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Reviews
Irréversible (2002)
Extraordinarily disturbing/Disturbingly extraordinary
A lot has been said about the two main scenes at the beginning of the film which depict violence in ways seldom seen. Less has been said about the near perfection of this movie. The performances are flawless and compelling, the story perfectly realized from an Aristotelian perspective of the unities of space/time, the cinematography excellent, and every detail enhanced to achieve the right tone/mood by a director that strives to deliver a true work of art. Rarely we get to watch and experience a film that challenges us to stay inside the theater in the hope we will be rewarded. Perhaps since Fassbinder. I gave it a 9 out of 10 only because the ending, at trying to be sensationalist, misses an opportunity to wrap this piece with absolute perfection.
Laurel Canyon (2002)
Story does not come through
At first all seems right with the story but eventually becomes uninteresting as it brings up nothing new in terms of viewpoint. It also fails to provide for strong characters other than the role played by Frances McDormand, the mother. She has the pivotal role and clearly performs well above the rest of the cast. The leads are weak, in particular Kate Beckinsale whose voice was dubbed cancelling most of her dramatic abilities. Ultimately the story meanders and does not come together, with all strands left out hanging plus some unnecessary "feel-good" Hollywood cliches added in an attempt to get to some sort of ending. Wait for the video if still interested.
Paraíso B (2002)
Angst and surrealism in a genre story
Perhaps misunderstood, this apparently grim and coventional film is nonetheless visually striking with dashes of genius while keeping the story moving along. The performances range from the excellent by the female lead Leonor Varela to the merely competent. Cinematography lifts this film above most shot in Latin America, adding to its mood of paradise gone, of the meaningless of life. It might be disappointing to some that this is not a political film but an exploration of the inner self. Paraiso B belongs to a new category of film where personal concerns drive the narrative as oppose to the usual social emphasis. Rented, if you can find it.
Minority Report (2002)
Fireworks with no fire (a tedious piece of work)
A strange lifeless film by the Hollywood master, Spielberg. It follows the usual story arch, which we have seen too many times already, so nothing surprises. And despite this being a science fiction movie of sorts. Of sorts, because besides the premise, everything else appears to be only futuristic rather than science fiction, which is not the same. Somewhere along the line the energy dissipates. It becomes an empty exercise on pirotechnics (aka FX aka special effects) in an extended chase that does not add up to drama. Performances are well below average for all actors, all of whom besides Tom Cruise and Max von Sydow are unknowns or TV cops that eat on screen while they talk (same food as in 1950s, 60s, 70s, 80s and 90s cop movies...). In fact, they fail to be believable. Cruise remains capable and saves the tedium with his charisma. Von Sydow tries hard with very little. Production design is flawless, cinematography superb, and direction capable without pulling it off as it should. Fails absolutely to deliver an exciting action scifi film along the lines of the classic of all classics, "Blade Runner." Pass the DVD rental unless you are a film student in need of some FX background.
Personal Velocity: Three Portraits (2002)
Dreadful at any speed
This film emerged with a lot of hype but does not deliver. Plagued with every conceivable cliche, seems it was made by a filmmaker following some sort of cookbook with worn-out film school tricks. First, every story is marred by voice-overs that as it is usual, they add up to nothing in terms of drama other than restating some point already made visually. Most of the narration in the voice-overs is pedestrian and greatly diminishes whatever dramatic impact achieved by the performances. Second, a plethora of freeze-frame effects and stills muddle the narrative instead of complementing the dramatic flow. They are wasted as stylistic devices due to their contrived quality. Third and last, a film that follows a cookbook can't fail but to provide the suffering viewer with some gratuitous flashbacks. The information conveyed do not contribute to the stories. As for the performances, these are uneven at best and unconvincing at worst, going from an average Parker Posey doing her habitual schtick to a smug ham Kyra Sedwick to a woefully miscast or non-achieving Feiruza Balk. Due to the surprising mediocrity of the script, perhaps the actresses cannot be blamed in this hodge-podge. The three stories do not make a feature by any stretch of the imagination, only held together by a very flimsy gimmick that can be easily spotted towards the end (if you are still in the theater watching). Each one of the stories tells about the empowerment of the lead woman which in itself has some redeeming value. Unfortunately, this faint glimmer of hope is lost by themes that have been done to death in mid-afternoon TV series. What was most upsetting for this viewer was the crass level of establishment melodrama involved in the stories, which appear to aim for some shock value. The strategy fails miserably. Furthermore, it cheapens the female experience in American society. This film was shot in DV and rather competently although the production design is wanting and the music well below par. A typical example of many "indie" films which ape Hollywood productions without providing any thoughts for later meditation. Overall, pass of this one. Have some self-respect. Value your time.
