yoyomagoo Reviews

Japanese Story (2003)

Toni saves Aussie drama dirge

[5/10 · 26 October 2004]

**Spoilers**

In Japanese Story, Toni Collette plays Sandy, a geologist who grudgingly indulges an affluent Japanese businessman's whim, which involves her driving him around the Australian outback. While in the desert however, two events occur which change both of them completely.

I was attracted to this film mainly because of the good reviews Toni Collette had received for her role in the movie. On that level at least, the film did not disappoint, with Collette giving one of the stand out performances of the last year as Sandy. Her confidence and completely natural, unlaboured performance heavily contrasts with the movie's self-consciously artificial narrative.

Here, the problem with Japanese Story lies. The first two thirds of the movie is fine, if a little slow and occasionally self-indulgent. There are some brilliant moments lying within however, such as a beautifully crafted love scene and some genuinely tender moments in the outback. Also, importantly, the fist two thirds of the film do not feel constructed.

The last third of the film showcases some of the worst tricks of screen writing. The writer decides that pseudo-reality is so passe, so decides instead to continuously bombard the audience with inverted images, images which were presented to us in the first two thirds as positive or humorous things, but in the second half are supposed to be sad and tragic. An example is to do with Tachibana's body. A scene in the first half depicts Collette struggling to force her accomplice's body into the car, while he is in a drunken state. In the final third this scene is mirrored to the point of frustration, as Collette performs the same action, but this time with his dead body. From this, I can only presume, we are supposed to look back at the other time and see, as the song goes, what a difference a day, or a couple of days make. This trick is repeated several more times. Instead of giving the film a kind of consistency, this feels laboured and completely artificial, making us lose faith entirely in any concept of believability. It seems too fussy, too unrealistic and too convenient a vehicle to deliver some of the films messages to the audience.

By the end of the film you feel cheated. The director seems to bolster each of the last few films with irritating, manipulative music, hammering into your head how much of a tragedy the whole thing is. We get very little plot in the final third, and an entirely implausible event involving Tachibana's wife, in the film's final moments, seems to strip away any shred of dignity the film was still clawing on to.

The final third also possesses a horribly voyeuristic quality. The director seems obsessive in her depiction of Collette's grief, exposing the character so pitilessly, it wouldn't look out of place in a Lars Von Trier movie. The extended agony of some of these scenes is horrendous, and above all, gratuitous. What dramatic purpose does this depiction of grief serve, for example?

All of this is a shame, really. Japanese Story has some very smart direction, some beautiful cinematography and an outstanding performance from Collette. Yet we feel cheated, manipulated and unsatisfied by the film's outcome.

The Twilight Samurai (2002)

Age and beauty

[14 October 2004]

Yamada's "The Twilight Samurai" is something of a hidden gem, dismissed by many as another Japanese Samurai film (those, I might add, who haven't seen the movie)and treasured by a select few who believe in giving a film, any film, a chance before they sound off about what, or what not, it might be.

The film covers some big themes; the death of a spouse (not a spoiler- this happens before the film begins), middle age and what it is like to feel out of place in a world you used to find so familiar. The basic plot revolves around the character of Iguchi (played by Hiroyuki Sanada), a Samurai who has just lost his wife, leaving him with both his profession and his two children. He tries to balance this out unsuccessfully, and subsequently manages to sink into depression. however, through the visit of an old childhood accomplice, he begins to re-evaluate what is important to him.

The first thing to note is that this is not a traditional Samurai film. It possesses only a handful of fairly low-key fight scenes, which unlike the recent "Hero", serve to move the plot forward and develop character rather than visually knock you for six. The pace of the film is also fairly slow, occasionally too slow (a pivotal scene at the end of the film, involving a contract killing, seems to have been unnecessarily prolonged, for example). The acting is also understated, contrasting sharply with some classics of the genre (see Kurosawa's films for something completely different).

The style of the film is in fact more reminiscent of a European indie flick, rather than a Japansese slash 'em up. Some of the scenes almost echo the work of Ingmar Bergman, especially the scenes involving the childhood friend. That is not to say the film is dry and humourless, like Bergman can very occasionally be. The film possesses humour, and a genuinely funny type too (the scenes involving the mother are both hilarious and devastating, depending on the context).

The Twilight Samurai, to give it it's English name, is quite simply a breath of fresh air. The understated melancholy and soul-searching of the piece can be challenging, but rewarding and affecting. It might not be the best film you'll see this year, as it seems a little baggy in the second half, but if you want something different, absorbing and thought-provoking, this is a good bet.

The Stepford Wives (2004)

Pitfalls of PC

[13 October 2004]

SPOILERS AHEAD

Another day, another reimagination of a perfectly good book/film (delete as applicable). I came in with mixed expectations concerning this one (had many good attributes- Glenn Close, Nicole Kidman, Frank Oz, Jon Lovitz, and also many bad ones- Bette Midler, Bette Midler, Bette Midler and Matthew Broderick). I came out with a feeling of disgust.

Most of the problems with the movie derive from the script. We're supposed to be believe these women are having their personality and individuality sacrificed, which is fine. However, these woman come across as stereotypes, and horribly unbelievable ones, before the Stepfordisation of them, starts. Nicole is the career-fixated woman, who hasn't got any time for her family or husband. Midler is the "kooky" individualist. The film becomes even more crass with a grotesque depiction of a gay couple, seemingly stuck in there for cheap, offensive laughs.

