Drama

Mystic River

dir: Clint Eastwood
[img_assist|nid=1014|title=Two guys, hanging out, contemplating murder|desc=|link=none|align=right|width=449|height=310]
Such a film growing up in the shadow of Mystic Pizza necessarily must
have a hard furrow to plow.

Even in paying for my ticket at the cinema I inadvertently asked for a
ticket to Mystic Pizza. It's a film and a title hard to eradicate from
one's mind. Who can forget the horse toothed caterpillar eye-browed
Julia Roberts playing the town slut? Lili Taylor playing the same
character she's played in practically every film she's ever been in?
Vincent D'Onofrio not playing a psychopath for once? There's a lot to
recommend it. You could only hope and pray that Mystic River, clearly
trying to capitalise on its successful forbearer with the similarity
of its title, can match its artistic and commercial success.

Yeah, okay, there is no connection between the two films. Old Clint
would probably have drawn either a Colt Peacemaker or a Magnum and
shot the television if he was caught watching something as girly as
Mystic Pizza. Instead he's made a film that somewhat parallels his
earlier masterpiece Unforgiven and exists as this year's In the
Bedroom.

Rating: 
5 stars

Elephant

dir: Gus Van Sant
[img_assist|nid=1008|title=This world was never meant for one as awful as you|desc=|link=none|align=right|width=360|height=240]
Some people walk around. The camera follows them as they slowly amble about. They meet people, or they walk past other people who are doing stuff or doing nothing. If they get to a destination, they do something inherently banal there, and the camera captures every scintillating second of it. Every now and then, there is a time lapse shot of a sky slowly darkening, or an approaching storm.

More shots of people walking around. Banal conversations. All of this action is centered around a school. We are given people's names as the camera follows them about. Each person seems to be given a 'story',
but nothing they say or do expands our knowledge of either what's going on or what's going to happen. They're not characters, or caricatures. They're just people. Doing not much of anything. After a while, you get to see the same situations repeated from other people's point of view.

In such a context, you could say that Gus Van Sant has made a meditative film, in the sense that we are given a lot of time to think about what's going on. Nothing is really rushed, and except for the crucial element of what the central 'event' is, you eventually give up waiting for something to happen, and just wonder how much more the film can ramble.

Rating: 
6 stars

Shattered Glass

dir: Billy Ray
[img_assist|nid=996|title=Yes, I am mad at you, you lying hack|desc=|link=none|align=right|width=300|height=364]
When you hear about the plot of a movie focussing solely on the exploits of a journalist, you immediately think that it would have to be a rip-roaring extravaganza to match the likes of All the President’s Men, or Michael Mann’s The Insider. How else could one justify devoting all that time, money and celluloid to a profession big on typing and drinking? It doesn’t immediately lend itself to the action formula until they leave the office and start getting involved in gun fights and car chases.

As well, anyone who knows even the least amount about the notorious Stephen Glass whose rise and fall is charted in this film knows that the idea of devoting a film to his exploits isn’t meant in a complimentary fashion. It’s not meant as praise, or to lionise him for his good works for the ages. In fact it’s the magnitude of his ‘crimes’ that seemingly justifies such a study of events as they came to pass.

And what is his crime, ultimately? Did he molest children, sell secrets to the Russians, murder his mum or punch an umpire in the face? Of course not, though with a sociopath like Glass anything’s possible. Instead, he committed the gravest sin a journalist can ever consider: he made stuff up in his articles and then lied about it.

Rating: 
8 stars

House of Sand and Fog

dir: Vadim Perelman
[img_assist|nid=998|title=Bleak House|desc=|link=none|align=right|width=420|height=595]
Films with House in the title usually suck. Not only do they suck, but they generally suck very badly. I mentioned this recently in a review of House of 1000 Corpses, one of the dumbest movies to have the word in its title. If you think I’m lying, then allow me to retort: House Party, House on Haunted Hill (the remake), House, Houseguest, Life as a House, Cider House Rules, House of the Dead and who can forget (despite trying repeatedly) Big Momma’s House?

House of Sand and Fog is truly one of the better films with house in its title, but as I’ve shown that’s not saying much. This is an agonising emotional train-wreck of a movie that despite being in slow motion has none of its impact lessened, if anything it makes it even sadder. The characters feel like actual characters, and not caricatures, and are all flawed in their own ways. Perhaps it’s because of those flaws that they seem like real people. Far more attention is paid to issues of character than to plot, which makes for better drama but not necessarily ‘enjoyable’ viewing.

Rating: 
7 stars

Barbarian Invasions, The

(Les Invasions Barbares)
dir: Denys Arcand
[img_assist|nid=994|title=Bloody barbarians and their barbaric ways|desc=|link=none|align=right|width=450|height=338]
Death is the one universal human experience. I know people usually use
the combination phrase "death and taxes", but I know plenty of people
who have never paid a cent of tax in their entire lives. That includes
both social security slackers and the kind of wealthy fuckers that
could buy and sell your cheap arse. All the same, I can be sure that
they, like everyone else, one day will die. Unless they pay someone
else to do it for them. That fact is something we, depending on our
age and where we are in life, either try to desperately ignore or
embrace.

