2006-12-28

Projectory Goodness

Ahhh... after much hoo-ha, faffing around, and a trek across town to the ParcelFarce depot, it's finally in place! My shiny new Benq W100 projector began it's (hopefully long) service of movie showing last night, with a screening of Star Wars (A New Hope you fool, not The Phantom Menace). Sure it took a little "refinement" of the living room layout, and not all the furniture has a home anymore, but that's a minor side effect of undertaking the erection of your own cinema. Room shuffling aside, setup of the projector was effortless; a crystal clear picture right out of the box. No need for a screen, no twiddling and tuning (other than to get it in focus); just point at the wall and switch on for a bright, clear and frankly enormous picture. How much does such cinematic ecstasy cost I hear you ask? PixMania. 385 English pounds. If that's not the the AV deal of the year you people are impossible to please. As Ferris said, "If you have the means, I highly recommend picking one up".

Now to the screening. I've seen Star Wars a countless number of times, yet only once on the big screen (during the summer re-releases of '97; a fine Summer it was too). I can not emphasis the difference it makes to see something like this projected several feet wide onto your living room wall. It's all consuming, like dropping out of the real world and being immersed into some long forgotten childhood dream. Thanks to this delightful gadget, I was reacquainted with something years of home DVD viewing had taken from me. The spectacle of cinema.

Sure, we can all watch our favourite movies at home in the intimate atmosphere engendered by the TV; but watching it on a projector? It's a different feeling entirely. It reminds you how "big" cinema can be. The broad strokes of escapist story telling can only really be at home on a broad canvas. The opening shot of the star destroyer and ensuing gun battle, watching the Millennium Falcon blast out of Moss Eisley, Darth Vader striking down Obi-Wan, to the climactic trench run on the surface of the Death Star... all these moments loose something when trapped on the confines of the small screen.

But no more! Finally I have the means to set them free, a gateway into the imaginations of countless filmmakers, past and present. Time to go through my DVD collection again, seeing everything as it was intended.

2006-12-10

Renaissance

French cinema is often synonymous with style, and this visual gem from first time director Christian Volckman is no exception. Shot in stark black and white CGI, Renaissance is less a movie more a living graphic novel.

Set against the gritty backdrop of a future Paris, Renaissance spins a classic noir yarn of rogue cop, missing dame, and sinister organisation. Fusing elements of Blade Runner and Elmore Leonard (influences readily acknowledged by the writer and director), the plot draws us through the dark atmosphere with convoluted twists and reveals. Top this off with an unexpected ending, and you can easily overlook the more cliched moments.

Technically the movie is brilliant. Harsh black and white lends a stark beauty to the future Paris, giving us many visually memorable views of the cityscape. Characters move with grace and fluidity thanks to some exceptionally good motion capture work; especially noticeable in the films many action sequences. Speaking of which, there is a truly classic chase sequence captured through some brilliant camerawork.

The movie has been blessed with an impressive English dub; the likes of Ian Holm, Jonathan Pryce, and (man of the moment) Daniel Craig lending their voices and considerable acting talent to the characters. Despite this, characters do come across a little shallow and stereotypical of the genre. The lack of depth doesn't greatly impinge proceedings, but does keep it firmly in the realm of cool graphic novel rather than stunning noir.

A brief making of and a short from the director round out the dvd. Given the time and technique this took to create, you can't help but feel a little underwhelmed. Stylish, technically accomplished, and visually memorable, this cool piece of sci-fi noir should earn itself a place in your collection.

2006-11-24

Bond

Having loomed large over the year's cinematic release schedule, taunting fans and skeptics alike with promises of a bold new direction, it's finally here in our cinemas... and it's good. Oh how it's good!

One of cinema's longest running series, the Bond movie is no stranger to reinvention. On Her Majesty's Secret Service, For Your Eyes Only, The Living Daylights, and Goldeneye have all sought to strip back the more frivolous elements to expose a leaner, tougher, and more satisfying Bond. New Zealander Martin Campbell (the man who helmed the last overhaul) has done what few thought possible: eclipsed his previous directorial effort and given us the darkest, most honest Bond movie yet.

Based on the first of Flemming's novels, Casino Royale is the last to be transferred to the big screen. It's Bond's first mission, having just made the two kills necessary for double-o status, and he's going to have to adapt his thuggish style quickly if he's to succeed in his new role. After a risky money making gambit is foiled, terrorist banker Le Chiffre is in desperate need of clawing back the lost capital before his unsavoury clientele come looking for him. Cue a high stakes game of poker with a ten million buy in, and MI6's best card player there to stop him from winning. Can Bond keep his ego in check and stop Le Chiffre?

Daniel Craig is a perfect fit for Flemming's much loved British spy; a believable mix of sophisticated, charming, caustic, and ruthless. More importantly this is a Bond that is fallible and rough round the edges. Mistakes are made and harsh lessons learnt as he seeks to refine his craft. Along with the darker, more complex spy, come some of the most gritty and realistic fight scenes yet. Bond is a licenced killer, and we are not spared from the ugly violence that is his stock in trade. During the lengthy casino segment, this brutality is perfectly juxtaposed with the smooth tuxedoed playboy exterior. Craig handles both sides of the character brilliantly, and you really believe he is Bond.

Equally impressive is Eva Green as the fiery, stunningly gorgeous Vesper Lynd. The most desirable Bond girl ever, early scenes between her and Bond are laced with fierce yet flirtatious dialog. Vesper challenges Bond on many levels, and the relationship between the two characters proves a pivotal moment in the movie. And those eyes... how impossibly attractive are they?