Bridget Jones's Diary (2001)
Unintelligibly, unfunny, uninteresting, unetc.
BJD as a romantic comedy is perhaps one of the most unhilarious films of the last ten years. There is little true romance and no comedy whatsoever in a disjointed story that pales in comparison to its source, the namesake book. BJD has average journeyman performances, a horrible production design making for an ugly image and a story that meanders without any direction, other than Bridget's adventures with two men (neither of whom is remotely sympathetic). There is no inner core to the protagonist but a shallowness that detracts from any suspense as to what might happen next. As a result, watching Bridget becomes embarrassing and boring rather than exciting and funny considering the intent of the story, that of an obese 30 years old who wants to find a man. The whole film seems like an exercise in throwing out everything that worked (Bridget's great female friends, for one) in the book and keeping the worst parts (the parents and their excruciating friends) that ultimately fail to add up to anything. To add insult to injury, the editing (cuts) is so fast that most of the time this viewer was unable to see what had transpired. Stay away from this stinker.
The Rules of Attraction (2002)
Distraction rules
This film wanted to be an artsy version of an artsy novel but fails completely. With a structure that is exactly like that of "Pulp Fiction", the director wants the viewer to believe something deep is being shown and experienced. Unfortunately, the narrative strategy remains only a gimmick, an artifice that sinks rather than elevate the film. It adds to its inconsequential character. Despite some excellent performances by Van der Beek and Sossamon, their efforts are wasted as the plot meanders with the characters becoming less and less involving. By the middle of the film, it doesn't matter what happens to any of them. Furthermore, it engages in some ugly racist stereotypes like a pair of Hispanic and Black dealers, demeaning stock characters whom we have seen a zillion times before in much better "Hollywood" productions. Skip the video/DVD if you can survive the hype, the studio-paid reviewers and the PR hacks.
The Center of the World (2001)
Much better than it seems
I passed on this film while in the theaters due to bad reviews and a highly misleading ad campaign. I disagree with both. This is an accomplished psychological piece a-la-Bergman that never betrays its characters by providing an easy way out. The film follows a rigorous script that dwells deeply into the wants and flaws of the two leads and ultimately tells us that we are limited by our own minds as to the possibilities that life might offer. Although Florence and Richard in theory could change the terms of their relationship, their inner feelings and biases restrict them to what is possible within their own way of thinking. The sex is central to the conflict in an intellectual plane, which will severely disappoint those who are searching for sexual highlights. In terms of DV technique, this is perhaps the best shot film after the DV classic "The Celebration." If you are looking for an engrossing film where every detail serves its main theme, this is it. There is no fat here. It deserves to be watched over and over to absorb its depth under simple dialogue, understated performances by two extraordinary actors and a minimalist plot.
One Hour Photo (2002)
Two hours watching one miserable photo-story.