As a satire it also is doomed from the beginning. Oz wants to discuss the increasing feeling of male powerlessness in a changing world, where men see their traditional role as provider, threatened by women. A final twist or two near the end reverses this however, rendering any social commentary completely superfluous, and if anything, in a strangely conservative turn, actually re-asserting traditional family values.

But it's Hollywood, I hear you cry. Does it need to be intellectual? It's got big stars, who all seem comfortable in their roles, it has some genuinely funny laughs, a memorable title sequence and generally manages to sustain your interest for its 93 minutes. It's entertaining, so why want more? Because the film has pretensions for more. It wants to discuss more, but is caught up in political correctness, campy comedy and lazy writing.

It could have been a great modern update of a 70s cult fave. However, The Stepford Wives sinks under the weight of the issues it raises, leaving the audience with more questions than answers, mixed messages and an absolutely atrocious final 15 minutes, which seems to undermine everything that went before, and then some. Wait for the DVD.

Stage Beauty (2004)

The bad and the beautiful

[8/10 · 20 September 2004]

Stage Beauty is another adaptation of a play. Yawn? Well don't, because it also happens to make a highly successful transition from stage to screen thanks to the genius that is director Richard Eyre.

It tells the tale of Ned (Billy Crudup), a young actor who specialises in portraying women on stage. In a world where only men are allowed to tread the boards, Ned's "Desdemona" (from Shakespeare's Othello) is the closest thing 17th century audiences get to femininity in theatre. However, a young upstart in the form of Maria (played by Clare Danes) wants to change all that. She has a passion for drama and unfortunately the bisexual Ned. With the help of King Charles II (Rupert Everett), she may just get her wish, changing theatre forever, and hopefully pick up Ned on the way.

When thinking of the themes of the film, many people dismiss it as a clone of Shakespeare in Love. This is unfair- the film is more thought provoking, substantial and better acted than the aforementioned Oscar snaffler. It explores themes of sexuality and gender with insight and intelligence as well as telling (and, in fact enthralling us with) a love story. As previously referred to, the acting is exceptional, especially the two leads (Danes and Crudup) who shine. The supporting cast is strong too, with Richard Griffiths as a heterosexual prequel to his role in Withnail and I, Tom Wilkinson brimming with quiet intensity as Betterton and Everett hamming it up wonderfully as the King.

Even if it does end on a slightly trite note (not to give too much away, but its' "birth of method acting" shtick irritates), Stage Beauty is a funny, heart-warming and occasionally quite cerebral meditation on love and art. What more could any theatre, or film lover for that matter, want? And don't say Shakespeare In Love!

Cabin Fever (2002)

A film of two halves

[4 July 2004]

I avoided Cabin Fever like (ahem) the plague for months, until I was unexpectantly shown it one bleary Saturday night. My preconceptions held true to an extent- the film is hugely derivative and genuinely unscary- but about an hour through something hit me. Eli Roth could become a true master.

Cabin Fever's "plot" is pretty much inconsequential. Basically, it revolves around a group of teens who travel into the woods (via a strange yokel shop) and get infected by a fatal virus. So far so '80s right? Yes, to a degree. However, how Roth uses this plot in the second half makes for compulsive viewing.

It is true, the first half of Cabin Fever is inexplicably awful. The acting is dire, the dialogue and pacing even worse, and despite a few, rather obvious jumps, deeply unfrightening. I've been thinking that if perhaps Roth made the characters a little more vulgar and self-indulgent, then he could have easily twisted the second half into a pitch black comedy. I even thought for a minute, due to Roth being a protege of, of all people, David Lynch, he could be making the first half of this film deliberately banal (a la Blue Velvet) to create a massive contrast to what was about to happen. Then on reflection, I think I give Roth too much credit.

If you can tolerate the film's first half, you will be richly rewarded however. The second half is jam packed with numerous great moments, including the most memorable bathroom scene since Fatal Attraction (involving a razor) and some terrific scares. Roth throws it all away again though, for a disastrously unfunny ending which smacks of self-indulgence and time constraints.

What we have here is a promising, if massively uneven, schlock fest which just about clinches the status of "memorable". If Roth hones his script writing technique and is more stringent in the auditioning process, he could be untouchable.

Shrek 2 (2004)

So entertaining it's criminal

[28 June 2004]

Despite myself, I liked Shrek 2. No, I will rephrase. I LOVED Shrek 2. From the countless film references (everything from The Fabulous Baker Boys to Ghostbusters) to the fleeting appearance of Joan Rivers, this film was a cinematic joy. Move over Disney, there's a new monster in town.

Shrek 2 starts where the first one ended. Fiona and Shrek, now a happily married couple (so happy, I'm- ahem- green with envy) decide to meet the in-laws (voiced by Julie Andrews and an always entertaining John Cleese). However, while the parents are coming to terms with the shock of seeing their daughter married to a green giant, a devilish plan is hatched by the Fairy Godmother (British television favourite, Jennifer Saunders) to get rid of Shrek, and force the lovely Fiona to marry Prince Charming (gleefully played by Rupert Everret). With additional voices coming from Antonio Banderas and Eddie Murphy, how could it go wrong?

Fourtunately, Shrek 2 never puts a foot wrong. I liked the first Shrek, but was somehow baffled why so many people fell head over heels in love with it. I agree, it was refreshingly different from other summer blockbusters, and all the more entertaining because of that. However, it did not in any way match any of Pixar's computer generated delights. This time, however, Dreamworks have easily managed the above, and manage to take a few catty sideswipes at rival Disney too.