Rating: 
8 stars

Dreamers, The

dir: Bernardo Bertolucci
[img_assist|nid=115|title=Un Pie American, Bertolucci style|desc=|link=none|align=right|width=300|height=200]
Sure, Bernardo Bertolucci is an acclaimed director. But like every acclaimed director, he has a bunch of stinkers to his credit as well. In such a case, you greet the release of one of his new films thinking less "Great! Another film from a cinematic master!" and more "what have you done for me lately, prick?" And since my answer to him on that topic is "not much, chuckles", it's understandable that I'd have some trepidation walking into this film.

Also curiousity. I haven't liked a Bertolucci film since The Last Emperor. It's not that I've been avoiding his work, I haven't (much to my regret). It's just the only emotions that the films in between then and now inspire in me are boredom or downright irritation. In fact, I would go so far as to say that I outright hated Besieged, Stealing Beauty, Little Buddha and especially The Sheltering Sky. In fact I would go so far as to say my greatest difficulty is in deciding which of those four I hate the most, because they all anger me on different levels and for different reasons.

Rating: 
6 stars

Raising Victor Vargas

dir: Peter Sollett
[img_assist|nid=1061|title=On the make|desc=|link=none|align=right|width=371|height=419]
Raising Victor Vargas is an oddity and an anachronism in this day and age: it is a sweet, enjoyable film about teenagers which looks at the daily concerns of their urban lives as well as but not confined to looking at the complications that arise due to their burgeoning sexuality. But it does it without descending into idiocy, and remains honest and ‘truthful’ throughout.

Uh oh. Red flags go up immediately. No, this is neither the kind of film Larry Clark (of Kids, Bully and Ken Park fame) makes to masturbate over, nor is it the banal Porky’s wannabe that the American Pie trio of movies aspired to be (when they didn’t devolve into mawkish sentimentality). It’s a naturalistic (as ‘naturalistic’ as any film can be, without being a documentary) look at some people’s lives on the Lower East Side in Manhattan. The people the story focuses on are naturally welfare/working class Hispanic Americans, living in government housing.

Rating: 
7 stars

Whale Rider

dir: Niki Caro
[img_assist|nid=1066|title=Whales. Maoris. Hilarity ensues.|desc=|link=none|align=right|width=350|height=515]
Whale Rider is certainly a touching, sweet film, but people shouldn’t make the mistake of thinking that it’s a children’s movie. It is a story of far greater complexity and depth than what one comes to expect from films that seem to be aimed at the kiddie market.

It’s clear, at least to me that there is much more going on here. As well, dismissing it as a glib post-feminist treatise about how wonderful girl power is would be doing the film a disservice, and would denigrate the work all the people involved put into crafting this little gem of a film. It is not a masterpiece by any estimation. It is however a sweet film about a little girl finding her destiny and teaching an old man that the links between the past, present and future can be strongest in the places we are least able to see.

Rating: 
8 stars

21 Grams

dir: Alejandro Gonzalez Inarritu
[img_assist|nid=1037|title=Let's overact together, shall we?|desc=|link=none|align=right|width=449|height=406]
Poetically, romantically, the human soul is said to weigh 21 grams. This is based on experiments inaccurately carried out long ago which claimed that upon death a person would instantly lose 21 grams of weight, thus the departure of the soul must be responsible for the change. Of course it has no basis in reality. But the central question still remains: whether the body loses 21 grams or not upon death, how much do we lose when those we love die? How much do they lose when we die? When we take a life, save a life, how much is gained? How much is lost? This film seems to indicate that at the very least it's something more than 21 grams.

Director Alejandro Gonzalez Innaritu is two for two. After his most excellent debut with Amores Perros, along with writing partner Guillermo Arriaga he again delivers a compelling, emotional and thoughtful film which packs an emotional punch without resorting to cheap tricks or manipulation. Whilst most will focus on the disjointed chronology with which the story is portrayed through the complicated editing, at its core the film deals with powerful moments in these character's lives which rarely if ever overstep the bounds of genuine drama into kitchen-sink melodrama. The film achieves pathos without bathos, which is a glib way of saying that it's a damn fine film.

Rating: 
8 stars

Adaptation

Adaptation

Some days it's hard not to feel exactly like that

dir: Spike Jonze

2002

This is one of the best films from last year that practically no-one is going to bother seeing, I can just feel it. It probably has one of the least marketable premises of any film I can think of in recent memory, and doesn't exactly scream 'rollercoaster ride of thrills and spills' for your $13.50

It is still in my anything but humble opinion one of the best films of 2002, and Nicolas Cage manages to surprise me heartily by delivering two sterling performances, when I expected nothing from the man. Nothing at all. His last bunch of films have been dogs, so I had begun mourning the talent that Cage used to possess. And what does the fucker do? He delivers his best performance in over a decade.

Rating: 
8 stars

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