The back to basics approach pays dividends elsewhere. The central Poker game is filled with edge of the seat tension. Watching the cards slowly turned over, wondering who will win the hand, it rivals that of any action sequence. Exotic locales (one of the original key ingredients of a Bond film) are back to the fore. Sweeping aerial
establishing shots over lakes and mountains act as jaw droppingly vivid portraits of the mostly European setting. This is a movie that cuts to the heart of what makes Bond so appealing to so many.

It's not without a few faults however. At 147 minutes this is a long movie, and it doesn't always use the time to best effect. The action driven first act, whilst viscerally entertaining, does little to advance the story. Conversely, a key relationship later in the movie feels a little rushed in places robbing some of it's believability. In light of all the movie accomplishes however, these are minor issues. Besides, when bond finally gets to deliver that line and the music starts up, you'll a have a grin on your face so large it will obscure any shortcomings.

Casino Royale should exceed every bodies expectations. Craig gives us a complex Bond with a depth of character unheard of in previous outings. Campbell has done the impossible, making a tense character driven installment that doesn't rely on gadgetry and set piece action. I doubt anyone will envy the Director who has to follow this. Delivering on everything that it promised, Bond is most definitely back!

2006-11-15

DVD Round-up

Alas, not all the movies I watch end up on the blog (I know, your shocked and saddened at the revelation), so here is an impromptu round-up of recent reels.

Lucky Number Slevin - A self consciously hip thriller in the mold of 90's post Tarantino. Thankfully the knowingly cool air gives way to a slick, enjoyably tangled noir gangster thriller. Willis, Freeman, and Kingsley are on good form; Hartnett is better as the wrong guy in the wrong place. Nicely topped off with an unexpected sucker punch ending (though the game is given away for those paying attention).

Key Largo - Black and white Bogart and Bacall, but don't go expecting the sizzling Big Sleep dialog. Instead this is a tense showdown of a movie, set within the confines of a hurricane battered hotel. Classic slice of golden age noir; director John Huston's other movies from the era are on my Christmas list.

Ring - Having sat on my "to watch" pile over four years it finally finds it's way into the disc spinner. Sadly the protracted wait blunted the impact to disappointingly non-scary; final scene of the video is still brilliantly unsettling though. It's subsequent influence on Japanese horror is clearly seen in movies and games today.

Appleseed - The CGI remake is miles better than the Saturday cartoon original. Beautiful to look at, with fluid motion captured animation. Some may find it a little harsh compared to traditional techniques, but it suits the hi-tech storyline to a tee. Kick ass soundtrack by the Boom Boom Satellites too.

HellBoy - Solid comic book adaptation by Guillermo del Toro (look out for Pan's Labyrinth in cinemas this month). Ron Perlman is ideally cast as the big red guy, fighting evil in the form of demons and Nazis. Nice turn by Selma Blair as the love interest, and John Hurt lends some English austerity to proceedings.

La Cite des Enfants Perdus - Visually stunning, wonderfully inventive and imaginative slice of Jean-Pierre Jeunet. Retaining the look of Delicatessen, this is a sci-fi fantasy par excellence. Ron Perlman (albiet much younger) and Judith Vittet carry off a beautiful relationship, in a twisted world of stolen dreams.

Heavy Metal - Because sometimes you feel like an adolescent kid in need of blood, aliens, heavy metal music, and cartoon breasts. Cult classic.

2006-11-12

The Prestige

"Are you watching closely?"... if your answer to Christian Bale's opening line isn't a resounding "yes" then you are in trouble. Director Christopher Nolan has crafted a cinematic slight of hand worthy of a great magician, and it demands that you pay very close attention.

Set in late Victorian England, The Prestige is a tale of two up and coming stage magicians. Robert Angier (Hugh Jackman) is the stylish showman, whilst Alfred Borden (Christian Bale) the working class man dedicated to his craft. Beginning their careers together -as assistants for an aging performer- a tragic accident during an act gives rise to a irrecoverable rift between the two; in turn leading to a bitter, long stretching rivalry.

Told through a complex narrative structure layering flashback within flashback, each switching the point of view between the two magicians, the opening twenty minutes are balanced precariously between compellingly convoluted and "what the fuck is going on?". Once the elaborate framing is in place though, the mystery of the story will have you firmly ensnared. Sadly this makes it all the more difficult to talk about the story; how much to give away? what details can safely be revealed? In truth the answer to both those questions should probably be "none" (but that would make for a pretty short and useless review).

When Borden performs the ultimate magic trick, Angier becomes obsessed with discovering the secret of how it is done. Enlisting the help of his stage engineer Cutter (another excellent performance from Michael Cane), they devise their own version of the trick for the finale of Angier's show. Despite the rapturous reception of the performance this isn't enough for Angier, and his obsession with how Borden does the trick becomes all consuming. The repercussions of this mark a turning point in film's mood, mystery and intrigue giving way to something dark, sinister, and unsettling.

Watching closely will reap rewards elsewhere. This is a lavishly shot piece, rich in period detail. Performances from everybody (including David Bowie as the odd Nikolas Tesla) further enhance the illusion of the Victorian era. This is a very character driven movie, preferring to progress plot through dialogue rather than flashy set pieces. That's not to say the movie is light on visual spectacle, far from it, as impressive stage shows complete with their Gothic like apparatus depict the magicians in the arena they live for. It is also a movie littered with visual symbolism and foreshadowing, a detail certain to repay repeat viewings.