It probably looked good on paper but the screen result is pure boredom from the very outset. The story takes too long to get going and we are left with an hour of "character build-up" that leads to nothing other than some preachy words at the end. Unfortunately I was too bored to pay a lot of attention to the moralistic statement which closes the film but I do remember being some right-wing generalities with little or no philosophical, political or existential depth. Despite the attempt to make it a character-driven piece, no one is of any interest, as we don't learn much about them, including the lead "Seymour" or "Sy, the photo guy," played by Robin Williams. Many "plot points" feel forced and heavy handed signals for the audience to get ready for the next sequence. To make things worse, pivotal events are not believable because we know they do not happen that way in real life and we are already too bored to even consider buying them for the sake of "suspension of disbelief." To top it all, the cinematography is ugly to watch and the electronic music absolutely overbearing. If someone offers you the DVD or video for free, pass on it. Value your time.
Manic (2001)
Violent and boring rather than raw and interesting.
Manic was consistently hyped in several workshops I attended so my level of expectations were higher than usual for a DV feature. I was sorely disappointed. In every aspect, direction, performances, script, cinematography, designs, etc this film falls far, far short. It seems to me that the producers felt that because it was a DV feature it did not need a script or performances or even a cinematography that went beyond some whiteouts and other minor electronic gimmicks. Hand held camera works fine as long as the characters are interesting but without a well developed drama/script all other efforts are lost. Ultimately the director is the guilty party and in this case he should shoulder the responsibility of wasting other people's time and money. Not worth even a 99c video rental.
Tierra (1996)
Understated mood quasi-masterpiece
After seeing "Sex and Lucia" by writer-director Julio Medem, I decided to rent this film and was gratified with one of the best works of international cinema. From the beginning we are fascinated by the world introduced through the main character, an agricultural technician supposedly recently out of a mental hospital. Along the way we get to doubt most everything. We experience a different world that opens up with unexpected violence and repressed longing. The cinematography, production design and performances are extraordinary until the very end, which as with most Julio Medem films happen to be a commercial cop-out of sorts. In the last two minutes, when it all goes in one direction, the writer-director insists in imposing his (overly sentimental) views on his tormented characters and previously constructed world. Rather than let things go towards their ultimate logical consequences and grand finale, it makes for a silly little ending. Still, a must video rent if you want a thought piece with humor and thriller elements.
Lucía y el sexo (2001)
Artsy bordering on melodrama
Extremely well directed film with superb performances by the three lead women that fails miserably. The film has no dramatic tension due to a lackluster male lead that generates no interest: He is neither intellectual enough nor sexy enough. He projects no angst or even a healthy dash of true grit for the role he is required to play (young Antonio Banderas sorely missed here). It is difficult to see why three stunning women with great personalities are/were involved with him. The middle lags considerably, in particular the relationship between Lucia and Lorenzo that marches straight to a dead end, going nowhere other than circles. Towards the grand finale, a clever plot carries the day as the three stories converge. Sex is gorgeously photographed but plain, perhaps too caste in feeling, in fact most of it is boring, possibly because of the lack in dramatic tension (very far from the heat accomplished by masters like Nicholas Roeg). The ending is perhaps one of the most thoroughly disappointing ones in Spanish cinema, a complete cop-out, turning a could-be classic mood piece into cheap melodrama that can be forgotten in a few hours. Wait for the video release if you must see it.
Le pacte des loups (2001)
Extremely boring confusing yarn (yawhn...)
Initially pleased due to its excellent photography and production design, I quickly became bored to death. In this movie we get to know no one so there is no one to root for or to care for, not even the villain. To make things worse, the plot is convoluted to the point of absurdity (and I love scifi and fantasy!), not because of being "unusual" but because it offers nothing in terms of coherence or jeopardy that truly moves the viewer. The action sequences are boring since we don't care for the protagonists, who seem, despite their efforts, just a dull pair riding their horses. They spend a lot of time having fights with assorted bad guys and gals of no interest whatsoever. THIS IS A REAL DUD, NO REDEEMING VALUE, TO BE AVOIDED (If its financier, Studio Canal Plus was not the owner of Universal Pictures, this badly translated French dud could have never been inflicted on American audiences).
In the Bedroom (2001)
Disjointed overhyped melodrama SOME SPOILERS!!!
