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Thriller/Suspense

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
[img_assist|nid=1035|title=Ralph Fiennes never looked so cute|desc=|link=none|align=right|width=271|height=288]
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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