Twisting and turning it's way to the big reveal, Nolan boldly dispenses with the notion of "good guy" against "bad guy". Falling deeper into the moral vacuum of their obsession fulled rivalry, neither Angier or Borden holds the moral high ground. With each twist of trickery your loyalties will shift between the two characters to the point where it can be difficult to sympathise with either of them. It's this that will prove to be the sticking point for many people, more so than the convoluted narrative or drawn out revelations. Whatever your feelings toward the characters and what they have become, the masterful storytelling and brilliant performances will draw you willingly to the end. To say any more than that would spoil the surprise.

An expertly crafted piece of storytelling, The Prestige is an intriguing and chillingly dark exploration of single minded obsession, revenge, and sacrifice to an art. One that will stick splinter like in your thoughts long after the final curtain.

Get your arse to a cinema!

It's here! The month all us movie watchers have been waiting for is finally upon us. To some it is merely called November, but to others this is the Golden Month of the calender; a time when release dates of the greatly anticipated movies coalesce. Indeed so busy have I been out watching these giants of the release schedule, I've neglected to keep this dusty unread corner of the blogosphere up to date. But fear ye not; it's Sunday, and I'm about to put the coffee on!

2006-10-22

The Last Kiss

Staring Zach Braff, this remake (oh how I long to start a review without having to say that) of Italian flick L'Ultimo Bacio has been eagerly anticipated by the Garden State crowd. This time though Braff's influence is solely in front of the lens, with director Tony Goldwyn behind it. Can this tale of neophyte thirty somethings leave the same mark on it's audience?

Michael (Braff) is nearing the age all those who've seen Logan's Run dread. Far from being chased by a man in a black and white jumpsuit, he finds himself in a loving relationship with the beautiful and recently pregnant Jenna (Jacinda Barret). Life couldn't be better for him, or could it? (or could it?... etc.) Like his similarly aged friends, Michael is struck with anxiety about his future. Fearful that everything is laid out and no more surprises are in store, he finds temptation at a wedding reception in the delightful form of Kim (Rachel Bilson).

At it's heart this a story about the difficulties of relationships, and particularly the stupid decisions men often make when they feel trapped by them. For the most part it works; but watching these grown men and women struggle and fret over the details of there protected, actually rather comfortable lives, it isn't always convincing. There is a sore lack of communication between the couples, which doesn't really gel with the point they are supposed to be at in their lives. You'd expect a greater deal of emotional maturity to be on display.

Despite these issues, solid performances from the main cast and the issues raised by the script make this an engaging (if not memorable) watch. The subplot involving Jenna's parents actually makes for one of the most believable elements of the movie, but it takes a back seat to the troubles of the younger couples. Credit is due for not offering any easy answers to the unhappy situations faced by the characters (something of a surprise for a Hollywood studio flick); and the ending is suitably non-committal.

Probably the most adult relationship movie you'll see this year, The Last Kiss doesn't quite live up to it's potential.

2006-10-16

The Departed

The man with that pair of eyebrows is back behind a camera once more. This time he is helming a remake of Infernal Affairs (which I'm ashamed to admit I still haven't seen), the epic Hong Kong gangster flick from 2002. Transplanted to Irish mob run Boston, is The Departed 150 minutes of Scorsese at his harsh and violent best?

A tale of two rats, The Departed centers around the intertwined lives of two people from opposite sides of the law. Billy Costigan (DiCaprio) is a failing state police officer given the chance to go undercover as a mole in Frank Costello's (Nicholson) Irish mob. Counterpart Colin Sullivan (Damon) is a Costello mobster, undercover as a police officer in the department tasked with bringing down Costello. Suspicions and accusations give rise to a series of violent encounters as both moles are tasked with finding out the identity of the other.

With twenty minutes of back story before we even see a title card, you know your in for an epic journey. Thankfully Scorsese has paced things perfectly, and this tightly crafted tale uses every minute of it's lengthy runtime to full effect. Intense character driven scenes are punctuated with brutal, visceral moments of violence giving an engaging rhythm to the unfolding story. Despite the often harsh images things never feel gratuitous, just grittily realistic.

Assembling possibly the finest cast in a movie this decade, to say The Departed is excellently acted would be an understatement of vast proportions. I'm no fan of DiCaprio, but both he and Damon are eminently believable in there roles as the men with double lives. Jack Nicholson is ideal as the mob boss Costello, keeping scenery chewing to a minimum. Supporting the main three we have Martin Sheen, Alec Baldwin, Ray Winston, and a brilliantly foul mouthed Mark Walhberg, all on the best form of their lives. Relative newcomer Vera Farmiga plays an important role as psychologist Madolyn, caught in between DiCaprio and Damon; it's clear people will be taking note of her after this.

Faulting the movie is hard to do without resorting to nit picking. There are some real jaw on floor shocks as things come to a head, but no real twist in the tale; a shame given the subject matter. Farmiga's relationship with DiCaprio and Damon doesn't quite reach the level it clearly wanted to achieve. One or two of the Boston accents are a little less than convincing at times... but this is all academic. When a movie is this good, you'd be foolish to dwell on such minor niggles.

Expertly crafted and superbly acted, The Departed is Scorsese's most satisfying movie since Casino. Set an evening aside to catch a master filmmaker at work.

2006-10-14

"Greetings Professor Falken."

