X-MEN: THE LAST STAND makes up for its abundance of fireworks by minimizing its sense of fun.
The first two X-Men movies weren't masterpieces, but they rocked along reasonably well. They had some laughs, they had some fights, they had some things to think about. X3 has no laughs, too many fights, and enough things to think about for at least three breathless college essays.
The whole thing just feels like an exercise in action filmmaking, but a film like THE HIDDEN BLADE so eclipses it even in purely action-related terms that it can't fully succed even in that limited arena.
X3 is a mediocrity. I can't muster up much more to say about it than that.
Thursday, November 16, 2006
Saturday, November 04, 2006
District B13
If martial arts movies are basically dance movies with fake blood, DISTRICT B13 (the Americanized title of BANLIEU 13, a French martial arts picture) B13 is the kind of dance movie in which the editing gets in the way of the dancing.
The plot - well, nevermind. Who remembers the plot to SWING TIME? The fighting and acrobatics deliver plenty of thrills and not a few "rewind" moments, but the film's frenetic editing so detracts from the beauty and awesomness of the choreography and its execution that, by the climax, I wanted to put a brick through someone's AVID computer.
Nevertheless, B13 delivers on its audience's expectations. It offers enough of people kicking other people in the face, and doing so in new and creative ways, that it's sure to please action and martial arts fans. Just don't expect to know whether you're watching the result of athleticism and precision or clever editing.
The plot - well, nevermind. Who remembers the plot to SWING TIME? The fighting and acrobatics deliver plenty of thrills and not a few "rewind" moments, but the film's frenetic editing so detracts from the beauty and awesomness of the choreography and its execution that, by the climax, I wanted to put a brick through someone's AVID computer.
Nevertheless, B13 delivers on its audience's expectations. It offers enough of people kicking other people in the face, and doing so in new and creative ways, that it's sure to please action and martial arts fans. Just don't expect to know whether you're watching the result of athleticism and precision or clever editing.
The Hidden Blade
Maybe you can’t trust my comments on THE HIDDEN BLADE, Yoji Yamada’s follow-up to THE TWILIGHT SAMURAI. You see, I’m a sucker for samurai movies – I have been since THE SEVEN SAMURAI. Feudal Japan captures my imagination: the code of Bushido, the architecture, the stark aesthetic of Kendo. The last time I was in Japan, I must have logged 500 miles on the local trains in the greater Tokyo-Yokohama megalopolitan area. A guy can burn out on Europe’s gothic cathedrals pretty quickly, but there’s no such thing as one too many Zen shrines.
THE HIDDEN BLADE tells the tale of Katagiri, a samurai living at the end of the Edo period. It’s less than a decade before the fall of the Shogun and Meiji restoration, and Edo’s long traditions of honor and duty have become more a tool for controlling the samurai class than the living code of the Shogunate. Katagiri believes in these traditions to the core of his being: he takes pride in the fact that his father had committed seppuku for an error that was the man’s responsibility, but not his fault. As Katagiri comes to realize that he serves a system that is unworthy of him, his life becomes increasingly complicated. One of his boyhood comrades and fellow samurai has been convicted of treason, casting the shadow of suspicion on all the samurai of his rural village. Additionally, Katagiri find himself at the center of a local scandal involving himself and an angelic servant girl he rescues from an abusive household.
As audience members, we come to care for Katagiri and his circle. These are honorable people in dishonorable times, making the best decisions of which they are able. The film takes the time to fully invest us in its world and its people, and it moves at a deliberate (though not dull) pace that both evokes its era and adds impact to the swift decisions that can mean the difference between life and death. Yamada films THE HIDDEN BLADE in a graceful, formal manner, calling attention to himself only through the deftness of his touch and the grace of his choices.
Sometimes, a movie seeks only to pass the time. Sometimes, a movie seeks only to entertain. Sometimes, a movie aspires to art. THE HIDDEN BLADE is the latter, and it succeeds.
That is, if you can trust me.
THE HIDDEN BLADE tells the tale of Katagiri, a samurai living at the end of the Edo period. It’s less than a decade before the fall of the Shogun and Meiji restoration, and Edo’s long traditions of honor and duty have become more a tool for controlling the samurai class than the living code of the Shogunate. Katagiri believes in these traditions to the core of his being: he takes pride in the fact that his father had committed seppuku for an error that was the man’s responsibility, but not his fault. As Katagiri comes to realize that he serves a system that is unworthy of him, his life becomes increasingly complicated. One of his boyhood comrades and fellow samurai has been convicted of treason, casting the shadow of suspicion on all the samurai of his rural village. Additionally, Katagiri find himself at the center of a local scandal involving himself and an angelic servant girl he rescues from an abusive household.