The animation and voice acting is superb throughout. Frequently funny, Shrek manages to be suprisingly clever as well, taking digs at Disney, capitalism and infrequently, itself (in a knowingly post-modern way of course). Unlike Pixar's last movie, Finding Nemo, this one has so many highlights it is difficult to choose one to praise so highly. However, if I was pushed, I would go with the Fairy Godmother's rendition of "Hero".

In a summer of (so far) lacklustre, banal blockbusters (Van Helsing, Troy, The Day After Tomorrow) it's interesting to see that the most family friendly movies, (this, and Harry Potter's new adventure) are the best. Shrek 2 is criminally entertaining and quite simply, magical.

Shivers (1975)

The fear

[8/10 · 28 June 2004]

*SPOILERS*

I have never been a fan of David Cronenberg's work (with the possible exception of The Fly) so I was slightly apprehensive about sitting down to watch this one. However, what I found was something quite extraordinary- a film which not just works as a horror but as a mission statement from Cronenberg, and a frank discussion about sexuality.

The story could be taken from any '70s horror flick. Basically, a parasite infects lodgers at a new apartment complex, making them become murderous and sexually voracious. What emerges, however, is that these parasites were man made, and for seemingly good intentions. The parasites are also being willingly spread by one of the apartment's staff. The film ends with one of the most creative uses of a swimming pool in modern cinematic history.

I was inspired to watch this movie by a great documentary on Wes Craven's "The Hills Have Eyes" DVD about 1970s US/ Canadian indie horror movies. Anybody who does not "get" the film, I strongly advise to check this documentary out, as it helps to explain some of the themes of the movie, especially the inter-related relationship between sex and horror. However, by watching the movie itself I have seen that it can be read in a whole number of ways, from a response to Vietnam or a call for more sexual liberation in the world (a genuine, heartfelt plea, not some 1960s hippy ideal).

Although the film is not as graphic as some other later Cronenberg films (The Fly, Naked Lunch and Crash especially)it is far more disturbing in its "less is more" approach to gore (The violence is not inconsiderable however!)The acting is not perfect, but then does it doesn't really need to be. The same could be said about the occassionally clunky soundtrack and pacing (the first twenty minutes is particularly drawn out).

Despite all these small misgivings, this is an important film. It is also a film which deserves more attention, so if you see it and like it, spread the word! I give this one 9/10

The Passion of the Christ (2004)

Theatre of Pain

[5/10 · 2 April 2004]

Coming to us in a blaze of controversy, The Passion Of The Christ may be, and is, a lot of things. But one of these things is not boring.

You're familliar with the story. Suffice to say, this version is drenched in gallons of blood and features some of the most disturbing looking children you will ever see. However, this is probably the movie's main downfall. By the time we get to the crucifixion seen, it is fair to say that the novelty of the ultraviolence wears off. The violence has lost it's effect leading to the most important message of the film being drowned out in a sea of monotony.

The film's failures don't end there. While the director of photography has done a very fine job with the visuals, it seems that they belong to a different movie altogether. The cinematography is always clean, crisp and beautiful. This grates with the extreme violence we are shown, and seems to undermine the darkness of the film.

The cast is decent, with Jim Calvaziel making a particularly striking impression. The direction is brilliant at times (the flogging scene is hugely powerful, as is the use of flashback), heavy handed at others. The repeated use of slow motion and choir-like music is massively irritating. It's almost as if Gibson thinks the audience needs to be reminded the fact this is story is Important.

However there are two massively objectionable things in the movie. The first is the depiction of the Jewish authorities, who unlike all any of the characters in the film (with the exception of the devil) are seen to be pure, almost the eptiome of, evil. The other, is the heavyhanded treatment of the "end" of the story, where Mel Gibson employs cliche so pretentiously, only a religious film could get away with it. The last shot of the movie reminded me of a bad superhero film.

The Passion is brave, beautiful and memorable, but fatally flawed. Despite the performances and a couple of superb scenes, this film comes across as monotonous and empty. The spiritual message seems to have been sacrificed in order for a level of violence so excessive, it makes Death Wish seem understated.

Fearless (1993)

Exceptional

[2 April 2004]

Fearless is a film about how one event can change lives forever. It's a film about hope, about those who bring it and lose it, a film about love and ultimately a film about the kindness of strangers.

Jeff Bridges is Max Klein, a victim of a horrific air crash that kills his best friend. However, he emerges from the accident a changed man, believing he has found a previously lost spirituality. He is no longer allergic to strawberries, something that nearly killed him as a child, for example. From here, he helps others come to terms with their loss, including Rosie Perez's Calrla.

Peter Weir is probably one of the best filmmakers currently working. He has yet to make a bad film, and even struggles to make mediocre ones. However, Fearless is something a cut above his usual high standard. Posing genuinely thought-provoking questions, yet never didactic or vague, Fearless makes you reconsider your own actions and their affect on other people.

The cast is uniformly excellent, with Bridges and Rosselini (as his wife) particularly good. Perez's much maligned Carla is solid enough. Look out for an early, rather excellent performance by Benecio Del Toro, too.

The film ends on an incredibly moving note. Incredibly beautiful and true, Fearless should be considered,a long with Gilliam's The Fisher King, one of the most overlooked gems of modern times.

The Ninth Gate (1999)

Pretentious, silly but entertaining

[4 November 2003]

When this came out in 1999, many people used it as evidence to claim that Roman Polanski had lost his touch. His films seemed to be getting increasingly unwatchable (Bitter Moon, anyone?) and The Ninth Gate was the final nail in the coffin. So when he bounced back to critical acclaim, with last year's The Pianist, many people, including me, were surprised. Let us hope that Polanski is inspired to make better films now. As it is, the Ninth Gate is a testament to those trying times in his career.