Friday evening and a shock revelation that my housemate -despite her three years of hardened computer geekery studying for a Comp Sci degree- had never seen the classic 1980's computer hacking cum anti-war movie WarGames. Reeling from the impact of this news, I sought to immediately rectify matters with a cunningly crafted Broderick double bill of said cold war era cult flick and fellow eighties high school sick day hi-jinx comedy Ferris Bueller's Day Off. Returning from the nearby wine dispensary with bottle in hand, the trusty LCD was fired up once again for some DVD based escapism.

As always the combination of military procedure and retro terminal font title sequence pulls you in to the timeless slice of movie making known as WarGames. Alas, 30 minutes in and all I've heard is "aww, Matthew Broderick looks so cute" and, in relation to Alley Sheedy "god she has an annoying face, can't they aim the camera away from her?" a claim which I staunchly rebuffed, no doubt fueled by memories of a childhood crush on the actress. Thankfully by the time Lightman (Broderick) has hacked his way into the computer that sounds like a prototype Steven Hawking (is it OK to say that? Probably not...) my fellow audience member has settled down a bit, drawn in by the geekines of the whole thing.

In all seriousness WarGames has aged spectacularly well. Yes the cold war paranoia seems dated, but in the current world climate it is still easy to identify with. Geeks and techies may scoff at the ancient computer technology used throughout the movie, but the depiction of the process of hacking is spot on: the solitary Lightman locked away in his bedroom, late nights probing the system and pouring over reams of print out. It's a far more accurate portrait than more recent efforts (more of which in a later post). High school kid starts nuclear war by playing a game with a military computer is far from a realistic premise, but it's handled so well you can easily suspend your disbelief (if you can't, what the hell are doing watching movies in the first place?).

By far the greatest achievement of the movie is it's seamless switch from high school hacking tale, to anti-war statement. The final scenes in the Norad war room are particularly effective, everybody watching on as the WOPR (man you have to love that name) computer runs through every possible permutation of world war three, before concluding it is a futile endeavour. You may baulk at the idea of a mere machine being able to fathom this in the space of ten minutes, but whilst completely implausible, set against the backdrop of generals and men with fingers poised on the launch button, it makes for a powerful (if somewhat obvious) juxtaposition.

A deserved geek classic, and one my housemate seems glad to have been forced to sit through. Even if you already know that "the only winning move is not to play", it's well worth cracking open the DVD and reacquainting yourself. Unless of course you'd rather play a nice game of chess.

2006-10-05

Children of Men

Based on a novel by P.D James, the sci-fi premise of Children of Men is as devastatingly effective as it is startlingly simple: woman can no longer have children. For whatever reason -and thankfully the movie doesn't waste time trying to explain why- no children have been born anywhere in the world for the past eighteen years. It sets up the bleakest of situations, one bereft of any hope and with a seemingly inescapable conclusion. At last, a fresh and original imagining of that genre staple "the end of the world".

Political activist turned government bureaucrat Theo (Clive Owen) is our world weary guide through this hopeless landscape. Confronted by his one time love and still very much active activist
Julian (Julianne Moore), he is asked to help transport a young woman to safety. It isn't long before Theo discovers the importance of the young woman comes from her miraculously pregnant state.

Despite the sci-fi tag, this is a very contemporary vision of societal chaos. Images from the current turmoil in the Middle East are transplanted to a totalitarian England, where they are skillfully blended with our own tabloid picture of social decline. England soldiers on, a paranoid police state ruled by fear and hatred. Immigrants are locked up in concentration camps, large swathes of the populace have resorted to thuggery and violence, and terrorist groups bomb and kill to reach their political aims. It's all the bits we don't dare face up to, logically extrapolated to some future point.

Shot in a gritty documentary style, the handheld camerawork and long takes place you right in the heart of this world. Most impressive is the final act shot amongst a
decaying war torn immigrant concentration camp at Bexhill; evoking the imagery of embedded journalists in Iraq or Afghanistan. You feel like your there, ducking the shots and climbing the rubble yourself, instead of watching Clive Owen do it.

Surprisingly there are a great many funny moments in the movie; though admittedly these all occur in the first hour. Watching someone try and jump start a car has never been so amusing. Plus special mention must go to Micheal Caine as ageing, pot-smoking hippy Jasper; great performance.

Solid, thought provoking, and visually memorable movie making. Like the best science fiction, Children of Men gives us a world that is at once terrifying, yet uncomfortably recognisable. Why don't we do this kind of thing more often?

2006-09-24

DOA: Dead or Alive

Playing out like a fourteen year old schoolboys wet dream, DOA (to use it's nom de jour) is the movie adaptation of the massively successful beat 'em up cum boob simulator videogame. As a genre, this hasn't exactly been cinema's finest hour. With the disappointing Mortal Kombat and frankly appalling Street Fighter as stable mates, can DOA reign victorious?

Well, not really. Like the aforementioned attempts at translation to the big screen, this is ninety minutes of laughably bad trash movie making. Catch it in the right frame of mind however, and it does at times manage to achieve the hallowed status of "so bad it's good!". Crap dialogue, gratuitous female close-ups, and "I've just learnt how to act" performances at least serve to make this a memorable cinematic outing. Even if it is for all the wrong reasons.

Director Corey Yuen is no stranger to the martial arts movie, but the complete one-dimensionality of the source material is ultimately what lets him down. He deserves credit though for embracing DOA's videogame roots. This shows in a number of devices from character intro sequences, signature moves in fight scenes, garish sets, and (of course) gratuitous exploitation of the young female casts assets. Tongue is firmly in cheek here, which ensures proceedings are bad but bearable.