As audience members, we come to care for Katagiri and his circle. These are honorable people in dishonorable times, making the best decisions of which they are able. The film takes the time to fully invest us in its world and its people, and it moves at a deliberate (though not dull) pace that both evokes its era and adds impact to the swift decisions that can mean the difference between life and death. Yamada films THE HIDDEN BLADE in a graceful, formal manner, calling attention to himself only through the deftness of his touch and the grace of his choices.
Sometimes, a movie seeks only to pass the time. Sometimes, a movie seeks only to entertain. Sometimes, a movie aspires to art. THE HIDDEN BLADE is the latter, and it succeeds.
That is, if you can trust me.
Brain Dead
BRAIN DEAD is cheesy fun. It’s the story of a brain surgeon who performs a highly unethical operation on a man the government suspects of having a secret deep inside his cerebellum. When the surgeon goes to work, so does the movie, weaving in and out of reality in layer upon hallucinogenic layer until the viewer shares in the characters’ disorientation.
I saw BRAIN DEAD by accident: I thought I was getting BRAINDEAD, the early Peter Jackson film. B D, was made by Adam Simon and stars Bills Paxton and Pullman, and it’s 90 minutes of over-the-top, vaguely horrific imagery that manages to do what it intends: set a paranoiac gloss over everyday events that’s creepy enough for spookiness, yet not too creepy for fun.
I saw BRAIN DEAD by accident: I thought I was getting BRAINDEAD, the early Peter Jackson film. B
Sahara
I don’t have much to say about SAHARA. It’s a bit of mindless fluff, a by-the-numbers action adventure that puts hero, sidekick, and love interest through various trials on their way to saving the world. If SAHARA has one thing to recommend it, it’s seeing William H. Macy in his role as a retired admiral and all-purpose ass-kicker who backs the hero at just the right time.
SAHARA’s loud, predictable, and utterly devoid of any originality whatsoever. That said, it’s the perfect companion for an afternoon of paying bills and folding laundry. You can leave the room for a few minutes and, when you return, instantly intuit everything you’ve missed. It does what it does, and that’s about that.
SAHARA’s loud, predictable, and utterly devoid of any originality whatsoever. That said, it’s the perfect companion for an afternoon of paying bills and folding laundry. You can leave the room for a few minutes and, when you return, instantly intuit everything you’ve missed. It does what it does, and that’s about that.
Friday, November 03, 2006
Star Trek IV: The Voyage Home
STAR TREK IV is everything I love about Star Trek packed into 109 minutes of pure fun.
ST4 begins with a mysterious probe heading toward Earth and rendering powerless everything in its path. Coincidentally, the Enterprise crew is about to embark for Earth, where they will face court martial for a host of crimes, not the least of which is forcing audiences to sit through the tedious STAR TREK III. Naturally, the crew will save the day and save themselves, so they can inflict upon us the truly horrific STAR TREK V, but that's just the plot. That's not what makes ST4 a winner.
ST4 (the most successful film of the series, as I recall) focuses on the thing that made Star Trek unique: the apparant camaraderie among its crew members. The Enterprise crew, far from having become a bunch of hoary old retreads, is a well-oiled machine, so comfortable working together that they can take the time to enjoy the ride. The film maintains a perfect tone of light entertainment, all while calling attention to an issue that, while perhaps more glamorous in its day, remains no less relevant in our own. The science is vaguely implausible, yet waived aside so blithely that we don't ask too many questions: it does what it's supposed to do: impart a sense of wonder without overwhelming us with jargon.
STAR TREK IV touches on important themes, such as the value of friendship and the importance of conservation. But the thing I always loved about STAR TREK, the thing that brought me back after more than twenty years, is its sense of fun and delight. STAR TREK IV has it in spades, and I enjoyed the heck out of seeing it again.
ST4 begins with a mysterious probe heading toward Earth and rendering powerless everything in its path. Coincidentally, the Enterprise crew is about to embark for Earth, where they will face court martial for a host of crimes, not the least of which is forcing audiences to sit through the tedious STAR TREK III. Naturally, the crew will save the day and save themselves, so they can inflict upon us the truly horrific STAR TREK V, but that's just the plot. That's not what makes ST4 a winner.
