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Flesh+Blood (1985)
Not your grandma's historical romance flick
Reviewed by Filmmining 101:
Split into two halves, the kinda adventurous spirit of the first part is replaced by a fun albeit nastier segment involving a siege that does not shy away from a few uncomfortable ideas. However, the final product bears a feeling of external intervention. While Verhoeven wanted to focus on Martin's and Steven's relationship which context wise is far more interesting, producers insisted to introduce a traditional for this genre romance, something strongly felt as shoehorned across a two hour running time since the film's proceedings lean towards Jennifer Jason Leigh's character and her (subtle) fight for survival. It might invoke the wrath of feminists for the role of women back then, but seeing this film through presentistic eyes only waters down history and its relentlessly cruel aspects.
The absence of a capable and most importantly, likeable hero makes things even worse for those used to mythological fables of good vs evil. Rutger Hauer leads a strong cast making his Martin relatable enough until well he is not, bringing lots of charm to a rather thankless role (Hauer hated his character). He plays opposite Tom Burlingson's champion of justice who is not that different from his nemesis too looking like a mini version of Emilio Estevez. Yet, the film belongs to an extremely young Jennifer Jason Leigh shining through scenes that other actress would not even dare to poke with a mile long stick, her highborn "princess" not the sweet, loving My Lady you would expect.
Perhaps described as an earlier version of "Game of Thrones" (2011-2019) way before the latter cemented into the pop culture pantheon, "Flesh and Blood" is a full on adult ride under an advantageous re-evaluation. The production design brings to life little details and hints of that era - from the blind faith to God to shifting alliances in the nick of time - all through physical locations and not glorified sets. Like any of the Dutch director's cinematic outputs, there is nudity and violence under a smart commentary about the man's not-different-from-a-beast nature. If you have the stomach and patient to endure this, then why not.
Samsara (2023)
An experience like no other
Reviewed by Filmmining 101:
Not to be confused with Ron Fricke's follow up to his "Baraka" (1992) masterpiece in 2011, Lois Patino's film is an entire different beast altogether. Despite some misleading in the broader sense posters, you really think that you will be immersing yourself into an experimental documentary willing to discuss the circle of life and death through captivating pictures in crystal clear definition.
And you will be wrong. Patino's movie is a rather slow and lyrical representation of rebirth held together by flimsy story threads which do not take the viewer by the hand to wholeheartedly explain or water down the experience. Instead, the dialogues are laconic, minimalistic and scarce throughout a two hour running time enough to span two continents and two wildly different countries populated by common spiritual (not religious) elements that unfortunately in the developed world today are being ignored for shoehorned and superficial socio-political messages under the power of individualism.
"Samsara" might be slow for inpatient viewers - perhaps too slow - with Patino's camera panning lethargically 360s to showcase either a class full of Buddhist monks or a Zanzibarian beach. For others, this could be an excuse to delay a bit our swirling and overwhelming emotions in favour of meditative shots bursting with a wide and lively array of Nature's soothing sounds. The exquisite sound design heavily leans on the latter and less on the nominal dialogue to provide an audio catharsis; those seeking something more than a film will find this approach quite rewarding.
Nevertheless, discussing "Samsara" more would spoil an intriguing and unexpecting surprise that feels like your own personal journey through its poignant story of death and rebirth. Allowing each audience member to contemplate such notions which we tend to ignore these days, a 20 (give or take) minute segment is certain to invoke individual sentiments that potentially have not been felt for a long, long time due to our narcoleptic way of living; a goat represents a powerful metaphor in a world where constant behavioural and even physical perfection is sought by the majority to make room for pointless and hedonistic satisfaction.
"Samsara" should be included in educational curriculum to teach upcoming generations humility, stoicism and above all, savouring the wonderful thing that is life. More of an experience and less than a fully fledged film, Patino makes a bold yet uncompromising and eloquent statement deserving not only your curiosity but your attention too.
The First Omen (2024)
Mostly good prequel of a classic 70s film
Reviewed by Filmmining 101:
"The Omen" in 1976 captured perfectly the satanic paranoia zeitgeist of the US in one fell scoop. But like any great script, it quickly became a so-so movie series which by 2006 had only to offer an inevitable and failed remake due to its banal execution and copy pasting the source material.
Eighteen years later, director and co-writer Arkasha Stevenson's first feature film "The First Omen" takes unexpectedly the prequel approach leading to an uphill battle involving critics, audiences and the original's fans. With the outcome of the supernatural horror story already known, Stevenson and the writing duo of Tim Smith and Keith Thomas have to make our pre-Damian trip to Rome worthwhile and not just focusing on sightseeing. Their demonic path is mostly well laid out featuring somewhat 2-D characters even if they really run in the middle of every single hell-ish cliche you can think of; shadowy figures, abandoned rooms, dodgy nuns, whispers, otherworldly visions and theocratic conspiracies all converge towards the anticipated finale that will pave the way for "The Omen".
Clearly a product of its time (i.e., post #MeToo era), there are some heavy handed themes of emancipation, anti-patriarchy and on the nose metaphors for abortion which will either make or break the film. Considering it takes place in 1971, this presentism view of Rome (complete with a diverse background cast (!) especially at a disco bar) occasionally does not make sense as way too modern ideas and dialogue are inserted towards a time and a place where Catholicism is as important to Italians as it is water to a person crossing a desert. As we head towards the appropriately fiery finale, "The First Omen" has to bow down to boring genre rules although its key message that touches sequel bait territory about (spoiler alert) preferring to give the middle finger to the Antichrist because he is a male is baffling considering we will have an upcoming apocalypse.