Sadly the biggest let down are the fight sequences. The second big selling point of the game (after excessively bouncy girls bits) is each character employs a different fighting style. Unfortunately with the movie, Holly Vallance, Devon Aoki, and Sarah Carter all look like they were trained by the same instructor. It's up to Jamie Pressly and her pro-wrestling character Tina to add variety to the action, which she does admirably. Fans of martial arts will be disappointed, but fans of the game will no doubt take pleasure in the many high kicks performed in tiny skirts.

DOA fails to KO the audience in the way it wanted; but when a movie has a fight scene featuring Holly Valance in a bath towel, can we really say it was a complete failure?

2006-09-18

Noir Heaven?

Adapted from a James Ellroy novel, De Palma's The Black Dahlia takes us back to Hollywood's golden age when film noir was king of the screen. Set against the backdrop of a grisly real life murder -that still remains unsolved- we follow the fictional tale of LA cops Bleichert (Josh Hartnett) and Blanchard (Aaron Eckhart), and girl in the middle Kay Lake (Scarlett Johansson).

It takes a while to engage with the movie, but once the opening thirty minutes is over we have a good handle on the principle characters and their relationship. Cops Bleichert and Blanchard are paired up working warrants, and it's not long before they come across the horribly mutilated corpse of young aspiring actress Elizabeth Short, nicknamed the black dahlia. Very quickly Blanchard looses himself in the case, obsessed with cracking it.

For all the intrigue and real life mystery surrounding the case, the story chooses to largely ignore this and instead spin us a well trodden yarn of corruption in 1940's LA. The murder is really little more than a backdrop for most of the movie's runtime, and it's the three way relationship of the principle characters that takes centre stage.

Performances are very good all round; the cops are interesting characters, and for the most part narration by Hartnett works well. Scarlett has the perfect look for film noir, but for some inexplicable reason spends all her time in a beige cardigan.


Perhaps the movie's greatest achievement is reminding us how rich a genre film noir is; readily bringing to mind a score of movies from Hollywood's golden age. Visually it captures the mood of the period well, and is further aided by plenty of nods to conventions of the genre. Dialogue has enough classic lines to get you grinning, but lacks consistency; some clunky utterances conspire to spoil your enjoyment.


It is well into the movie before investigation of the murder resumes in earnest. By this point there is scant runtime left, and we are thrown a convoluted and confusing mess of exposition, attempting to neatly tie the separate threads together. Sadly a lot of it comes off as unbelievable and -in the case of the murder- almost laughable.

Not the Oscar contender everyone was expecting. The Black Dahlia is mixed, confusing, and ultimately underwhelming story telling.

2006-09-13

Volver

Highly praised at Cannes earlier this year, Volver (meaning 'to return') is Spanish director Pedro Almodovar's latest work. Set around La Mancha -the area in which he grew up- it is a personal movie about the bond shared between women. The ever beautiful Penelope Cruz leads a strong Spanish cast, that also marks the return of Carmen Maura to an Almodovar picture.

After her lecherous father drunkenly tries to abuse her, young Paula (Yohana Cobo) accidentally stabs him in the struggle. Mother Raimunda (Cruz) wastes no time in helping her distraught daughter, by disposing of the body and covering up the absence of her now late husband. Whilst occupied with such clandestine activity, Raimunda's sister Sole is left to attend a family funeral, only to discover something completely unexpected: their mother has returned. Their dead mother.

At it's heart this is a movie about the strong bond between women, especially the mother-daughter relationship. It's an all woman show, where tragic events in life (and the movie serves up plenty) are handled through female resourcefulness, strength of character, and the support of one another. The female characters are portrayed superbly by the cast. Cruz giving perhaps the best performance of her career to date; believably conveying the complex emotional challenges faced by Raimunda.

Prosthetic arse? It seems the only part of Cruz's performance that needed assistance, was portraying the distinctive La Mancha rump. Almodovar has a clear fondness and appreciation of the female form, reflected in many perfectly framed shots that lovingly accentuate feminine curves. Cruz is simply enchanting to watch, with scenes in the restaurant particular standouts. There is a colour and vibrancy to the movie that makes watching it a visual joy.

Amongst the life of working class Madrid, Almodovar seamlessly weaves a tale of suspense, superstition, and soap opera drama. There are moments when the latter threatens to unbalance the piece, teetering on the edge of melodrama, but such concerns ultimately prove unwarranted. There is also plenty of genuine humor throughout the movie, despite the emotional weight of what unfolds. The different threads are pulled together nicely, and while the ending may strike as a little haphazard, it is the ideal place at which to leave Raimunda and is perfectly fitting.

Volver is an engaging and beautiful piece of Spanish cinema, from a director at the height of his artistic power. A treat for any fan of cinema, but clearly one that will resonate strongest with a female audience.

2006-09-03

The Sentinel

Like leaving a restaurant and still feeling hungry, coming home from the cinema and immediately needing to watch a DVD* is a sure sign something was fundamentally lacking.

The Sentinel is a thriller about a mole inside the Presidential Secret Service. Long serving Pete Garrison (Michael Douglas) comes under suspicion, and it's up to fellow agent and former friend David Breckinridge (Kiefer Sutherland) to track him down and find out the truth.
On paper it sounds much like any other thriller cinema or TV has given us over the years; but these types of movie don't have to be original to be entertaining and fun. Sadly, director Clark Johnson has aimed for mediocrity, and missed. Spectacularly.