ST4 (the most successful film of the series, as I recall) focuses on the thing that made Star Trek unique: the apparant camaraderie among its crew members. The Enterprise crew, far from having become a bunch of hoary old retreads, is a well-oiled machine, so comfortable working together that they can take the time to enjoy the ride. The film maintains a perfect tone of light entertainment, all while calling attention to an issue that, while perhaps more glamorous in its day, remains no less relevant in our own. The science is vaguely implausible, yet waived aside so blithely that we don't ask too many questions: it does what it's supposed to do: impart a sense of wonder without overwhelming us with jargon.
STAR TREK IV touches on important themes, such as the value of friendship and the importance of conservation. But the thing I always loved about STAR TREK, the thing that brought me back after more than twenty years, is its sense of fun and delight. STAR TREK IV has it in spades, and I enjoyed the heck out of seeing it again.
Thursday, November 02, 2006
Eight Below
I went into EIGHT BELOW with low expectations. It was a Heroic Dog movie, after all, and those generally run from kitschy to depressing. Additionally, I thought that Bruce Greenwood played a villain. I like Bruce Greenwood; I didn’t want to see him play a villain.
What a pleasant surprise. While EIGHT BELOW begins slowly, it quickly picks up steam and keeps us involved in the adventure right through to the end. Here’s the short version: scientists must leave a team of sled dogs behind when they evacuate their Antarctic research station in the face of a coming storm. The movie, which is loosely based on a true story, chronicles the team’s struggle to survive and their human master’s struggle to mount an expedition to save them.
Paul Walker plays the master, and he builds on his fine work in RUNNING SCARED to deliver a character whom we accept as an Antarctic dogsledder and audience surrogate in our concern for the dogs. The dogs are heroic, of course, and though they do engage in behavior that runs counter to my understanding of sled-dog dynamics (As a former malamute owner, I have a passing interest in the subject.), they manage to hold our sympathy and win our respect.
Frank Marshall made EIGHT BELOW in Canada, but the film looks like he shot it in Antarctica. It’s stark, forbidding, and beautiful, and I can’t wait to see this thing in high definition.
Ultimately, I liked everything about EIGHT BELOW. And Bruce Greenwood doesn’t play a villain, after all.
What a pleasant surprise. While EIGHT BELOW begins slowly, it quickly picks up steam and keeps us involved in the adventure right through to the end. Here’s the short version: scientists must leave a team of sled dogs behind when they evacuate their Antarctic research station in the face of a coming storm. The movie, which is loosely based on a true story, chronicles the team’s struggle to survive and their human master’s struggle to mount an expedition to save them.
Paul Walker plays the master, and he builds on his fine work in RUNNING SCARED to deliver a character whom we accept as an Antarctic dogsledder and audience surrogate in our concern for the dogs. The dogs are heroic, of course, and though they do engage in behavior that runs counter to my understanding of sled-dog dynamics (As a former malamute owner, I have a passing interest in the subject.), they manage to hold our sympathy and win our respect.
Frank Marshall made EIGHT BELOW in Canada, but the film looks like he shot it in Antarctica. It’s stark, forbidding, and beautiful, and I can’t wait to see this thing in high definition.
Ultimately, I liked everything about EIGHT BELOW. And Bruce Greenwood doesn’t play a villain, after all.
Wednesday, November 01, 2006
Godzilla's Revenge
Sure, the movie turned a profit – how could it not, given the cheapness of the production? But the whole things smells of killing the goose that laid the golden egg. It’s a testament to the durability of the character that the series managed to limp along for another six years before it went dormant for the next 9.
What a waste.
Tuesday, October 31, 2006
Faster, Pussycat! Kill! Kill!
I think I was supposed to watch FASTER, PUSSYCAT! KILL! KILL! through a prism of ironic detachment, but I don’t care for movies that require me to be in on the joke to enjoy them. FPKK is a ridiculous story about ridiculous people behaving in ridiculous ways, and it’s played so far over the top that it makes suspension of disbelief impossible.