Bypassing these conflicting notions, Arkasha does a remarkable job at recreating the supernatural horror 70s aesthetic just like James Wan did in "The Conjuring" (2013) showcasing Rome as a very unfriendly place indeed while simultaneously paying witty homage to Richard Donner's work from the original. Taking cues from every successful horror flick of the last ten years, "The First Omen" emphasizes atmosphere and interestingly, it does not shy away from shocking body horror images that push its R-rating to the max. The marvelous architecture and befittingly Christianity inspired production design add extra dread to already ominous proceedings and despite some predictable jump scares (how many times a ghost nun can be effective these days?) and a few unintentional laughs due to the main lead's line delivery, its outstandingly eerie music (candidate for best soundtrack of the year) combined with superb cinematography gives the film an unexpected panache.
The random word generator named Nell Tiger Free (Myrcella from "Game of Thrones" (2011-2019)) has an ok presence even if the dialogue's quality turns her down several times. She is doing better in the numerous boo shenanigans than in cases requiring more emotional depth; Alyssa Sutherland (e.g., "Evil Dead Rise" (2023)) or Jane Levy (e.g., "Evil Dead" (2013)) she ain't. The supporting cast though manages to solidify the protagonist sharing good dynamics in their small but effective roles. Sonia Braga (e.g., "Kiss of the Spiderwoman" (1985)) is unrecognizable (veil and all) as the iron-fist ruling head nun, Billy Nighy ... is Billy Nighy and (the stunning) Maria Caballero as Luz a solid contrast against Free's reclusive soon to be a woman of god although all three (and subsequently the movie) would have benefitted from more of their on-screen presence.
"The First Omen" strays from the horror prequel, reboot, requel and remake pack that sees the destruction of the original's legacy due a lack of creativity. This tale of satanic expansion might take away (as they always do) the mystery of a compelling story but at least, it executes it (mostly) with gusto and attempts to introduce some engrossing and original elements through an audio and visual panache which films of similar context sorely lack. It might be eventually trapped under an established mythology and become preoccupied to tick check boxes towards the end but one thing is for sure: Arkasha Stevenson has a bright future indeed.
Head On (1998)
Shallow and provocative exploration of sexuality
Reviewed by Filmmining 101:
Based on the book by Christos Chiolkas "Loaded" (1995), the film of Anna Kokkinos attempts to highlight the first generation and non-straight experience in the late 90s Melbourne. However, "Head on" is a mess of a movie plagued by its constant handwaving about every social issue you can think of: police brutality, ethnical discrimination, racial tensions, unemployment, drug and alcohol use, homosexuality, tough upbringing, and the assimilation of immigrants in modern Australia! It throws everything on the wall and sees what it sticks really much to the disappointment of an audience searching for a character or a story to relate with.
This tale is less about Ari's closeted experiences and more about his self-hating behaviour, yet at no point in time, the script gives us any information or hints as to why. What could have been a meticulous exploration of someone's identity clashing with traditional(?) family and community values becomes quickly an excuse to present (mostly) gay oral sex scenes that bear a "Showgirls" (1995) quality to them. Considering how Wong Kar-wai shook the cinematic landscape in "Happy Together" (1997) depicting a troubled relationship between two gay Chinese immigrants in Argentina(!) a year earlier, "Head On" looks like a cheap school project in comparison.
Its dated videoclip inspired aesthetic renders it a poor cousin of Danny Boyle's "Trainspotting" (1996) which clearly served as the film's inspiration for its unique visual style but Melbourne is not Glasgow and its characters had all well defined arcs and traits. Kokkinos uses hyper-saturated and dogmatic cinematography that would make Von Trier proud, fade outs, handheld camera shots and an ever present (and irritating) hybrid soundtrack of electronic, Greek folk and alt-rock songs to capture our attention, yet the effect is the polar opposite of the desirable one.
Alex Dimitriades should be commented for immersing himself into a role featuring full frontal nudity - a rarity for a straight actor - and lots of simulated sex but the lack of depth in the proceedings paints his lead as an individual who will earn no sympathy from our part. Aris treats everyone with disrespect and "Head On" justifies these acts through a self-destructive path of superficial relationships, drug and alcohol abuse and sexual deviant behaviour. You could assume we would get some insights about Ari's lifestyle choices through his social circle to understand what makes him tick as a person but Kokkinos' script does not seem keen to dig into this aspect. Even the most interesting element - Ari's friendship with a trans cousin - is stated but not even remotely examined in a plot already crumbling under numerous social threads that do not come together at the end.
The acting is also raw in places; while the older cast handle the Greek dialogical segments ok, the younger members struggle to deliver authentically their lines (filled with terrible mispronunciation and grammatical mistakes) during their emotional outbursts. The only stand out is Paul Capsis as a transwoman who brings real vulnerability in a complex-on-paper character although his lack of arc does not affect the protagonist's journey any way whatsoever.
"Head On" enforces the very dated stereotypes it tries to tackle. It might have been explosive during its release in a time when society was not willing to highlight let alone discuss issues around someone's sexual orientation, but time has not been kind to it. The "edgy" direction and uncompromising subject matter are not enough to hide the lack of a compelling lead, the subpar acting and amateur approach to the source material.
Dung fong tuk ying (1987)
Sammo Hung's best(?) film
Reviewed by Film Mining 101:
Hailed by many as Sammo Hung's best film (debatable), "Eastern Condors" was made during a time when the war and testosterone fueled cinema dominated the US big screens following the Vietnam conflict through pop culture icons (e.g., "Predator" (1987), "Rambo: First Blood Part II" (1987)) and in-depth gritty takes on the genre (e.g., Oliver Stone's "Platoon" (1986), Stanley Kubrick's "Full Metal Jacket" (1987)).