Despite the reviews highly recommending this film, it is an ensemble piece where no main character emerges. It lacks a believable beginning as Frank, the son, appears as neither sexy nor smart enough to appeal to a much older, sexy, world-weary woman with two children. Why should she be involved with a non-entity, a nice guy to boot? No tension emerges from the lovers due to the above mentioned lack of chemistry and that makes it difficult for the audience. It becomes a chore to watch a film where a lot of people come and go and it takes at least half an hour to figure out who's who and what is really going on. Moreover, there are some serious lapses of credibility: Frank gets seriously beat up and the parents do not fret or call the police, the mother obviously does not know how to direct a chorus although she is suppose to be a music teacher, etc. In many ways there are two movies in one here and none succeeds in bringing up credible drama, as many scenes have no purpose, the plot is disjointed and the characters are flat. No amount of shouting and tears can save this one. Wait for the video if you must see it.
Ghost World (2001)
A true un-Hollywood film: Honest, deep, surreal yet funny.
This is one of those rare films that are profoundly political without saying a word about the subject matter. At the end we understand that we live in a repressive world manipulated by salesmen, a system that only offers money. But there is more and it can be found if one looks harder. Enid (Thora Birch) knows deep down that what appears to be is not and doesn't hesitate to act on her feelings. Her friend and pal, however, buys into it and after graduating from high school, their worlds begin to separate. Enid believes herself to be alone but she meets Seymour (Steve Buscemi) who shows her independence exists, that alternative realities are possible, at a price. At every step the film plays on our deeply pre-programmed feelings, surprising us with realizations of things that are not as we thought but never disappointing us. Up until the very end, the film maintains its integrity, refusing to provide easy solutions. A must film for anyone who feels angst and knows something is wrong out there. This is surely the best film of 2001.
Dancing at the Blue Iguana (2000)
Entertaining melodrama with some highlights
A very uneven film that begins unpromisingly, showing its improv background as nothing happens for 20 minutes. Only the rather magnetic nude dancing keeps things going until we learn the stories of four of the women who work at the "Blue Iguana." Daryl Hannah shows once again her extraordinary talent as a commedienne, making us laugh with little or no material at her disposal. Her story is convoluted, truncated and whole unsatisfying. Nevertheless, we keep following her character "Angel" with interest thanks to her charisma. The other stories don't contribute much by themselves to the film but they hold it together towards an entertaining last 15 minutes. An excellent video rental if you like to eat lots of popcorn at the same time.
Mulholland Dr. (2001)
Forgetable characters in search of a story.
Lynch is a gifted director and his films "Blue Velvet" and "Lost Highway" will sooner or later be recognized as true American cinema masterpieces. Unfortunately, "Mulholland Dr." is not one of them. Far from being even merely good, this film dwells on tired quirks, attitude and atmosphere in a desperate attempt to create drama. It does not succeed. There is no drama as the characters, Betty and Rita seem unconvincing, perhaps for lack of acting abilities perhaps because of the director's intention. Plot there is, as events follow other events, all of them searching for a story that fails to arrive. Characters come and go, trying to be "cool," trying to convey something but at the end we don't know what. Even the sex is worse than bad, that is, just boring and uninteresting. There is no philosophical, psychological, social or political point. Nothing adds up here. I am glad I was invited to a free screening. Even if it is the last tape at your rental place, pass on the video.
Tillsammans (2000)
Over hyped dramedy with stock characters
Unfortunately reviews provoke high expectations for this film, after all the premise is very promising: A commune that goes through tribulations and changes after its members abandon the bourgeois lifestyle. Add to it a lost soul and kids and lots of things can happen. And here is the problem. Nothing does. Utterly predictable with barely recognizable characters that do not add up to real people, sloppy plot and inconsistent allocation of time to the various problems that surface in commune-living. At times it becomes highly confusing and slow due to lack of conflict or comedy. This is neither a very thoughtful piece nor a critique of anything but only good intentions that are not worth the price of the ticket. Rent the video if you are really bored.