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2046 (2004)
The bookend to "In the Mood for Love"
Some will undoubtedly consider this film a tarnished and shallow sequel to Wong's classic "In the Mood for Love." The film clearly exhibits a harsher, grittier reality. While Christopher Doyle's cinematography remains arresting, the overall ambiance of the film is much less dreamlike, and seems intentionally shabbier. The characters lack the grace and internal fortitude of the earlier Mr. Chow and Mrs. Su, instead appearing alternately sleazy and callous with occasional flashes of kindness that still reflect barely-concealed weakness and self-absorption. Many more loose ends are left unattended to upon the film's completion, yet several scenes seem irrationally long and slow.
However, 2046 presents a compelling counterpoint to "In the Mood"'s languorous and graceful portrait of characters hiding substantial sadness and sexual tension beneath placid exteriors. In 2046, the primary characters pursue hedonistic pleasures with careless abandon. In a stark contrast to Su LiZhen, everything is out in the open for Bai Ling, both physically and emotionally; yet Chow remains paralyzed, though by choice rather than fear.
The overall effect is of a character who has irrevocably lost any true sense of romanticism when it comes to himself, and has instead determined to use his emotional invulnerability in a calculated fashion as a consummate Ladies' Man. In Chow's world, it is as if a veil of mystery has been ripped from the fabric of life, revealing a grittier and more sordid reality than he was previously willing to accept. Accordingly, the Chow of 2046 is a different character than the Chow of "In the Mood," though he purports to be the same.
Is the film comparable in quality to "In the Mood?" Perhaps not. Yet many of the "flaws" in 2046 appear to be, in part, intentional. 2046 seems designed to make the point that life is a dirtier and harsher place which, while punctuated by emotional crescendos such as those explored in the earlier film, cannot sustain them.
The Gift (2000)
loose ends and predictability
Spoiler Alert Another case of a superstar cast used to prop up writing that is loose at best. To the actors' credit, the characters as portrayed are three-dimensional and believable, for the most part. Unfortunately, several loose ends and unlikely occurrences hamstring the film. Cate Blanchett's character, whom we are to believe is a strong and independent woman fiercely protective of her children, fails to contact the authorities after twice being assaulted by Keanu Reeves, once with a multitude of witnesses. When she finally does call the police, she fails to bring up the attacks in support of her charges of breaking and entering. In fact, during the entire trial of Barksdale the issue never arises. The plot "twist" is also unfortunately predictable. I suppose this is a case of pandering to the lowest common denominator of filmgoers; how many movies are there based on the premise "you thought he was the good guy--but he's really the bad guy!" Finally, has it occurred to anyone that when Greg Kinnear goes off to the big house, Donnie will probably be released? And that he probably isn't going to be too happy with Blanchett (now without her protector, Ribisi)? This is a loose end that really ought to have been tied up.