It's almost inconceivable, but he has somehow managed to sap all trace of peril, tension, or excitement from each and every scene. Events that should be fraught with a heightened sense of danger, are bland and boring. How the hell has he managed it!? You would think a small element of fun and entertainment would slip through, but no. Some combination of fluke, and lack of skill has conspired to deprive us even of that.

Ironically it starts out really well. The opening sequence gives us a fetishistically detailed look at the back stage machinations that go into even the simplest of Presidential appearances. Plenty of codewords and radio chatter, sniper rifles and men with big binoculars; it's the kind of escapist stuff cinema was made for. Garrison and Breckinridge are quickly introduced, their relationship nicely established. Follow this with an unexpected assassination of a Secret Service man, and you honestly think it'll be a good ride; but these opening fifteen minutes are the only ones that work.

Trying to pinpoint the cause for such crushing disappointment is an almost impossible task. Douglas looks like he faxed in his performance whilst on a break from acting. Sutherland, famed for his tough Jack Bauer persona in 24, is given a character so "by the book" you long for him to pin someone against the wall, poke a Microtech Halo in his face and scream "Damn it! Tell me who the mole is or I will kill you!". The story is poorly constructed; the bad guys barely able to pass as one-dimensional. This is made all the more inexcusable when you realise
one of the writers has seminal eighties cop thriller To Live and Die in L.A to his name!

Don't let the casting of Kiefer Sutherland and thoughts of 24 lure you in. The Sentinel is uniformly dull; a thriller that doesn't thrill.

(*For those who care to know, it was Ridley Scott's 1989 thriller Black Rain. Arguably one of the finest contemporary movies of that decade, and still criminally overlooked. It too stars Micheal Douglas; though in this one he's actually bloody good, and clearly at a point in his career when he cared about his acting.)

2006-08-26

Three Day Weekend (Part 2)

Distracted by my housemate's DS Lite and a copy of Brain Training (damn you Dr. Kawashima!!!), the movie viewing took a temporary back seat. Thankfully, after discovering I have the brain age of a 43 year old (what happened? I used to be so youthfully sharp), more movies seemed the ideal escape.

Set against the backdrop of WWI, A Very Long Engagement is a sweeping romantic tale. Reuniting director Jean-Pierre Jeunet with the elfin beauty of Audrey Tautou, it is an exquisitely shot epic bathed in a vivid and varied palette.

In the rain soaked trenches of the Somme, five men are charged with self-mutilation in a bid to escape the fighting. Sent out into no-mans land to die, one of them is Manech (Gaspard Ulliel) the fiancee of young Mathilde (Tautou). Despite the seeming certainty of his fate, when Mathilde hears the news she refuses to believe he is dead and takes it upon herself to discover what has become of the man she loves. Her determination helps to gradually piece together the complex story of the five abandoned men.


The plot moves at a steady well timed pace, focusing on the hope of Mathilde in
the face of the absurdities of war. Moments of breakthrough are tempered with seemingly impossible setbacks, and the emotional impact this has on Mathilde is sympathetically portrayed by Tautou. With support from her Aunt and Uncle (Jeunet stalwart Dominique Pinon in heavily bearded guise) and an enthusiastic postman, she never truly gives up on Manech. And while complex, the story comes together beautifully as we eagerly follow Mathilde step by step on her journey.

The scenes in the trenches are shot with a grim reality and plenty of attention to period detail; arguably some of the movies most visually memorable moments. Lighthearted scenes from Mathilde's detective work seem frivolous by comparison. With one or two nods to the style of Amelie present (which is no bad thing) the movie ultimately carries a far greater emotional impact. Given the build up to it, the resolution does seem a little underwhelming. In this case though, the journey is certainly more important than the destination.

Next up, a piece of groovy sixties cinema set in merry old London.

Obtuse and hard to grasp, Blow-Up was a critically acclaimed piece of cinema upon it's release in '66; though this may have had more to do with it's liberal attitudes toward the depiction of sex and nudity on screen. Thomas (David Hemmings) is a somewhat nihilistic and self-important fashion photographer. Bored with the shallow nature of his work, he has taken to photographing the real lives of people in London. It is during such a voyeuristic episode in a local park, that he may have unknowingly captured something far more sinister on film.

The question of subjective reality is at the core of the movie. Obsessively pouring over the park photographs, Thomas builds an elaborate narrative for himself as he focuses on ever more slight details in the captured images. Did the photographer really witness a murder, or is he seeing more than is really there?
The aimlessness and distance of the character certainly indicate he may be responsible for constructing the event in question; wanting something more to his shallow life. The closing scene also lends a degree of weight to that hypothesis.

There is plenty of ambiguity to see things anyway you choose, and perhaps that was the ultimate intention; but you can't escape the feeling you are shut out of any deeper meanings the movie might be trying to convey. Like so many of the photographer's actions in the movie, nothing is ever finished. The detective story ultimately goes nowhere, ideas and themes are hinted at but not really expounded upon, and you are left wondering what is really trying to be said. One to puzzle over on a second viewing perhaps, though a little too inaccessible.

Three Day Weekend (Part 1)

Sometimes things inexplicably come together; like a three day weekend, an HMV DVD sale, and pay day... OK, so pay day is still four days away, and the HMV DVD sale will be present in perpetuity to the end of the universe. But you have to grab these things while you can, right? With cold Tiger in plentiful supply and some home cooked Chinese food, the lights dim low on Friday night and the first of the weekend's (hopefully many) movies plays out across the widesreen.