Rare book dealer Johnny Depp is hired by a millionaire book collector, to track down the two other copies of a rare Satanic book, The Nine Gates of the Kingdom of Shadows, which he owns a copy. The millionaire, played by Frank Langella, is obsessed about authenticating his copy, and if during the research, his is uncovered to be a fake, the real one should take its place. Depp must do this, by whatever means possible. Hence, a large cheque which is thrust in his direction.

The ideas are good- you've got weighty themes such as religion, Satanic ritual and the black arts, but the scriptwriters (of which Polanski is credited as one) fail to take the concept any further. This is probably due to the impenetrable plot, which presents the viewers with half-clues, vague character insights but fails to include any clear direction. Thus, you get a Lynchian ending devoid of any of the charm or wit displayed by David. In other words, you get a pretentious mess.

However, that is not to say the film is without it's virtues. The lead performance by Depp is both strong and highly charismatic. Again, as he proved with this year's overrated Pirates of the Caribbean, Depp can be relied upon to bring grit and grace to otherwise lukewarm films. He gets decent support from Lena Olin and from an extended cameo from Langella. The first half of the film manages to entertain, and contains several excellent directorial flourishes courtesy of Polanski. The pace is kept fairly consistent (give or take the odd slow scene) until the end, despite the narrative drying up long before. The film even manages to survive a particularly out of place sex scene.

The Ninth Gate is a film that had greatness in its grasp. A great director and a superb leading actor on board, if treated with care and precision by the scriptwriters, then perhaps this would have been a cult classic. As it is we get a half a good movie, and half a bad one, strung together with a terrible plot and multiple loose ends. People have baffled over the Ninth Gate, trying to resolve the questions it asks about religion and the macabre. Here's a response to these people: don't bother. Whatever you're looking for is not there.

Kill Bill: Vol. 1 (2003)

Film of the year?

[1 November 2003]

*Possible Spoilers*

Well, that remains to be seen. However, Kill Bill may be Quentin Tarantino's finest film to date (and this is coming from somebody who rates Pulp Fiction as one of their all-time favourite films).

The plot is minimal, but then it doesn't need to be anything else. Uma Thurman's "The Bride" wakes up after spending over four years in a coma, caused by a bullet to the head at her wedding. When she wakes, she seeks revenge on the people who robbed her of four years of her life- and possibly- her unborn child. This includes Cottonmouth (Lucy Liu), Californian Mountain Snake (Daryl Hannah), Copperhead (Vivica A. Fox) and eventually (hence the title of the two films)Bill (David Carradine).

Many users and critics have stated that to enjoy the movie, a knowledge of martial arts and Japanese cinema is mandatory. True, if you are familliar with these movies, you will stand a better chance of understanding all the stylistic and thematic material on display here. However, I have very little knowledge of the genre Tarantino is paying tribute to, and I thoroughly enjoyed the first volume of Kill Bill.

Another key element of the film is the violence. Much has been written about this, including the controversial decision in America, to grant the film an R rating. The violence in Kill Bill is the icing on the cake. The fighting takes place in an alternate plain of reality, a stylised movie world which knows it is a stylised movie world. Quentin is constantly toying with the audience- experimenting with their preconceptions of where the boundary of reality and fiction lie. His deliberately outrageous, cartoonish blood-letting is both a tribute to his favourite movies and his little joke.

However, the real joy of Kill Bill is in its pure unadulterated entertainment value. Quentin obliterates the option of boredom through his flawless direction and, as previously mentioned, wonderfully stylised violence. The soundtrack is effortlessly cool and charcteristically offbeat, ranging from Nancy Sinatra to RZA. The use of different media such as black and white, colour and anime make the experience even more complete and memorable.

However, when reviewing Kill Bill, it is hard to ignore Uma Thurman's presence. Her performance treads a fine line between reality and the personification of revenge. She epitomises what Quentin is trying to achieve- in so much as she is sex, violence and cool on legs. Whether this is her greatest performance so far, is to be seen (Kill Bill volume two needs to come out, for me to reach this conclusion)but she is damn fine as Black Mamba and QT was wise in delaying filming for her.

It's not deep, profound or original, but Kill Bill Volume one, will be one of the best things you'll see at the movies all year. I was thinking while watching this masterpiece, that having the amount of fun I was having, was almost probably illegal.

Nine Queens (2000)

Great fun

[3 August 2003]

Nine Queens is a small gem from Argentina- the kind of refreshing indie hit that comes along all too rarely.

It tells the story of two conmen, who strike up a partnership after one of them tries to trick a small shop. The more experienced of the two, Marco, convinces the younger one, Juan, to stick with him for a day of conning. However it soon becomes clear that Marco needs Juan as much as Juan needs Marco, so beginning a fast paced and thoroughly entertaining ride through the Argentinian underworld.

Not being a veteran of Argentian cinema, I couldn't really compare and contrast this movie to whatever else Argentina produces, having stumbled across this one on pay per view. However, the sheer quality of this production just goes to show that it is not only American cinema that can create a great film about deception, which in itself deceives the viewer through a plethora of nifty tricks and twists. The final twist, is also a doozy, so to speak.

