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Thriller/Suspense

Constant Gardener, The

dir: Fernando Meirelles
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A diplomat’s wife is raped and murdered. The diplomat is given an explanation, which seems entirely plausible, considering his wife and where it happens. He doesn’t believe it, though, and neither do we.

No, this isn’t a film about White People in Trouble in Dark Places. This isn’t a culture clash about the first world versus the developing world. It is a film about a quiet and harmless bureaucrat who wants to find out who his wife was, and wants to understand how and why she died.

Of course then it does become the Little Guy versus The Man, but any story of this nature needs someone we care about (our Hero) versus someone who doesn’t like them very much (the Baddies). This is a simplistic but believable take on what a spy / government thriller could be like in the real world we live in beyond the cinema screen. This world, this hallowed world with its constant conflicts of interest and its negation of the worth of human life, especially amongst those whose standard of living doesn’t match our own. Also, they look different from us and are therefore kinda funny.

There is always the risk of something like this being preachy, or looking like a begging charity ad headed by some well-fed and well-groomed actors, using their Compassion face, telling us ‘Every three seconds, a child dies in Africa. You can make a difference.’

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Bourne Supremacy, The

dir: Paul Greengrass
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Finally, a film made by crack addicted monkeys with ADD for crack addicted monkeys with ADD! Be careful. You could go into this film without any recognisable neurological condition, and come out of it having contracted the epilepsy shared by the director and editor of this here film, The Bourne Supremacy. Kinda like the manner in which watching Disney films eventually leads to diabetes. And, let's face it, arse cancer.

It's true I tell you. The Bourne Supremacy is the apotheosis, the crowning pinnacle of the cinematic movement that now graces our screens with spastic creations that possess nothing but momentum. You
don't so much watch these movies, in my case, as endure them. The editing here would fill the people responsible for Moulin Rouge with jealousy and murderous rage. For the majority of the movie's running
time, few shots actually went for more than 3 to 8 seconds. There were a handful of scenes that may have gone for 15 seconds, but they were in the distinct minority.

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Oldboy

dir: Chan-wook Park
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What a wonderfully keen film this is that no-one will get to see. I mean honestly: who goes to see Korean films at the cinema? They’re hardly hot ticket items.

You don’t see people selling their own or someone else’s organs or offering oral favours for the honour of getting to see a Korean film, good or otherwise. Maven of the multiplexes that I am, doyen of the drive-in, still I can honestly count the amount of Korean films that I’ve seen on one hand.

People generally say that and it’s hyperbole, but I actually mean that I’ve only ever seen five Korean films in my life: Bichunmoo (which was fairly mediocre), Musa the Warrior, (which was beyond mediocre), Volcano High (which I love, despite its abject madness), The Isle (which has one of the nastiest scenes I’ve ever seen in any film or in real life) and Oldboy. Without a doubt Oldboy is the absolute greatest movie I’ve ever seen. From Korea, that is.

I don’t know enough about Korean culture to understand their cinema, which is to say that the way I generally get to ‘know’ about a culture is from their cinema, and if I haven’t seen enough of a culture’s films then I tend to know fuck-all about their people.

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In The Cut

dir: Jane Campion
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In the Cut is a perfect example of a cinematic bait-and-switch. It pretends to be a conventional murder mystery / thriller, but is something somewhat more complex. It’s a pretty fucking bleak film, with oddles and oddles of subtext, overt text and enough tricks in the cinematography department for fifteen other films. It deliberately and with malice aforethought subverts the generally misogynist slasher genre, dulling it down, taking the scares and the suspense out of it, for the purpose of representing something darker and uglier than just shocking and gruesome death.

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Red Dragon

dir: Brett Ratner
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I would never have believed that Brett Ratner, director of such classy fair as some of Mariah Carey's film clips and Rush Hour 2 would be capable of making a decent film. I guess films like this go against the auteur theory of film making, either that or he deserves more credit than I am capable of giving him.

It's weird. The film works, amazingly enough. It's not Battleship Potemkin, don't get me wrong, but it is not the mess that I expected. What can be said with a comfortable level of certainty is that Ratner achieved something that Ridley Scott, for all his pretensions of being a first rank director, could not: he manages to make the whole serial killer thing work again, and somehow compelled Anthony Hopkins to actually act. Like he gets paid to.

My hatred of that farce masquerading as a film known as Hannibal is well known, If it isn't, it should be. I proudly aligned myself with the masses last year in declaring it one of the most truly stupid and mishandled films ever made. I can count at least fifteen levels upon which Hannibal failed, and with a somewhat slightly less passionate zeal I can comfortably assert that in my anything but humble opinion, Red Dragon gets it right.

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Insomnia

dir: Christopher Nolan
[img_assist|nid=1029|title=So very sleepy|desc=|link=none|align=right|width=450|height=450]
Well, who wasn't going to be disappointed by Nolan's follow up to Memento? Nolan had the profoundly unenviable task of moving on from one of the most critically celebrated films of the last bunch of years, and delivered a film that many would find unsatisfactory simply due to its conventionality, solely in comparison. Despite this, he has managed to deliver a decent film, again, showing that he is a quality director, and that he's not just a one-trick pony.

Many refer to the central conceit of Memento, being the non-linear format, as a gimmick, almost as if it was a flaw. They mean it as a pejorative term. That's fine and dandy, but without it, instead of being a brilliant film with a sad, occasionally affecting story, it would have been an unworkable yet mundane revenge 'thriller' with a joyously happy ending. Perhaps he should have also taken out the main character's progressive amnesia / Korsakov's syndrome out as well just to make it extra simple for the test audience demographics that he never screened it to.

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Panic Room

dir: David Fincher
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There's no disputing that this is a technically adept film. There is also no denying the irony that whilst being one of David Fincher's most successful movies at the box office, it is also one of his most uninvolving pictures to date. I have pretty high expectations when it comes to the guy.

In a recent interview in Sunday's Age, Fincher draws a distinction between the 'films' and the 'movies' he makes. His 'films' so far have been Se7en and Fight Club, his movies, in his own words, would therefore be Alien 3, The Game and now Panic Room. He loosely defined (or I am sporadically paraphrasing him in such a way as to further my own flimsy argument) movies as being made solely for an audience, whereas 'films' are where a director has greater leeway, and creates the picture for himself/herself as much as for an audience.

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