Hung pays homage not only to those aforementioned movies but also to "Dirty Dozen" (1967) type flicks featuring an ensemble team heading towards a dangerous and of course, top secret mission. A pedantic excuse for a story is being used as a vehicle to craft some outrageously dangerous stunts, plenty of mano-a-mano action, spray lots of bullets and set off numerous pyrotechnics. Technically "Eastern Condors" can be seen as a Hong Kong remake of "Rambo: First Blood Part II" only instead of Stallone, we have multiple Chinese-American convicts with the same bravado and attitude played by famous Asian stars (among them the legendary choreographers/directors Yuen Woo-ping (e.g., "Drunken Master" (1978), "The Matrix" (1999)) and Corey Yuen (e.g., "Yes, Madam" (1985), "The Transporter" (2002)) who never have to reload a gun and can kill simultaneously and instantly a dozen of opponents.
Whether this parody-leaning tactic is intentional, it remains unknown. What stays in memory is Sammo's ability to stage crystal clear action in wide shots amidst a plethora of exotic locations (Philippines posing for Vietnam). Looking more expensive and expansive than your classic Hong Kong actioner, Hung has a large sandbox to play besides staging extensive martial arts sequences and he does not disappoint by incorporating a lethal tone through surprisingly shocking and violent deaths. However, the jarring for Western audiences tonal shifts can cause a degree of discomfort disrupting a sense of dramatic stakes whereas the really abrupt ending - a typical element of 80s Hong Kong cinema, will leave you scratching your head.
The large cast is likeable yet only few manage to register some level of personality before being killed off. Thus, the majority of acting rests on the shoulders of Hung and Yuen Biao who believe it or not, is more flexible than Jackie Chan in an entertaining role which does not make any sense in the 1970s Vietnam but you are not here for realism. Credit should be given to Hung also for pushing his female co-stars to conduct their own stunts, especially the gorgeous Joyce Godenzi demonstrating equal treatment in stuntwork and contact fighting. The lack of a truly intimidating villain though is strongly felt as our heroes face endless waves of goons scene after scene and when Yuen Wah's evil communist exits the stage the moment he is introduced while Yasuaki Kurata and Dick Wei have nothing to do besides fall down.
Despite its serious tone and action overload, "Eastern Condors" still pretty much is a representation of Hong Kong's mainstream cinema. Although it does not break new ground the way Hung's "Wheels on Meals" (1984) or Chan's "Police Story" (1985) did, its well crafted sequences are its main lucrative ingredient along with a charming and appealing ensemble of Asian stars.
The 13th Warrior (1999)
Uneven and unfocused book adaptation
Reviewed by Film Mining 101:
John McTiernan's adaptation of Michael Crichton's novel "Eaters of the Dead" renamed after Crichton himself took over from the veteran action director as "The 13th Warrior", remains a bizarre historical flick. No matter how big the budget was (around $160 million dollars!), there is hardly anything on the screen that justifies the cost of this production.
At best, "The 13th Warrior" is a borderline alive action flick with some interesting elements that are never fleshed out to offer a unique cinematic experience. The marriage of East (via our protagonist) and the West (the Vikings) is underwhelming boggled down by unnecessary narration and copious amount of exposition and translation between two dimensional characters instead of allowing the events naturally to evolve. This 10th century tale of courage and heroism is stuffed with 13 characters who besides 3 or 4, have absolutely no personality whatsoever, dying faster than you could say Bandera's on-stage name. Besides Vladimir Kulich's physically imposing and polyglot Viking leader and Dennis Storhoi's chatterbox, the rest can only be dinstinguished by a Scottish accent (Tony Curran), and stoicism (Daniel Southern). Their limited interactions do not give any information about themselves or the world they live in. Attempts to enrich the material with subplots have virtually no resolution (e.g., the king's jealous son, Diane Venora's Queen, Banderas' romance) while the much anticipated climax with the root of the evil is a blink-and-you-will-miss-it moment utterly devoid of finesse and showmanship.
McTiernan seems uncertain as well (or should we say Crichton) at what to do. Neither though take any chances to display a visually stimulating production design let alone keeping track on a hard R-rating. This hybrid of historical action and horror deserved better; there are several decapitations and violent moments but they feel like afterthoughts of an extensive trimming process in the editing room. Thus, when the clashes finally happen, they are albeit very brief. For a film boasting an assemble of 13 badass Viking warriors, it is awfully disappointing. McTiernan might be employing dynamic camerawork to keep things at a fast pace, yet his second half can't match the atmosphere of the first. The reveal comes all too soon and what could have been a more Lovecraftian approach to historical aspects becomes a banal fight between two groups without a truly memorable moment and this is from the same guy who made the South American jungle n "Predator" (1987) a character itself.
Not all hope is lost though as there are things to salvage from this expensive adaptation: Jerry Goldsmith's score (a last minute replacement of the already complete and rejected work of Graeme Revell) is deliciously grandiose (and you could hear "The Mummy" (1999) inside there) displaying an audio-wise impressive canvas of symphonic sounds, the cinematography is crisp, the violence makes things more raw and the use of real sets and the rainy locations of British Columbia offer an authenticity which is sorely lacking from modern day blockbusters. The first skirmish is perhaps the most memorable and brutally chaotic moment with McTiernan managing to maintain some level of suspense while a trip towards an abandoned forest cottage gives a few chills that later on remain unmatched.
"The 13th Warrior" is not the disaster that many predicted with only a few truly knowing what the original film looked like. After all, we know how test audiences can get it very wrong (e.g., "Blade Runner" (1982), "Event Horizon" (1997)). If this could have been allowed to re-edited, there is definitely the possibility of a better movie emerging. Unfortunately, time has forgotten this costly historical action flick and as it stands now, it will do for a rainy Sunday night in.