There is a deeply satisfying feeling upon finding a cult classic from your favourite decade that has so far managed to pass you by. Eighties movies really don't come much more culty than the Emilio Estevez starring (no, no... it's good) Repo Man. Directed by Alan Cox, this is a weird mash-up of angry young punks, car repossession men, CIA agents in mirrored shades, UFO freaks, and a glowing Chevy Malibu '64. How the hell did I miss this movie till now?

So the lowdown on the plot: Otto (Estevez) is a young punk who takes on a job as a repo man after stumbling into Harry Dean Stanton's character Bud. Enlightening him to the ways of the repo man code (something about doing speed and getting into intense situations), things hot up as a $20,000 ransom is offered on the first person to reposes a missing Chevy Malibu '64. This leads a host of parties to look for the... shit, none of this really matters. What does is the amount of detail, and memorable moments of cult cinema crammed in to the film. What are the sinister reasons for every car having a pine tree air freshener in it? Why do products come in plain white packaging with "beer" or "food" written on them? (Maybe that's where Tesco got the idea for their value range...) And just what the hell is in the trunk of that car?!?

Perhaps it all has something to do with the Universal subconscious. Whatever the logic behind it, Repo Man is an undeniably cool slice of cult eighties cinema. Anyone fancy a plate o' shrimp?

Next up is a movie featuring Penelope Cruz (and her breasts).

With shades of Philip K. Dick's novel Ubik, Abre Los Ojos (Open Your Eyes) is a delicious Spanish head-fuck of a movie. Inexplicably remade in 2001 as the Tom Cruise vehicle Vanilla Sky (why!?! why remake a brilliant Spanish movie barely 4 years old!?!), it's sad that people are unlikely to be familiar with the original article. If that's the case, do yourself the favour of catching this gripping and inventive movie.

Handsome bloke about town Cesar meets the girl of his dreams, coming in the enchanting shape of Sofia (Cruz), at his birthday party. Despite the fact she is there with his best friend, he wastes no time elbowing in. Sadly he ballses things up after accepting a lift home from his obsessive ex-girlfriend, who promptly crashes the car. Bugger.

Disfigured from the accident, Cesar's life plunges into a delirious mix of dream and reality as he tries to carry on the life he had. Excellent pacing and subtle, powerful performances (especially from Cruz) make this a compelling journey. Sadly the ending doesn't come as the surprise revelation it tries to be, due to some obvious clues left along the way. It remains a satisfying payoff, though a little more ambiguity could have elevated it to the status of a movie to be puzzled over for months to come.

2006-08-21

What Does a Scanner see?

Fred (Keanu Reeves) is a narc trying to locate the suppliers of drug Substance-D. Undercover as addict Bob Arctor, Fred's fragile grip on reality slips into paranoia and disorientation when asked to spy upon himself.

Putting Philip K. Dick's masterpiece A Scanner Darkly on screen was never going to be an easy task. A deeply personal novel, it is an honest tackling of the fractured and paranoid nature of drug use. This alone makes it a difficult work to approach, but the added complication of showing a "scramble suit" (a device masking a narc's identity with constantly shifting fragments of other people) on screen also lends it a technical complexity. Thankfully the rotoscoping technique employed by Linklater (pioneered in Waking Life, and improved upon here) is a perfect fit on many levels.

Famed for his slacker credentials, Linklater has assembled a fitting cast for a movie about drug taking. Robert Downey Jr. is particularly excellent, stealing every scene he is in as the manic, motor mouthed Barris. The scenes shared with Arctor, and Luckman (Woody Harrelson) have a natural chemistry that is a joy to watch; thanks in no small part to the many memorable lines of stoner dialogue. It's only the character of Donna, played by Winona Rider, that fails to make much of an impact.

The movie can feel a little disjointed at times, making it difficult to follow. For the first two thirds there is a distinct lack of direction, but a lot of humor and memorable scenes are present. It's once Bob is unknowingly asked (thanks to the scramble suit masking his real identity) to spy on himself, that the sense of deep paranoia sets in and begins to unsettle you. At the point Bob begins talking about himself in the third person, there is a painful awareness that you are witness to the complete mental collapse of the character. It is a saddening realisation, dislodging the stoner humor of earlier scenes. You are left facing the uncomfortable reality of the consequences of the characters decisions.

When the story kicks in during the final half hour, a myriad of philosophical ideas covering free will, God, identity, totalitarianism, and a host of other Dickian staples are rapidly thrown at us. This leaves you with a feeling it is all over too quickly, something at complete odds to the directionless nature of the rest of movie. Though perhaps this is intentional, mirroring the author's views on drug taking. Reading Dick's note to fallen friends before the credits roll is a soul wrenching experience. It firmly reminds us this is a story from someone who experienced it first hand. Any accusation the anti-drugs message conveyed is heavy handed is completely without merit.

Linklater has skillfully handled the adaptation of an important, personal, and complex novel. Arguably giving us the finest cinematic translation of Dick's work to date.

2006-08-19

Nacho Libre

From it's opening scenes, the quirkiness of Nacho Libre is immediately apparent. Though what else could the outcome be when Jared Hess (Napoleon Dynamite) casts Jack Black as a reluctant Mexican friar yearning to live the life of a Luchador?

Good natured movies seem an increasingly rare breed these days, so it's always a welcome pleasure when stumbling across one such as this. Odd and a little slow at first, it isn't long before finding yourself warming to the characters on screen. The movie weaves a simple tale of friar Ignacio 'Nacho' Libre, who decides to moonlight as a Lucha Libre wrestler and use the money to give the orphans at his church a better life. It also wouldn't hurt to acquire a little fame, victory, and the affections of Sister Encarnacion (played by the impossibly pretty Ana de la Reguera) along the way. So with scrawny street urchin sidekick Esqueleto in tow, the ring beckons.