The film benefits from soldity all around. The acting is completely unprententious, fuss-free and utterly convincing. This also applies to the direction which (at times) borders on the superb through its use of tension building devices. The script is witty and fresh and the use of editing in combination with the swift direction, creates a strong pace even through the most action-free scenes. Relying on dialogue instead of violence or setpieces, excellent characterisation is also achieved confidently.

Its familiar territory, sure, but Nine Queens is fresh, fun, non-pretentious and thoroughly gripping film making.

Buffalo Soldiers (2001)

Edgy, but empty

[30 July 2003]

Buffalo Soldiers has finally arrived, in a blaze of controversy and outrage. Some people have called it anti-American, anti-army and anti- order. However these are far too great compliments for a film that is essentially hollow.

Joaquin Phoenix stars as Elwood, a young clerk, working at an army baracks somewhere in Germany, just before the fall of the Berlin Wall. The film begins with a dream sequence, where Phoenix's character is seen to be falling and promptly hits the floor with a painful thud- thus setting an uneasy and ominous tone for the next 90 something minutes of screentime. The supporting cast includes Ed Harris as a struggling CO, Scott Glenn as a vengeful sergeant and Anna Paquin as Glenn's daughter.

The main problem with BS (no pun intended) is that it hasn't got anything to say. The film portrays the army as drug-taking, drug-dealing and disorderly- something which is clearly just done for shock effect. It is funny and disconcerting for the first 20 minutes of the movie, but after that I was looking for more substance and ideas to get my teeth into. This film sadly disappoints with that, making it a clearly one-note effort. The initial point that they are doing this, just to kill time is not properly explored and therefore, the film becomes almost hypocritical- I felt like all I was doing was killing time.

That is not to say the film lacks merit. Phoenix's charisma made the film stay just above the watchable mark, as did Ed Harris and Scott Glenn's performances. The soundtrack too, is pleasing (if a little repetitive) and there a couple of impressive directorial fluorishes in the movie (for example the nightclub scene near the beginning of the film is impressive in its use of camera work). There a couple of funny moments and lines in the script, however some of the sequences just feel like higher-brow versions of something out of Scary Movie. Amateurish, in the extreme.

Buffalo Soldiers is not a good film, merely watchable. It doesn't deserve the hype or the good reviews. But watch it for the stars.

Platoon (1986)

An Oliver Stone film

[27 July 2003]

The title of my comment really says it all. Oliver Stone is not known for his subtlety, his intelligence as a filmmaker or his writing skills. Such is the tragedy of Platoon.

Platoon tells the story of a young, innocent man, Chris (Charlie Sheen) who volunteers for the Vietnam war, to contribute to the country he has taken so much from. Here, he witnesses some terrible atrocities, and falls under the influence of drugs and apathy. There is a good vs. evil conflict in not just the war aspect of the film, but Stone's humanitarian aspect too. Tom Berenger plays the hard-nosed veteran who frequently clashes with Willem Dafoe's protective one. However, this is a war film, and as the bodies pile up- so does the chaos for Chris, both physically and emotionally.

Platoon, in a sense, has the same problem as Kubrick's Full Metal Jacket, itself a Vietnam movie made in the late 80s, over a decade after the end of the war. Platoon is essentially a film of two parts, but unlike FMJ, the two parts of Platoon do not comply with the narrative. (In FMJ, the training section of the film gave us insight to a part of Vietnam we never saw before- and so therefore the actual fighting, which we had seen before, was a let-down.)

The first hour of Platoon is masterful, and proof that Oliver Stone can be coherent and subtle as a director and a writer. The second half of the film however is a total mess. Unlike FMJ, it has not to blame the narrative constraints- but the writing and directing of the film itself. The immediately striking, coherent battle sequences of the first half become muddled and irritating in the second. The emotional impact of the film becomes deadened by over simplicity and the film becomes repetitive with Stone just lurching from one battle to the next.

With Natural Born Killers, Stone used his excessive film making techniques as both self-parody and media commentary, with explosive and shocking results. The miscasting of John C. McGinley doesn't help, as the cowardly comformist and neither does the underuse of Willem Dafoe. That said, the final sequence of the film regains a sense of lost direction and rescues the movie from an otherwise "A.I."-like second half slump.

Flawed, frustrating yet mind numbingly tragic, Platoon is a worthy addition to the Vietnam movie pantheon, although hardly the greatest of the Vietnam movies. Watch Stone's "Born on the fourth of July" instead, for a more satisfying Vietnam experience. Or Apocalypse Now, or The Deer Hunter for the best Vietnam films.

Annie Hall (1977)

Superb

[10/10 · 27 July 2003]

In my book, there are two types of great films. One type is in the class, of say, The Godfather. This type of film is technically maginificent, featuring superb performances, wonderful direction, a riveting story line and is effortlessly entertaining. There is another type of film, the type that Annie Hall fits into. This is the type of film which I call my "favourite" films. They may not be as technically proficient as "the Best" films ever made, but there's something to them which make them irresistible.

Annie Hall, plotwise, is a pretty typical Woody Allen movie. It is a bittersweet romance between a balding, neurotic comedian (Woody Allen) and a sweet, if somewhat goofy (and younger), lady (Diane Keaton). The film focuses on their relationship from the time they meet taking the audience through some wonderful setpieces on the way. Annie's family is somewhat eccentric, for example, leading to a wonderful (and slightly Deer Hunter-esque) scene with Christopher Walken. The parties she attends are also something new for Alvin (Woody's character) leading to more moments of comic genius (an age old type of comedy- the comedy of manners- with a 1970s spin).