Les Trois Mousquetaires : Milady (2023)
Middle chapter en garde!
Reviewed by FilmMining101:
The second part in the latest (French) "The Three Musketeers" adaptation begins at a breathtaking pace from exactly we were left off. Showing a (rather long) recap of the first film, this feels like the penultimate episode if you will (more on that later), where all the alliances and betrayals set up in the previous installment begin to pay off.
However, despite the production's undeniable panache, "Milady" suffers from the middle chapter syndrome focusing more on layering further confrontational blueprints instead of tidying up loose plot threads. And although it promises us more Milady, make no mistake, this is still very much D'Artagnan's motion picture. For that reason, the generous two hour epic still cannot find time for the titular three musketeers who are treated like side characters within their own movie - especially Porthos. The actual antagonists continue to remain hidden in the shadows while Comte de Rochefort disappointingly never shows up or even been mentioned (!), a choice bound to cause displeasure between avid literature fans. Nevertheless, the incorporation of a surprising arc for Vincent Cassel's Athos does keep the momentum going across two films now with appropriate dramatic gravitas elevating the stakes instead of a wishy-washy, clean cut approach to heroic antics.
As for the French-British goddess, Eva Green chews fancifully the scenery content with delicious satisfaction, her upgraded Milady de Winter has an expanded backstory and while she might not be the main lead, she is the chief antagonist/frenemy here getting a solid chunk of the action whether she is stabbing dogs or fighting viciously her way out of a burning stable under exceptional stuntwork. Constantly playing (and perhaps) gaining our sympathies, Green's Milady is a three dimensional role dressed with gorgeous costumes and this decade's best cinematic hats (and wigs).
Yet you cannot shake a feeling of "that's it?" considering the material's potential; battles are all but hinted while every time the action takes off, it stops to focus more on detective work and thus, grounding it to a halt. While it is not necessarily a bad thing, the film lacks a related crescendo that sees all forces - good and bad - convey for a final duel which will decide ultimately the fate of France. Its abrupt and cliffhanger-ending sure to bother purists of storytelling form.
Martin Bourboulon continues to indulge himself and the audience through lavish French and English locations, showcasing convincingly the novel's geo-politics and lust for war between Protestants, Catholics and all those caught in between. "Milady" ensures to be always captivating without relying on technological gimmicks to keep viewers glued on the screen; its gorgeous production design and more impressive this time around cinematography brings to life a visually fascinating era of French culture.
Blockbusters of this size are a rarity these days and the French cinema has been always delivering on the entertainment front across a variety of genres, whether these are comic book adaptations (e.g., "Asterix and Obelix: Mission Cleopatre" (2001), sci-fi art house flicks (e.g., "Immortel" (2004)) or action-buddy comedies (e.g., "Le Boulet" (2002)). However, "Milady" goes down a few notches due to being the middle chapter (apparently) toning down the spectacle in favor of a more intimate and engaging tale including a chief antagonist and an all-star French cast that breathes life to well known roles. Let us hope then this feast for the eyes will pave the way towards an inevitably grandiose conclusion.
Eurovision Song Contest: The Story of Fire Saga (2020)
Sweet, wonderful and feel good comedy
Reviewed by filmmining101:
Who could have thought a comedy (co-)written by Will Ferrell about the Eurovision song contest could have been so utterly enjoyable and sweet? "Eurovision: The Story of Fire Saga" is at its core a traditional romantic comedy without the unnecessary dramas surrounding other similar US based vehicles. A love letter to all those Europeans who adore the infamous multi-country event, "The Story of Fire Saga" focuses on an aspiring musical duo and their attempts to represent proudly Iceland. However, trouble looms ahead in the form of fellow musicians, technical shenanigans and pure (and unfair) misfortune.
It is quite refreshing to watch a romantic comedy that does not rely on neurotic antics and foul language. Instead the script leans heavily on slapstick shenanigans and one liners amidst a chaos of (on purpose) kitsch imagery (as Eurovision is all about), gorgeous Icelandic locations and spectacular costume design. Shot in Israel's Eurovision stage (posing for Edinburgh!) with a few thousands as audience members, "Fire Saga" can be long when it indulges itself in its third (and unnecessary) act, yet its honest intentions make it worth while. The story ticks all the expected boxes failing to break new ground although some nifty characterization and the absence of melodrama gives the proceedings a well-intended sincerity.
The typical trope in movies of this content would have had the duo behaving as incompetent buffoons who would eventually win every heart in close proximity due to their never-ending persistence and warmth. Contrary to popular belief though, Sigrit and Lars are far from delusional and obnoxious> Not only they are talented (i.e., they write lyrics, compose music, play several instruments, sing and craft their own costumes), they are also easily two of the sweetest cinematic individuals you will encounter post-2020s. Ferrell excels as Lars, a middle age musician who keeps pursuing his dream and while he has the disapproval from the people around him, he earns the audience's admiration due to his hard work, and passion. Ferrell sports fittingly a long hairdo and stylish clothes creating in the process an iconic (for his filmography) character surprising even the most notorious of critics in the numerous singing sequences with decent vocals.
Sigrit, the other half of Fire Saga, steals the show as a human incarnation of child-like naivety and a larger than life heart in a role missing the sarcastic sassiness and over-sexualization of empowerment. McAdams is sensational giving it all in some of the movie's funniest moments and in her bona fide chemistry with Ferrell; you really believe these two have spent all their years together whether these are day-to-day greetings (e.g., "I see you!", "Hey, I am checking you out") or heartfelt comments (e.g., "He is very good. But no one has a more perfect voice than you Sigrit"). Such moments will genuinely bring a smile on your face in an era where being earnest, genuine, vulnerable and undemanding are taken down by the grandiose scheme of social media, narcissism and victim mentality.