The wrestling scenes are a one joke show, with the two loser heroes proving far from fighting fit. Thankfully it's a joke that manages to stay the course of the movie, helped in part by the short runtime. Humor outside the ring is slight (and stilted at times), though good scenes are spread throughout. Nacho and Sister Encarnacion sharing toast in their chambers is an early standout; both funny and sweet in equal measure. While not the out and out comedy painted by the trailer, it certainly has enough moments to keep it in your memory.

Ultimately it's the honesty and innocence of the main characters that makes the movie so likeable. Nacho is endearingly foolish in his quest, and his relationship with Sister Encarnacion is touchingly sweet. All of which perfectly sets the movie's innocent tone. The ending may never really be in doubt, but you'll be rooting for the good guy and leaving the cinema with a smile on your face.

2006-08-14

Fried Gold

Hot Fuzz is on it's way! A teaser trailer for the next project from Simon Pegg and Edgar Wright (Shaun of the Dead, Spaced) is out there now in cinema land. Looks like they've done it again; successfully bringing cult Brit comedy with a cinematic sensibility to the big screen. Plenty of guns too. Sadly not out till Feb 2007. Will have to sit and wait impatiently till then.

2006-08-08

And isn't that what we're all asking, "Where's my elephant?"

Martial arts movies seldom have (nor need) good dialogue; but when the line "Where is my elephant?" crops up with alarming frequency, you know a new precedent has been set. Warrior King can confidently lay claim to setting it.

It's not as good as Ong Bak. There, that's that out the way. Now the good stuff: Tony Jaa is still amazing to watch. Unbelievable acrobatic tricks are back, the obligatory chase sequence, as are the fight scenes that hurt to view. In fact there is shedloads more of it all this time round. Like his first movie, you will end up excitedly talking about your favorite moments with your mates over a pint. But the plot... what the hell happened?

One story tells around 40 minutes were cut in editing to get the movie down to an action audience friendly length. I don't know if that's true, but it's not likely to have been the fight footage that was pruned. Perhaps that's where the plot got to. In a movie like this it shouldn't be a big deal; but after an opening 15 minutes that manages to pack in plenty of Thai culture, the plot just falls apart. What we're left with is a series of action sequences strung together with some loose snippets of story. And it is a shame! Ong Bak was no masterpiece of storytelling, but at least it provided pacing and structure to the action (it was also coherent, something Warrior King's story doesn't always manage).

The biggest mistake though is having Thai actors speak parts of their dialogue in English. I have a great respect for people who can speak more than one language. Unfortunately it just doesn't seem to work. (Personally I'm rubbish at languages. Even when I had a French girlfriend the only thing I managed to learn was "puis-je regler par carte de credit? / can I pay by credit card?". Never say that to a woman.)

I'm being too harsh here. Afterall I did come out having enjoyed the movie. It's easy to talk about the faults in a movie like this; the good bits you'll just have to go and see for yourself, as words seldom do them justice. You'll watch this for the fight scenes, and you'll watch this for Jaa. The one on one encounters take a sideline to impressive group fights (though look out for a fantastic Muay Thai vs Capoeira sequence late in the film). Of these the most stunning is a 4 minute continuous take that sees Jaa work his way up the staircase of a restaurant, floor after floor of bad guys trying to stop him. Amazing stuff.

Silly, enjoyable, and just about forgivable. Warrior King will entertain the martial arts fans no problem. Tony Jaa is a legend. Whatever happens with his next movie, I'll be there to watch it.

2006-08-07

Miami Vice

Sunday evening in Kingston, but for two escapist hours I'm deep in the gritty underbelly of night-time Miami.

From the opening frame it's a slick visual treat. Mann, ever the accomplished director, feeding us layers of widescreen attention to detail. Everything looks cool. The people, the suits, sports cars and speedboats, purple night skies, and cold neon glows. Miami Vice is stunning to watch. It should be easy to write this movie off as style over substance. However it's so well composed, and gives us so much to look at, there is a feeling of depth to what should otherwise be shallow proceedings.
Grainy digital camerawork, and handheld close-ups help lend a reality and grittiness to this most unreal world of surface perfection.

A workman-like plot, both solid and predictable, takes us through the familiar cliches. Cops Crockett and Tubbs going it alone undercover to bust a drugs ring, the partner falling for the bad guys girl, clashing with their superiors, and a final shoot out. Nothing here should surprise you. There is a distinct lack of complexity in the film's plot, which ends up more a weakness than a strength.

It can at times be difficult to follow though; with functional dialogue spoken mostly in a low murmur.
A few cool lines from Farrell and Foxx pepper the proceedings, but it's not the most memorable of stuff. You certainly won't come out quoting this to your friends. Oddly this seems to fit the mood and style of the movie pretty well. Visuals aside, it's a somewhat low-key affair.

The movie never really grabs hold the way you expect a crime thriller should; but you're happy to be there, watching these characters do what they do. A feeling helped by a handful of excellent set pieces, most notable of which is the final shoot out. That same night-time grain that permeates the movie, coupled with handheld pov shots alongside the participants guns. I can't easily recall a cliched setup being shot in such an engaging way before.

Ending as abruptly as it began, I wanted to stay with these characters longer. Miami Vice feels like a slice of life from a much larger world. In the back of your mind though, you know there would be little depth under that perfectly stylized and detailed surface to sustain such continued escapism.