (+)

THX 1138 Director's Cut (2004)

2005-05-09T19:05:00.000+02:00

A Film Review
Copyright Dragan Antulov 2005

Many of the most conservative representatives of establishment used to be radical revolutionaries in their youth. This phenomenon can be observed in many institutions, including Hollywood. Probably the best example is George Lucas whose feature film debut, 1971 science fiction drama THX 1138, represents the very antithesis of everything his current filmography is associated with.

George Lucas based THX 1138 on his student film ELECTRONIC LABYRINTH THX 1138 4EB. The beginning of the film is ironic prologue – small clip of BUCK ROGERS, 1940s movie serial set in 25th Century. What follows is Lucas’ own version how the future will really look like. The plot is set in huge underground city where the society tries to suppress emotions and individuality – people wear the identical clothes, have codes instead of names and are bared from falling in love and having sex. Their urges are controlled through obligatory drug use and visits to automated confessors, but the protagonist THX 1138 (played by Robert Duvall) somehow manages to slip taking pills and talk his female roommate LUH 3417 (played by Maggie McOmie) into doing the same. Two of them fall in love, but are soon arrested and tried for their crimes. THX 1138, with a help of his new roommate SEN 5241 (played by Donald Pleasance) and runaway hologram SRT (played by Don Pedro Colley), manages to escape prison and begins his long journey towards the surface and freedom.

In 1960 serious filmmakers discovered science fiction as the most convenient medium for addressing the important social, cultural and political issues of the day. George Lucas was one of the few who actually knew the power of science fiction firsthand, simply by growing up on B-movie serials of that genre. Like many young men of his generation, Lucas felt alienated from everything – worldview, values, institution – his parents cherished. This alienation can be seen in the dystopian vision of THX 1138. The futuristic underground world is natural progression of everything which was wrong with Western civilisation in 1960s – faceless and bureaucratic state is as oppressive as those behind 1960s Iron Curtain, while the consumerist culture is as tasteless and worthless as in 1960s West. People are supposed to act the same, look the same and think the same, losing not only their individuality, but also their humanity in the process. Film also suggests that this underground society is a result of environmental disaster or nuclear war – while the decaying equipment and non-existent safety standards cause endless accidents, thing are even worse on the radioactive surface where the protagonist wants to escape.

Lucas was not only radical in its criticism of 1960s society, it was radical in the way it threw away Hollywood filmmaking conventions. The protagonists are not only bald but also shot in a way to make them as unattractive as possible. The film lacks conventional villains – the robot policemen (which look conspicuously similar to law enforcement officials encountered by radical students in 1960s California) often look ridiculous in their mechanical inhumanity. Lalo Schiffrin’s depressive soundtrack is accompanied by cacophonic chatter of futuristic world technicians, which adds to the inhumane and disturbing atmosphere of the film. This work of Walter Murch, Lucas’ brilliant sound designer, has set the standards any science fiction film had to meet in next decades. Because of that, THX 1138 is thought-provoking and very powerful film.

When Lucas reissued THX 1138 in 2004 as “director’s cut” with digital makeover, many could see a bit in irony in that. In a way, Lucas became the very embodiment of the establishment he had so thoroughly criticised in THX 1138. His films became the mindless entertainment for the masses in which not a single trace of unconventionality and social criticism could be found. Many saw his “director’s cut” treatment of original STAR WARS trilogy as a way to recreate his radical past to the standards of his conservative present.

In case of THX 1138, he had some valid reasons to put that film to digital makeover – in many scenes the film shows its age and it is difficult to imagine futuristic society being equipped with elements of early 1970s technology. But, on the other hand, the scenes with CGI are visibly different from original 1971 footage and this takes away the magic and the impact of the original film. However, this version is unlikely to be as controversial as new incarnations of STAR WARS – the general bleakness of the film, its themes and the author’s youthful anger could not be erased with digital technology. And, because of that, THX 1138 is as relevant today as it was three and half decades ago.

RATING: 8/10 (+++)