The supporting cast is on fire too capturing exactly the essence and the tone of Eurovision. Dan Stevens nails it as the dubious but highly entertaining Alexander Lemtov, the favorite to win Russian giving a career high performance under an authentic accent, quirky physical mannerisms and a mountain of delicious lines (e.g., "Nobody likes UK so zero points") while Melissanthi Mahut ("Assassin's Creed: Odyssey" (2018)) as the Greek entry Mita Xenakis also makes a strong impression. In a small but crucial role, James Bond himself Pierce Brosnan pulls off nicely the Icelandic fisherman charm at 66 clearly having the time of his life in similar productions (e.g., "Mamma Mia!" (2008)).
The biggest surprise though in this comedy is how slick it looks and sounds. The film does justice to the mega budgeted competition and being Ferrell's dream project it shows: from an army of Eurovision past winners and participants parading in front of the big screen and well placed easter eggs to the direction of the expertly executed musical numbers and ultra catchy tunes. This expensive homage culminates in the excellent sing-along dance number which could be considered the main highlight, its thunderous and infectious energy will have you jump up and down in joy. My my, at Waterloo Napoleon did surrounder!
Will Ferrell's passion shines throughout and it is to his credit to be able to make this flick enjoyable and simultaneously approachable to those who are uninitiated to this contest. It won't win any awards for originality but it will take a special place in your heart with its beautiful and poignant romance and array of likeable characters. There might be some afterthoughts in its third act and a pointless supernatural plot (yes, really) but it does not detract from truly enjoying its excellent soundtrack and delightful performances. Continue the story of Fire Saga Will!
All the President's Men (1976)
Peak 70s American cinema
Reviewed by Filmmining101:
Revisiting the films of the American 1970s, one will discover how efforts to convey the feelings of that era were surprisingly, justly and vividly represented on the big screen. Without underestimating the audience's intelligence, the overwhelming majority of politically intriguing flicks (e.g., "The Conversation" (1974), "Three Days of the Condor" (1975)) featured heavily doses of paranoia, anti-war sentiment and social commentary towards prejudice, racism, discrimination and the economical gaps between classes and sexes translating successfully such themes into moving pictures to a pop culture effect.
"All the President's Men" is such a movie, a full of complex intrigue biographical political drama that describes in fascinating detail the scandal responsible for bringing down Richard Nixon's presidency (i.e., Watergate). The adapted screenplay from the 1974 book of the same name expounds the discovery of public service corruption through the lens of two overwhelmed Washington Post journalists whose attempts to get to the bottom of this tale seem of Sisyphean nature; every time they have a lead, they are back at the beginning since no one is willing to talk, open their doors or to even answer their phone. Besides bearing authenticity behind the journalistic proceedings of a major newspaper in a now almost bygone era and the way they publish their stories, the film works extremely well as a thriller leaving the viewer to feel disoriented and paranoid inside a heavy confusing arena where no one seems to be telling the truth.
"All the President's Men" might have a lengthy running time but its expertly conceived pace keeps things tight and on schedule. There is no clock checking here as the journal duo not only have to find the truth but has to do it before Nixon consolidates "power" so to speak (hence the title) amidst presidential shenanigans, competition with other major news outlets, the own boss' impatience and a possible threat against their lives. In a reveal that would later shock the American public, the clues are all there, the stage is set, yet the threads which tie them together are practically non-existent and it is up to the persistence of Redford's and Hoffman's journalists to get the job done. Two polar opposite personalities which complement each other with smart characterization when the pressure kicks in, Redford and Hoffman have never been better. Used as the audience's portal to this story, their efforts to reach the end of this rabbit hole take a toll on them, both using different tactics to obtain the information they need from several Republican party linked individuals.
Pakula does a great job at underlying an obscure Washington where shadows hold secrets and looks can mean more than an entire page of written emotional outbursts and confessions; a six minute sequence where Redford's Bob Woodward is on the telephone trying to decipher clues has Pakula's camera closing in to his face as the minutes go by highlighting wonderfully the sense of claustrophobia and paranoia. The background (i.e., other journalists, secretaries) could be as well working against Woodward all along and it is precisely that feeling that perpetrates the entire movie and elevates it above other banal entries in the genre. These are exceptional stuff at the height of a cinematic period where movies could be thought provoking and entertaining backed by stellar performances and pitch perfect scripts.
"All the President's Men" could easily be considered a staple of the American 70s cinema, with Hoffman and Redford at the height of the acting powers. And in our world today, its message should not be taken lightly remaining highly relevant.
Les trois mousquetaires: D'Artagnan (2023)
Luscious European epic
How many adaptations do we need for Alexandre Dumas' ultimate swashbuckling and timeless classic novel "The Three Musketeers" (1844)? Paul WS Anderson took a chance in his hate-it-or-love-it steampunk (!) re-imagining in 2011 which featured a dazzling production and costume design, an uneven tone and lackluster performances. It seems though that the French had enough with the meagre Hollywood attempts and sought to go for broke in a 70 million euros be-all-end-all spin properly set and shot in the baguette homeland with an entire French speaking cast.
The first half of this period epic named "D'Artagnan" focuses - you guessed it - exclusively on its titular protagonist, his funny interactions with Athos, Porthos and Aramis and all the investigative work required to uncover a conspiracy against the kingdom of Louis the XIII. Themes of heroism, duty and courage are placed front and center throughout a "Game of Thrones" (2011-2019) inspired Versailles which feels like a breath of fresh air. This cinematic France of the 17th century resembles (thank God) its historical counterpart lacking off beat humor, neurotic individuals and modern "takes" on its characters. Interestingly, there are some (minimal) modern touches that give the film nonetheless a unique personality.