You know that actor’s rule about going to anger? About how it’s the easiest emotion to portray, but it’s also a dead end because once you start yelling, there’s no where else to go? No one told that to FPKK’s lead character and villain, a vaguely Elvira-esque go-go dancer who spends so much of the film spitting mad that she becomes uninteresting. It’s too bad, really. The script gives her some great one-liners, but she can’t even make these gems go. As for the rest of the cast, I’ve seen community theater amateurs essay more nuanced performances.
FPKK has nothing going for it – absolutely nothing at all. Here in the internet age, it can’t even work up much in the way of prurient interest. I hated it.
You know that actor’s rule about going to anger? About how it’s the easiest emotion to portray, but it’s also a dead end because once you start yelling, there’s no where else to go? No one told that to FPKK’s lead character and villain, a vaguely Elvira-esque go-go dancer who spends so much of the film spitting mad that she becomes uninteresting. It’s too bad, really. The script gives her some great one-liners, but she can’t even make these gems go. As for the rest of the cast, I’ve seen community theater amateurs essay more nuanced performances.
FPKK has nothing going for it – absolutely nothing at all. Here in the internet age, it can’t even work up much in the way of prurient interest. I hated it.
Thursday, October 26, 2006
Ararat
With ARARAT, Atom Egoyan applies his considerable skills to the Armenian Genocide, an issue that's clearly of profound importance to him. He weaves together multiple storylines and timelines (a technique that seemed revolutionary with his first film and now feels pedestrian) to generate dramatic tension while he builds a two-hour long testament to a war crime committed long ago and far away.
It's an artfully made film, and I cared for its characters, many of whom are longstanding members of Agoyan's repertory company. But here's the problem, articulated by Elias Koteas (he plays an actor who lands the role of Jevdet Bey, a major player in the genocide) in conversation with a young man of Armenian descent:
Koteas: Look, I was born here. So were you, right?
Young man: Yeah.
Koteas: This is a new country. So let's just drop the f^cking history
and get on with it.
The young man feels the pain of the genocide like it happened yesterday. He carries that pain like Serbs carry the pain of their defeat at the Field of Blackbirds in 1389, transmuting into a kind of impotent rage. In fact, most of the ethnically Armenian characters in the film carry that rage, and I can't help but think that that rage is precisely the kind of thing that keeps cultures locked in cycles of retribution.
How much better a place might the world be if we could just drop the f^cking history and get on with it?
It's an artfully made film, and I cared for its characters, many of whom are longstanding members of Agoyan's repertory company. But here's the problem, articulated by Elias Koteas (he plays an actor who lands the role of Jevdet Bey, a major player in the genocide) in conversation with a young man of Armenian descent:
Koteas: Look, I was born here. So were you, right?
Young man: Yeah.
Koteas: This is a new country. So let's just drop the f^cking history
and get on with it.
The young man feels the pain of the genocide like it happened yesterday. He carries that pain like Serbs carry the pain of their defeat at the Field of Blackbirds in 1389, transmuting into a kind of impotent rage. In fact, most of the ethnically Armenian characters in the film carry that rage, and I can't help but think that that rage is precisely the kind of thing that keeps cultures locked in cycles of retribution.
How much better a place might the world be if we could just drop the f^cking history and get on with it?
Tuesday, October 24, 2006
Memories of Murder
MEMORIES OF MURDER, set in the mid-eighties, follows a pair of detectives as they try to figure out who is behind a series of grisly killings.
It's a police procedural, pure and simple, though it comes with a twist unlike any I've seen before. It's a solid picture, but it didn't blow me away.
Just a datapoint for your decisionmaking.
It's a police procedural, pure and simple, though it comes with a twist unlike any I've seen before. It's a solid picture, but it didn't blow me away.
Just a datapoint for your decisionmaking.
Monday, October 23, 2006
Crash
I finally saw CRASH last night, and I'll add my voice to the general chorus of disdain.
I don't require that the films I see have people like those I know in real life. I don't require that they have characters who speak like those I know in real life. I do, however, require that, unless the movies feature balrogs or wookies or toupeed actors screaming "Khaaaaaann!", they have people that could, conceivably, walk the earth.
I'm sure Paul Haggis is a nice man, but his film feels like something written by a guy who never leaves his gated community. People just don't talk about race the way these people talk about race. White politicos don't complain about "these friggin' black people;" they simply forget to plan for their evacuation. Coincidence does not, in fact, pile on coincidence like a poorly constructed Jenga stack. CRASH does not take place in a world I recognize.