Arguably Allen's best film, Annie Hall is immediately accessible to the non-Woody fan. His use of innovative techniques (for the 1970s) can be admired by even the most stern of critics- and used in conjunction with the wonderful performances and some of the funniest one-liners to have graced celluloid, Allen creates his masterpiece. Keaton is superb as Hall, obviously inspiring performances for female comediennes everywhere for years to comes (Phoebe's character from Friends, is a direct homage to Annie Hall). Allen's tried and tested neurosis is wonderfully appealing here melting even the coldest of hearts.

In this reviewer's opinion, Annie Hall is one of the finest romcoms ever made, and certainly the most innovative. Even the uncharacteristic (for a romcom) ending feels upbeat and enriching. A film that cries out to be seen, Annie Hall holds a place in my heart- which is more than can be said about some of Allen's most recent work, or some of the pretender's to the throne of Annie Hall.

Identity (2003)

Irritating!

[29 June 2003]

While hardly going to be the worst film released this year, Identity is by no means decent. Starting off with a familiar, if entertaining premise it promises much but ultimately fails as both a horror film and as an excercise in audience manipulation.

The casting of Ray Liotta and John Cusack, however, is one of the film's strengths. The slightly eccentric decision pays dividends as some of the best scenes in the film involve confrontations between their two very different characters, allowing thespian sparks to fly. It also allows for the film to add a shade of humanity to its lean 90 minute running time. The rest of the cast is decent, with the possible exception of John C. McGinley who comes across as hammy in his supporting role.

Shot in dark, desaturated tones, Identity even looks the part of a good horror film. The use of weather to accentuate moods of the characters is as ever, a reliable device for tension while it also allows the charcters to meet- a nifty if standard plot device. It harks back to the Robert Zemekis film What Lies Beneath in its tribute to Hitchcock- a kind of neo-Hitchcock style, I guess it would be called.

However it is due to the unspeakably awful final 30 minutes, that this film comes across as underwhelming. In an age old trick, director Mangold, pulls the rug from the audience's feet leaving a multitude of seemingly unanswerable questions for them to decipher. Yawn. Instead of coming across as scary, perplexing or even thought-provoking, the final section of the movie is frustrating, uneven and a con. The ending is so anti-climactic and ripped off that you feel like throwing a big brick at the screen and shouting obscenities at the ushers when you leave the multiplex.

Identity's first hour is fun, fairly tense, if familiar hokum. Then in act of extreme pretension the film launches into another genre and becomes unintentionally funny and desperate. See it, for the gory deaths and performances. Skip it, if you don;t want your intelligence to be insulted.

Ringu (1998)

Astonishing- watch it before the remake, if you can!

[26 June 2003]

There is a film in horror movie folklore like no other. On its release, it made little impact possibly due to the fact it was made by a set of unknowns and received little media hype. Within just four years it had gone from relative obscurity to cult superstardom, spawning numerous sequels, numerous Internet fan sites and the ultimate accolade- a Hollywood remake. This is Ringu.

Shot in a dark cityscape, the film is drained of colour both visually and thematically. The characters drift from scene to scene and the direction is also initially stark. There is little love or emotion, with the possible exception of the relationship between the enigmatic child and his journalist mother. But this is intentional. Throughout the film, the audience is told little and the shocks few and far between exist; only appearing in the Scream-esque opening sequence.

What makes this film so different is its sense of foreboding and stillness. The threat increases slowly throughout and the last 15 minutes are truly exceptional. Forget the Hollywood remake, which is effective if flawed- this is the real deal. Ringu, is not perfect, and sometimes is too slow and static for the subject matter, but no matter. This is a film that scares you, not so much while you are watching it, but afterward. It stays with you way after you see it giving many a sleepless night.

Along with The Blair Witch Project- the most astonishing and disturbing horror film of the 90s.

Ginger Snaps (2000)

Different but ultimately a failiure

[17 June 2003]

Ginger Snaps in an interesting movie in the sense it came out of nowhere, has taking roost in a "dead" genre, has achieved a small cult-like fanbase whilst being relatively unheard of and unheralded and is also is decidedely awful. And breathe. It also steals so many elements from other sources (Carrie, An American Wereworlf in London, The Craft) that you have to have respect its audacity.

Based on the effect it has on two sisters, the film is about a deadly werewolf virus spread by, um, a werewolf in small-town America. The sisters are death obsessives, and in a truly bizarre sequence- show slides of themselves in various staged deaths in a class presentation. What makes this film so interesting is the graphic depiction and discussion of the problems girls get when becoming women being compared to the transformation of people into monsters. Issues of conformism and femininity are raised and dropped frequently also.

With all these Carrie and teen movie-isms being paraded and subsequently blown apart, you do wonder for the writer and director's sanity. And this comes from a fan of David Lynch. The film veers between the po-faced to the inadvertantly funny frequently and whatever humour the film is trying to show is often completely inappropriate to the content of the scene. The horror of the film feels forced and false as the director decides to show gore rather than pyschological thrills.

Ginger Snaps sure is a curiosity. However, this comes from the fact the film is so overblown in some departments (mainly thematically) and underdone in others (i.e. horror). In the end, this humble reviewer did not know what to think. It is memorable, and like the characters striving to be different however it comes across as a total mess. This is car-crash cinema at its most bizarre- you hate yourself for watching it but you still do anyway.

And, to think there is going to be both a sequel and a prequel to this monstrosity...