"D'Artagnan" does a fine job at establishing all the heroes, anti-heroes and villains through a clear geographical sense. The decision of having the material spilling over two movies means that we have more room to breathe without going from one action segment to the next, thus giving quieter moments more running time to unfold. Its sudden ending ("To be continued") though does make it look like a prologue to something greater drawing a similar audience reaction from the conclusions of "The Matrix Reloaded" (2003), "Kill Bill volume 1" (2003) and "Pirates of the Caribbean: Dead Man's Chest" (2006) and much more recently, "Dune" (2021).
Not withstanding this sentiment, this new iteration of the famous musketeers restores a cinephile's faith to the long lost genre of epic filmmaking. Director Martin Bourboulon has a blast utilizing his budget across magnificent French and British locations under the striking and authentic cinematography of Nicolas Bolduc and the outstanding production and costume design which bless the film with an expansive scope and scale untouched by lame CGI and directionless creativity. The pace is strong and both the director and the screenwriters do not waste time to engage their audience with this been-told-thousand-times tale embracing a more gritty/realistic side. The colour palette is surprisingly muted and earthly tone based, the violence R-rated and the swashbuckling scenes are frenetically (if not manically) charged under long takes that resemble a mash between "Saving Private Ryan" (1998) and "The Revenant" (2015). Occasionally it works but Bourboulon's camera sometimes is too close to the meat of the action which does the opposite of highlighting the impressive and aggressive stuntwork.
The cast is exceptional too playing well established characters under a new light; Aramis is a Jack Sparrow-esque charmer but more dangerous, Porthos is a now a fluid libertine (!) and an expert shooter, Athos bears a tragic backstory and an unmovable moral code and D'Artagnan is our clean cut hero and plot avatar. Their excellent chemistry though does not shine through the thickness of the story with Aramis and Porthos suffering in particular by a limited screentime leaving the dramatic work for Vincent Cassel's Athos - a tale told around a camp fire is enough to win awards - and most of the action for Francois Civil's D'Artagnan.
In the antagonist department, Eva Green was born to play Milady with her stunning looks, impeccable costumes and a European panache that is sorely lacking from modern Hollywood productions. Yet, she is a part of a bigger problem; we hardly know any of the villains. The script treats them more as obstacles for our heroes rather than fully fleshed baddies lacking motivations, traits or important moments to be remembered by. This could be solved in the second part where alliances and betrayals will be laid out in the open so at this stage "D'Artagnan" is being judged perhaps too harshly for its own merits as a standalone flick.
Nevertheless, Bourboulon's movie is a superb production overall, a thrilling and engaging swashbuckling tale with an infectious enthusiasm for the source material and a justly visual representation. Roll on part 2.
Ferrari (2023)
House of Gucci with cars
Reviewed by Filmmining101:
The biographical sports drama "Ferrari" detailing Enzo Ferrari's financial and familial struggles in the 1950s seemed promising on paper. Although this was touted as a passion project for Michael Mann, the final film is actually a mixed (and underwhelming) bag of results. While nowhere close to the cinematic travesty that was "House of Gucci" (2021), it still features several and similar problematic aspects.
This is the second movie that Mann did not wrote (the other one being "Blackhat" (2015)) and it shows. None of the dialogue has any panache while the adapted script from Ferrari's biography is not enough to stimulate the senses. There is a substantial lack of depth here, Mann's camera moving from place to place to present unintriguing proceedings failing to capture what makes the always gorgeous Italian countryside unique. While other auteurs like Scorsese remain true to their style (e.g., "Killers of the Flower Moon" (2023)), Mann's has been diluted; gone are the wonderful architecture shots and symmetric composition. He chops and edits a two and half hour flick bizarrely too by employing weird zoom ins (and outs), misplaced shots, 180 degree camera changes in dialogue moments, and sudden cuts like a ten year old who just discovered the tricks of technology.
The stakes are relatively low and the absence of three dimensional characters make things even less compelling; Ferrari is presented as a guy with massive walls around him but neither Adam Driver nor the script give him anything to flex his acting muscles. Under unconvincing make up, his Enzo telegraphically reports, describes and negotiates things that ultimately do not matter. For example, his Enzo talks about a new car engine to make the cars faster and lighter but this never comes into play again while his rivalry with Maserati is superficially hinted despite in theory propelling much of the film's shenanigans. We are not sure why he has a lover as he lacks a silver tongue and is utterly oblivious to people's feelings. Driver tries his best but the all over the place and coming and going accent is not doing him any favours. He is indifferent at best and by the end, being able to characterize Enzo Ferrari in a movie called "Ferrari" proves to be quite the challenge.
Casting anything but Italians with no or hideous accents (why bother?) and absolutely no resemblance to Mediterranean people, no cast member registers in the audience's memory except perhaps Penelope Cruz as Ferrari's (capable) wife and partner Laura who brings Mediterranean charm to a feisty albeit lackluster role. Her limited interactions with Enzo bring "Ferrari" to life and perhaps it would have been if this was the central focus of the film - how grief can drive a person to leave their old life behind for better or worse. Other (myriad of) characters come and go bearing no traits and considering we spent the last twenty minutes on the much anticipated Mille Miglia race and its pivotal outcome, we can barely distinguished any of Ferrari's drivers (including an unrecognizable Patrick Dempsey).