I don't require that the films I see have people like those I know in real life. I don't require that they have characters who speak like those I know in real life. I do, however, require that, unless the movies feature balrogs or wookies or toupeed actors screaming "Khaaaaaann!", they have people that could, conceivably, walk the earth.
I'm sure Paul Haggis is a nice man, but his film feels like something written by a guy who never leaves his gated community. People just don't talk about race the way these people talk about race. White politicos don't complain about "these friggin' black people;" they simply forget to plan for their evacuation. Coincidence does not, in fact, pile on coincidence like a poorly constructed Jenga stack. CRASH does not take place in a world I recognize.
Saturday, October 21, 2006
Kinky Boots
KINKY BOOTS takes Ejiofor from "actor of note" status to "can do no wrong" status, right there with Emma Thompson, Toni Collette, and Edward Everett Horton. He takes a pleasant and occasionally funny story of plucky entrepreneurship and infuses it with energy and warmth.
KINKY BOOTS tells the story of a Northampton shoe factory that's in big trouble. Joel Edgerton plays a young man who has just inherited the venerable institution, only to discover that it's on the verge of bankruptcy. When a drag queen called Lola (Ejiofor) inspires him to go into the 'women's boots for men' business, he bets the factory on the idea. Various plots and subplots get resolved, some people find happiness, etc., and the movie rocks along pleasantly for an hour and a half. Without Ejiofor, it'd be a perfectly nice movie, the kind of thing that'd appeal to the CALENDAR GIRLS crowd (and I mean that in a good way). With Ejiofor, however, it's fabulous.
Ejiofor's can make Lola simultaneously confident and fragile, happy and heartbroken, joyous and deeply pained. He's a lousy singer and not much of a dancer, but he carries his nightclub numbers with such gusto and joy that we can't help but delight in them. He so thoroughly embodies his character that the guest with whom we saw it couldn't imagine him in any other kind of role - she thought Ejiofor had been discovered in SoHo's club scene. The guy is just plain fun to watch, as he was in MELINDA AND MELINDA, SERENITY, DIRTY PRETTY THINGS, and INSIDE MAN.
I can't wait to see what he does next.
KINKY BOOTS tells the story of a Northampton shoe factory that's in big trouble. Joel Edgerton plays a young man who has just inherited the venerable institution, only to discover that it's on the verge of bankruptcy. When a drag queen called Lola (Ejiofor) inspires him to go into the 'women's boots for men' business, he bets the factory on the idea. Various plots and subplots get resolved, some people find happiness, etc., and the movie rocks along pleasantly for an hour and a half. Without Ejiofor, it'd be a perfectly nice movie, the kind of thing that'd appeal to the CALENDAR GIRLS crowd (and I mean that in a good way). With Ejiofor, however, it's fabulous.
Ejiofor's can make Lola simultaneously confident and fragile, happy and heartbroken, joyous and deeply pained. He's a lousy singer and not much of a dancer, but he carries his nightclub numbers with such gusto and joy that we can't help but delight in them. He so thoroughly embodies his character that the guest with whom we saw it couldn't imagine him in any other kind of role - she thought Ejiofor had been discovered in SoHo's club scene. The guy is just plain fun to watch, as he was in MELINDA AND MELINDA, SERENITY, DIRTY PRETTY THINGS, and INSIDE MAN.
I can't wait to see what he does next.
Friday, October 20, 2006
A Room with a View
Several weeks ago, I wrote that life is too short to re-see A ROOM WITH A VIEW. I was wrong.
The fact is, life is too short, so we should see A ROOM WITH A VIEW at every opportunity. As each minute of watching the walking bobble-head known as Helena Bonham Carter make a Baxter out of Daniel Day Lewis stretches into an eternity, the glacial passage of time makes us feel that life, rather than fleeting, is a long, tedious trudge of geologic proportions.
I want to see this movie on my deathbed. It'll make me feel like I'm living forever.
The fact is, life is too short, so we should see A ROOM WITH A VIEW at every opportunity. As each minute of watching the walking bobble-head known as Helena Bonham Carter make a Baxter out of Daniel Day Lewis stretches into an eternity, the glacial passage of time makes us feel that life, rather than fleeting, is a long, tedious trudge of geologic proportions.
I want to see this movie on my deathbed. It'll make me feel like I'm living forever.