Full Metal Jacket (1987)

Important but flawed war film

[17 June 2003]

One of Kubrick's last films, Full Metal Jacket is revelatory and frustrating in its look at the much discussed Vietnam war. After such landmarks of war film making such as Apocalypse Now, Platoon and The Deer Hunter all discussing the vietnam war, it begs the question, ten years after the war, do we need another anti-'Nam movie? On the face of it, the answer is a resounding no, and therefore I went into the film with a certain amount of cynicism.

Full Metal Jacket tells the story of Private "Joker" Davis (played by Matthew Modine)through his training to become a "killing machine" through to the heat of combat. Originally wanting to become a reporter on the action in the war, Joker gets involved with a batallion leading to almost heartbreaking consequences. There is a famous two-part structure to this film; the first part being set at a training facility and the second part in Vietnam. This simplicity that Kubrick employs allows greater character development as the viewer's attention is diverted from getting to grips with a narrative (due to its simplicity) and therefore concentrates on the people. In this respect, it is similar to Platoon, as an everyman's view of the war. However the film is far more thematicallt complex from Oliver Stone's movie due to the more ambiguous shades of good/evil, light/dark throughout the piece.

The first part of the film is dominated by R.Lee Emery's foul-mouthed drill instructor giving Kubrick some intensity to play with. Therefore the first section of the movie works brilliantly as the director heaps on satire, humanity and terror. This is helped by Emery's fantastic performance. The second part of the film loses focus but is still strong. The problem with this half is that the two strongest characters (Pyle and Emery's character) do not appear here and thus the film feels formulaic. However the last ten minutes make up for it, with a showdown that rivals Apocalypse Now's final stretch.

Kubrick's penultimate movie is not perfect- it drags in the second half, feels a little cliched and unfocused in tone. However it is a film that should be watched- if only because it is brave enough to criticise not just the war but the people in it, too.

Eraserhead (1977)

Odd, opaque, outstanding

[17 June 2003]

Long before the coffee and cherry pie approach of Twin Peaks, the controversy of Blue Velvet or even the life and times of John Merrick came Eraserhead. An afterthought of the hippy era, a reflection on parenthood or the strangest nervous breakdown ever to be recorded on celluloid, Eraserhead could be all of these and possibly, none of them. So is the Lynchian nightmare.

Shot in stark black and white, Eraserhead focuses on Henry (Jack Nance) who lives alone in an empty industrial estate with only his fantasies of a woman living in his radiator to keep him company. Recently discovering his girlfriend has given birth, Henry becomes more unhappy and introverted. Posing many questions concerning tolerance, loneliness and of course, parenthood, Eraserhead is certainly one which film students could spend sleepless nights puzzling over. However anybody can "enjoy" it, if they approach it with an open mind.

Like Blue Velevet, Lynch uses a relatively simple narrative to communicate his themes and ideas. The viewer is presented with many, slightly uncomfortable scenarios and images which could be either social commentary or a confession of a troubled mind (Lynch or Henry). The lack of dialogue makes the film even more startling as does the lack of interaction Henry experiences between other people giving an impression of extreme melancholy. Nance is wonderfully distant as the central character and is given a truly spectacular hairstyle as a reward for his performance.

If you are expecting The Straight Story or even The Elephant Man, you should stay away. Eraserhead is disturbing, challenging and hugely rewarding. Superb.

Ripley's Game (2002)

Ripley's Game is one worth playing

[12 June 2003]

Sociopaths rejoice, because the talented Mr. Ripley is back. This time, John Malkovich takes the reins as America's most debonair serial killer- a mix between Hannibal Lecter and Anne Robinson. Well, kind of.

Ripley's Game tells the story of Jonathan Trevanny (Dougray Scott), a framer who is forced into a murderous, political underworld when Ripley (Malkovich) headhunts him at a grotesque dinner party. However it really isn't all that simple (when is it ever that simple) as Jonathan suffers from a strain of terminal leukemia. So is he in it for the money or is there some kind of weird, alternative motive for his acceptance of the hitman jobs?

The first thing to note, is that Malkovich makes a superb Ripley. He convinces and then some, giving one of the best performances of his career which will no doubt be overlooked by the masses (of filmgoers and of critics). His pragmatic menace makes the audience sympathise entirely with what happens to him throughout the film. However, the only decent support he gets is from Ray Winstone, as his foul-mouthed accomplice, Reeves. Dougray Scott is a little weak and both the female characters in the film, feel underwritten. This detracts from any potential character insights that could have been made between the leads and their love interests.

Liliana Cavani's direction is slightly bland as is the cinematography, which detract from a good script and excellent central perfomance. The film lacks the style and sophistication so needed for the piece and while everything is handled well, I felt that improvements could have been made.

However this film still has a lot going for it. The story is strong and there are moments of almost unbearable tension. There are several inspired setpieces and the film's location is sublime. It is not a perfect thriller, but one certainly worth your money.It is also, like the main character, criminally underrated and overlooked.

Donnie Darko (2001)

Spoiler free review of a great film

[3 June 2003]

Donnie Darko is a high school student who, one day almost randomly, is visited by a giant rabbit called Frank. Frank tells Donnie that the world is going to end in just a little over twenty-eight days. Then Donnie returns to his normal life…

But the question is, is Donnie Darko little more than another David Lynch wannabe or is it something more profound? Well, initial impressions of the film suggest that this is no more than gimmicky, philosophical posturing (something many people accuse the Matrix movies of being). However if you did deeper as a viewer, bountiful rewards await as Donnie Darko (like the character itself) has more to it than meets the eye.