"Ferrari" fails to elicit any interest as a sports drama too. Renny Harlin's "Driven" (2001) in comparison is a masterpiece because it boards the b-movie train under the pretense of Formula 1 delivering several racing sequences. Here we have only two (yep only two) races and considering that Mille Miglia is the whole catalyst for the story, at least you should be rewarded with some breathtaking car sequences. Instead the race is geographically and time wise confusing lacking of established adversity or dangers despite the heavy foreshadowing. While the sound design is spot on, it barely brings any momentum to a film doomed to fail due to its inept ability to present dramatically engaging material.
You would not believe that "Ferrari" was made by the director of "Last of the Mohicans" (1992), "Heat" and "The Insider" (1999) making it by far Mann's weakest film. It is not at least unintentionally hilarious as "House of Gucci" was but if you take into account the talent involved in front and behind the camera, it is truly a wasted opportunity.
Silent Night (2023)
Silent night for all the wrong reasons
Regarded as John Woo's triumphant return to the world of (US) action since his terrible and forgettable "Paycheck", "Silent Night" twenty years later copies pretty much the Netflix originals formula demonstrating that the gun-fu glory days of the action grandmaster are a thing of the past.
Featuring a pointless gimmick - lack of complete dialogue - for no compelling reason, "Silent Night" has nothing to be proud of. The clever marketing campaign and superb trailer screamed how Woo was back on top form. Make no mistake though; this is not your George Miller's "Fury Road" (2015) with guns. Taking place through the confinements of a telegraphic revenge story, our hero becomes a vigilante to extract vengeance against a gang who accidentally killed his son. This over-simplified plot should be enough to feature some degree of heroic bloodshed in the always welcome Christmas setting. However, the script is more invested to remind us melodramatic information we already know via tedious flashbacks every time it gears up towards a confrontation forgetting to have old school fun. Perhaps a trimming editor would have made this movie more engaging as Woo extends the running time to almost two hours of manic camerawork and lots and lots of stares.
Lacking the thunderous and creative energy of his Hong Kong outputs, the action is unfortunately in short dosages and banal too. You have seen everything in better movies. Removing all the elements which made Woo cinematically unique - slo mo, pigeons, berettas, gun fu, multiple angles, split screen, bullet chaos, he favors a realistic - you guessed it - John Wickesque approach here. The production design and cinematography lift entire cues from the world of the infamous assassin to present brief and hypersaturated hand to hand (at least R-rated) skirmishes that briefly wake up the audience but are not interesting or inventive enough to keep it awake.
Described as a "The Punisher" (2003) and "John Wick" (2014) combo without the fun of the first or the panache of the second, the script ticks all the imaginable cliches (e.g., getting ripped montage, first kill) leaving you to wonder how come two hours were not enough to offer any depth to the major characters. The (random) addition of a sidelined cop (Scott Mescudi) means nothing, Catalina Moreno just looks around and antagonist Harold Torres lacks the physical presence to enjoy a proper climatic (and entertaining) fight like Woo's Mad Dog in his magnum opus "Hard Boiled" (1992).
Despite a solid performance from Kinnaman and some OTT direction from Woo, "Silent Night" is another misstep in the US market elevating his initial "Hard Target" (1993) and "Face/Off" (1997) flicks into action masterpieces in comparison. Even the hardcore fans will struggle to find something to really care for here and considering they waited 20 years for the action guru's return, this being a colossal disappointment is a vast understatement.
Ba wong fa (1988)
Funny, female centric martial arts flick
Reviewed by Filmmining 101:
Touching a Hong Kong subgenre (FYI "Girls with Guns") in a decade (i.e., the 1980s) where the American cinematic counterparts saw women as femme fatales and sex objects for capitalistic opportunists and macho men, "The Inspector Wears Skirts" builds an entire film of female police recruits who can kick equally ass like their male counterparts.
All the traditional elements which you would have expected from a Hong Kong production are present - a meagre plot that is an excuse to tie random and delightful characters in a plethora of "Police Academy" (1984) skits, zero growth, non-stop action and elementary school level humor. This ain't Zhang Yimou's "Hero" (2002) but a stripped down movie with a basic, almost anemic infrastructure barely holding thing together. If you go for a bathroom break, chances are you missed a segment where someone is ridiculed or being made fun of that has nothing to do with the rest of the movie. Key characters come and go (e.g., Cynthia Rothrock) and even the stunning Sibelle Hu despite an action heavy opening act, does not have much to do either throughout the entire running time.
Entries from Hong Kong's "Girls with Guns" became more prominent after the success of Corey Yuen's "Yes Madam!" (1985) starring the legendary Michelle Yeoh appealing to a wide Asian market, yet they remain unknown to modern Western audiences who keep complaining about the lack of strong female roles. However, it is fascinating to see how cinema's action mecca dedicates entire movies to (gorgeous and) dynamic women who perform outrageous stunts while maintaining their unique traits and femininity (take some lessons Disney).
To try to talk down any of the shortcomings of Wellson Chin's flick is fruitless; his purpose is not an intricate plot or never saw them coming twists but A+ enjoyment due to a charismatic and believable cast of capable action heroines in the faces of Sibelle Hu, Cynthia Rothrock, Sandra Ng (who is by far the standout and utter hilarious) and Kara Hui who put those pesky men back into their place and rightfully so (almost every male character is a moron and the excuse for extended slapstick moments including an out of place musical number!). It helps that the stunts and fighting choreography are supervised by Jackie Chan's Stunt Team (producer here) offering a technical panache missing from other, lesser wholesome flicks of the era.
Despite a sudden ending - a common trope of Hong Kong cinema, "The Inspectors Wears Skirts" is pizza night heaven. A tremendously entertaining flick that although it does not reinvent the action wheel, it aims to give a different take on the proceedings from a female perspective in the male dominated arena of cinematic martial arts. Not bad for 1988!