Tuesday, October 17, 2006
3-Iron
I think it will. 3-IRON is basically a silent movie, anyway. Its lead characters say less than four lines of dialogue throughout the film, and its director (Kim Ki-Duk, who also wrote it) is confident enough to let our eyes linger on his actors, trusting them to emote (or us to project, perhaps) without the crutch of explanatory dialogue. It's a wise choice. When you have actors who are capable of showing us how they feel, there's no need to have them tell us, as well.
What happens? Jae Hee is a young man with a strange life: he breaks into empty homes, stays the night while the inhabitants are away, then disappears before their return. To pay his freight, he cleans the places up, does minor repair work, and even does the laundry. (How strange it must be to return from a trip and find your house inexplicaby neater, with all your gadgets working!) One gets the sense that these homes need him if they are to become the homes they're meant to be. One day, he enters a home that practically vibrates with need, for it's the home of Lee Seung-yeon. Lee is broken, you see.
As with all serious films, what happens and what it's about aren't exactly the same thing. 3-IRON is a film about the heart, and about need, and about the worlds we create for ourselves. It's beautiful, and heartfelt, and true, and I loved it. Enjoy.
Sunday, October 15, 2006
Birdman of Alcatraz
In Birdman of Alcatraz (1962), Burt Lancaster plays a hard man, a remorseless killer, who slowly finds his way to humanity. It's an excellent film about redemption and dignity, and it showcases some great performances, but that's not what I want to talk about.
Its central theme is a celebration of the rugged individual, and the importance of staying true to onesself in the face of pressure to conform. It shares this theme with The Great Escape (1963), Cool Hand Luke (1967), and Easy Rider (1969). My thumbnail analysis leads me see these films as an adaptation of the classic rugged individualistic formula for the post-Eisenhower era, precursors and, ultimately, embodiments of the countercultural movement that swept the nation in the late '60s.
OK, so sometimes I have to release my inner English major. Regardless, BIRD MAN OF ALCATRAZ is thought provoking stuff and well worth the time.
Its central theme is a celebration of the rugged individual, and the importance of staying true to onesself in the face of pressure to conform. It shares this theme with The Great Escape (1963), Cool Hand Luke (1967), and Easy Rider (1969). My thumbnail analysis leads me see these films as an adaptation of the classic rugged individualistic formula for the post-Eisenhower era, precursors and, ultimately, embodiments of the countercultural movement that swept the nation in the late '60s.
OK, so sometimes I have to release my inner English major. Regardless, BIRD MAN OF ALCATRAZ is thought provoking stuff and well worth the time.
Friday, October 13, 2006
Cinema Paradiso (1988)
I saw this movie years ago and so began my love for Italian film. The story centers on the life of a boy, Salvatore ("Toto"), in a small town without a father in post-WWII Sicily and his love for the movies. After Toto fails as an altar boy, the local projectionist takes him under his wing and becomes a surrogate father. Toto eventually takes over the job, falls in love for the first time, and leaves town - only to return for the projectionist's funeral. This movie is beautifully executed. I particularly loved how Tornatore pays tribute to the neo-realists by showing footage from those films. Phillippe Noiret, who is always outstanding, plays the projectionist. Ennio Morricone composed the music.
Don't Move (2004)
Directed by and starring Sergio Castelli, Don't Move is the story of an esteemed surgeon, Timoteo, recalling a tempestuous love affair he had with a troubled and lonely young woman (played by Penelope Cruz). As Timo's daughter suffers a serious moped accident, the potential loss of his daughter stirs the memory of the actual loss of his former mistress. The movie didn't quite work for me because I didn't like Timoteo. I needed to see more of his good side in order to sympathize with him. Being a surgeon just wasn't enough. He seemed to have a good life - money, a great career, a fetching and accomplished wife. I wondered why he had an affair in the first place and why the violence was necessary. Cruz's performance is excellent. I give this movie 2 1/2 stars.
Thursday, October 12, 2006
The Departed
When THE DEPARTED’s final credit rolled, I looked at my watch and thought, “Where did the time go?” Scorsese’s film, which clocked in at over two hours, raced by and I enjoyed every single minute. And yet, much as I liked it (and I really, really liked it), I think INFERNAL AFFAIRS is a better picture.