After the slightly detached opening sequence, the first thing that strikes you about the film is Jake Gylenhaal. Even at the film's most conventional (i.e. the dinner table scene near the beginning of the film) he practically leaps off the screen and envelopes you whole with his movie star cred. Forget Colin Farrell (well, maybe) but Jake is the real deal. He brings an arrogance and a vulnerability to Donnie which is never short of touching. He has good support too. Patrick Swayze is the epitome of superficiality as the self-help guru while Drew Barrymore pulls a superior version of her usual doe-eyed performance.

Also, something else interesting to note about the film is the use of music. The opening uses music quite efficiently in encapsulating Donnie's character but it's the penultimate scene in the film with the Tears for Fears song `Mad World' that surprises you the most. That scene rates amongst the most heartbreaking of any modern film. I will stop myself there, because I want you to discover it for yourself.

If the film did have a flaw, t would be that it often feels like the debut movie it is. Its not that Richard Kelly's writing or direction is pretentious or dull- it just seems a little precious at times. There are some striking elements of the film (like Donnie's form of `real' spirituality versus Swayze's fake version) that scream `film school graduate' due to their simplicity- which does slightly mar an otherwise exceptional piece of work.

Not quite the ground-breaker it would like to think it is, Donnie Darko is still one of the most captivating, soulful, ambiguous and thought-provoking (and possibly one of the best??) films of the last few years. And for that, Mr. Kelly- I salute you

Brazil (1985)

Astounding stuff

[9/10 · 3 June 2003]

Under the influence, influenced and influential- Brazil is both familiar and completely different to anything you have seen at the same time. Terry Gilliam's 1980s masterpiece has rarely been rivalled in terms of science fiction filmmaking and will probably remain a template for all science fiction films to come.

It tells the story of a bureaucrat (played by Jonathan Pryce) who obsesses about a mysterious woman in his dreams. He is then offered a promotion, which would allow him access to information allowing him to find this woman. However he has carved out a niche in his current job and suffers from having a clingy boss (played by Ian Holm). His decision whether to take the job is influence by a strange set of events leading from the breaking down of his air conditioning in his apartment. This summary doesn't even begin to describe Brazil's plot- one of the many beauties of the film.

Terry Gilliam's vision of a dystopian `future' is at once disgustingly funny and chilling to the bone. The brief opening sequence, culminating with a television set exploding sets the satirical, slightly anarchic tone and Gilliam follows this through with some remarkable set pieces, including a running joke about botched plastic surgery. The dream sequences are a tad dated but work efficiently, as does Pryce's amusing wake-up routine.

The acting, here is exemplary. Pryce gives a superb performance as the troubled lead, and able support comes from Ian Holm, Kim Greist and Robert De Niro in a small role as a subversive handyman. However the standout is Michael Palin who plays Pryce's friend- one with a dark secret (revealed towards the end of the film in typically macabre fashion by Gilliam). His performance is wonderfully measured giving the right balance between threat and comedy.

More eccentric than Blade Runner, more fun than Minority Report and with more depth than the Fifth Element, Brazil is a stunning piece of cinema.

Memento (2000)

Modern classic

[10/10 · 30 May 2003]

Picture the scene. You wake up with no memory of where you are, what you have done last or who you can trust. The last memory you have is of your wife being raped and stabbed by a mysterious man. This is the interesting premise for Memento, the first truly great film of the 21st century.

The film opens with Lenny, holding a Polaroid of a dead man- the person Lenny has just shot for the murder of his wife. The film works backwards from this point giving the audience the discovery of finding out how he got to that conclusion. This unusual narrative device both emulates Lenny's sense of confusion and challenges the audience simultaneously. While the audience is thinking, director Christopher Nolan throws complex ideas at the audience about death, memory and unfailing commitment, which both reflect and contrast with the main character's experiences. By the time the viewer reaches the `beginning' of Lenny's tale we feel mentally drained. Nolan exploits this by throwing up one of the darkest twists in recent memory.

Guy Pearce is revelatory as Leonard and instantly exudes an air of charm, desperation and menace to the character. Excellent support comes from Joe Pantoliano and Carrie Ann Moss shocks you to the core as the enigmatic Natalie- easily her best performance on screen to date. The acting is combined with the simple but haunting soundtrack to create a sense of real depth and emotion thrillers rarely provoke.

A shocking tale of love, murder and memory loss Memento becomes a classic due to its stunning performances, soundtrack and direction. Flawless.

The Game (1997)

A flawed masterpiece

[30 May 2003]

In The Game, Michael Douglas plays a middle-aged, lonely and slightly bored executive. His brother, Sean Penn gives him a token for the ultimate game experience- not just real-time here folks. Beginning with a bizarre clown and ending with a lot of unanswered questions, The Game is certainly a film that you will be talking about for a long time after the slightly suspect conclusion.

David Fincher creates a tension-saturated thriller here. The murky visuals of The Game experience and the heady visuals of the Clockwork Orange-like introduction sequence to Douglas' game are striking. Sean Penn gives an excellent, if slightly too eager performance as the brother and Deborah Unger leaves a significant impression as the shady Christine. The film excels from the moment Douglas enters the game's headquarters until about five minutes from the end.

This is where the film fails. The joy of a film like this is in receiving a fantastic payoff but this conclusion is far from satisfying. The nature of `the game' is more-or-less revealed at the end, which is fine. However when you realise what has happened it more-or-less spoils the film. The beginning of the movie verges on the dull too, where we are treated to lots of brooding shots of Douglas thinking about his long lost father.

However, ignore the ending and experience the ride there. In this respect, this film is pretty much the best thriller of the 90s.