INFERNAL AFFAIRS, the Hong Kong Thriller remade in THE DEPARTED, stars Andy Lau and Tony Leung in the Damon and DiCaprio roles, respectively. The movies are nearly identical, with one major exception: moral ambiguity. In THE DEPARTED, Matt Damon’s character is a gangster in his heart. His decisions come from a position of self-interest and cold analysis of his situation. In INFERNAL AFFAIRS, Lau’s character began as a gangster, but he’s spent so much time on the right side of the law that he’s no longer playacting: he has conditioned himself to goodness and there’s a very real part of him that genuinely wants to become good. In THE DEPARTED, Leonardo DiCaprio’s character is noble at heart. He’s so filled with horror at the demands of undercover work and sublimated fear of death that he turns to pills just to help him maintain his equilibrium. In INFERNAL AFFAIRS, Leung’s character kind of likes being a gangster: he’s grown used to it and, though he’d like to come in, we have a sense that he could continue to thrive in the underground world to which he’s become accustomed.
Don’t get me wrong: there’s a lot to like about THE DEPARTED. It’s a Scorsese picture, so of course it looks and sounds great. The cast is phenomenal, the story brisk, and situations involving. It’s a four-star movie, no doubt about it. But I like a little more moral ambiguity in my movies. INFERNAL AFFAIRS wins by a nose.
INFERNAL AFFAIRS, the Hong Kong Thriller remade in THE DEPARTED, stars Andy Lau and Tony Leung in the Damon and DiCaprio roles, respectively. The movies are nearly identical, with one major exception: moral ambiguity. In THE DEPARTED, Matt Damon’s character is a gangster in his heart. His decisions come from a position of self-interest and cold analysis of his situation. In INFERNAL AFFAIRS, Lau’s character began as a gangster, but he’s spent so much time on the right side of the law that he’s no longer playacting: he has conditioned himself to goodness and there’s a very real part of him that genuinely wants to become good. In THE DEPARTED, Leonardo DiCaprio’s character is noble at heart. He’s so filled with horror at the demands of undercover work and sublimated fear of death that he turns to pills just to help him maintain his equilibrium. In INFERNAL AFFAIRS, Leung’s character kind of likes being a gangster: he’s grown used to it and, though he’d like to come in, we have a sense that he could continue to thrive in the underground world to which he’s become accustomed.
Don’t get me wrong: there’s a lot to like about THE DEPARTED. It’s a Scorsese picture, so of course it looks and sounds great. The cast is phenomenal, the story brisk, and situations involving. It’s a four-star movie, no doubt about it. But I like a little more moral ambiguity in my movies. INFERNAL AFFAIRS wins by a nose.
Wednesday, October 11, 2006
My Man Godfrey
The 1936 version of MY MAN GODFREY achieves its modest goals. It mixes comedy with social commentary in easily digestible portions, and it maintains a light, airy atmosphere that keeps things floating along.
Here's the setup: Godfrey Smith (William Powell) barely survives as a ragpicker at the city dump, but he has his dignity. When a group of socialites descend upon the dump looking for a "forgotten man" to use as a contest token, he stands on his dignity and refuses. In the proocess, he cathes the eye of the bitchiest socialite's sweet sister (Myrna Loy), who hires him to serve as the butler in her comically dysfunctional household.
MY MAN GODFREY uses the reliable tropes of bowing to simple wisdom and mocking the rich, and it succeeds largely to the pairing of Powell and Loy, who clearly enjoy such powerful onscreen chemistry that it's great fun to watch them play off of one another. While the film suffers from Loy's character seeming to dumb and her mother too shrill, it rocks along quite pleasantly for its entire running time.
I never laughed out loud, but I did smile throughout. MY MAN GODFREY certainly makes for a pleasant night at the movies.
Here's the setup: Godfrey Smith (William Powell) barely survives as a ragpicker at the city dump, but he has his dignity. When a group of socialites descend upon the dump looking for a "forgotten man" to use as a contest token, he stands on his dignity and refuses. In the proocess, he cathes the eye of the bitchiest socialite's sweet sister (Myrna Loy), who hires him to serve as the butler in her comically dysfunctional household.
MY MAN GODFREY uses the reliable tropes of bowing to simple wisdom and mocking the rich, and it succeeds largely to the pairing of Powell and Loy, who clearly enjoy such powerful onscreen chemistry that it's great fun to watch them play off of one another. While the film suffers from Loy's character seeming to dumb and her mother too shrill, it rocks along quite pleasantly for its entire running time.
I never laughed out loud, but I did smile throughout. MY MAN GODFREY certainly makes for a pleasant night at the movies.
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