All of Us Strangers (2023)
Beautiful yet melodramatic supernatural romance
Reviewed by Filmmining101:
With such a strong word of mouth, support and critical accolades, you would have expected "All of Us Strangers" to be the next "Citizen Kane" (1941). Despite its many positives though, "All of Us Strangers" includes a few hiccups which prevent it from becoming an all time classic. This could be partially blamed on its source material - Taichi Yamada's novel - whose sensibilities might be more appropriate for the cultural norms of the (then) 80s Japanese society.
Notwithstanding this, director and screenwriter Andrew Haigh creates successfully an engaging tale for about 2/3s of the running time occasionally causing some teary eyes. Swinging between a blossoming romance and a supernatural drama, Haigh manages to keep the interest up until these separately introduced elements begin to blend together. The end result becomes almost schizophrenic highlighting a motion picture that struggles to present an ultimate goal veering into melodramatic territory. Haigh's script seems uncertain about the conclusion and as proceedings continue to develop, more questions are raised in what could have been a straightforward and deeply moving story.
This character like study is being told from Adam's perspective (who could be an unreliable narrator himself), yet it does not give the audience any room to understand who Adam is. Adam's traits never come forward - what is the point of him being a screenwriter and living in a newly constructed apartment complex in London? - leaving us either with a blossoming neighbour romance (done 90% right) or his metaphysical interactions with his dead parents. Haigh's explores esoterically themes of grief, inability to move on and to open up similarly to what Sofia Coppola did in "Lost in Translation" (2003) and Kogonada in "Columbus" (2017). Introverted and especially, stoic viewers might find resonance to Adam's decisions and general life approach. This protagonist does not whine or gets angry; he is simply an individual who lost his appetite for anything life related whether it is sex, music or food. He is an isolated prince in his high rise building overlooking others as they come and go. Emilie Levienaise-Farrouch's hypnotic soundscape is the perfect tool to elucidate the bittersweet sentiments of someone's social isolation, reawakening and self-discovery in the face of a new and unexpected love.
Haigh does capture wonderful moments throughout and it is hard not to feel sympathy for Andrew Scott's portrayal of Adam; the role is like an extension of the (openly gay) actor who gives an honest and outstanding performance of a person crippled by unprocessed grief. Scott is the heart of the film giving giving a career high performance as the well-behaved externally but deeply tormented screenwriter. Adam has a lonely (and lovely) sweetness that is so much missing from modern day (and particularly from LGBT) romances giving his Adam a living and breathing status as opposed to be presented as a glorified stereotype.
The rest of the small cast are fine; Jamie Bell continues to impress with his roles and it is a shame that his Hollywood career did not involve any thematically strong work while Claire Foy is always reliable excluding her 80s mom stereotype in one of the most supposedly heartfelt scenes. Complementing the quadrant is Paul Mescal in a small but crucial role as Harry although there is not much development to this character who could have been used as the catalyst for Adam in a cathartic finale instead of a melodramatic and muddy one.
If we can get passed some (by 2023) fairly standard coming-out moments and discussions along with the multiple (and illogical) questions raised in the end, "All of Us Strangers" offers plenty of outstanding direction, and impeccable cinematography. Jamie D. Ramsay's lens give the movie a unique look, each shot of Haigh's is precisely crafted and visually exciting making this motion picture the contender for 2023's most beautiful cinematography (the other is Dan Laustsen's work in "John Wick Chapter 4").
"All of Us Strangers" is occasionally a great film. It takes its subject matter seriously and avoids to walk a road of campiness. However, the decision to split its running time across separate themes brings it down a notch as none are given enough space to breathe considering that individually, its ideas are pretty compelling.
Mo fei cui (1986)
B-movie martial arts vibes
Reviewed by Filmmining 101:
Wong Jing is not a director known for his subtle approach to filmmaking. Usually his numerous outputs bear pedestrian humor, thinly sketched plots and very "old school" female characterization. However, the action Hong Kong cinema of the 80s and early 90s was not known for catering to people's sensitivities and feelings.
A product of a now bygone era, "The Magic Crystal" seeks to be a weird mixture of "E. T" (1982), Jackie Chan street style fighting and a kinda-spy like globe trotting adventure. Featuring kitsch aesthetics that would not look out of place in a poor "Indiana Jones" clone, "The Magic Crystal" won't win anyone with its clumsy storyline and banal execution. As an example of the action 80s Mecca though, it shines consistently by delivering multiple set pieces throughout its (rather) long running time.
Under gorgeous Greek scenery (where they filmed without permission so the background extras are literally confused citizens and tourists alike), there is something exotic watching Andy Lau kicking ass next to the Parthenon (!). A foot chase going from Acropolis to Zappeion might not make sense geographically from those of us who are from Greece but it is a refreshing environment change from the typical Romanian, Londonian or Parisian sequences from other movies.
Boasting excellent stuntwork and several places that are used for trading blows, henchmen fly left and right with spectacular results: a face off inside a house is unexpectedly superb, a one on one fight in front of Zappeion makes for a very compelling skirmish while Richard Norton has the most screen time as a Western baddie here as opposed to his other Hong Kong entries (e.g., "The Millionaire's Express" (1986), "City Hunter" (1993), "Mr Nice Guy" (1997)) demonstrating his martial art prowess in an era that martial art flicks were not very popular outside of the Asian market.
The cast is great sharing the typical chemistry between goofiness and seriousness tip toeing between almost incomprehensible proceedings and mattering high school level exposition to move the plot. Andy Lau has tones of natural charisma (and two years later will deliver a spectacular performance in Wong Kar-wai's "As Tears Go By" (1988)) and Wong Jing as his buffoonery inducing brother-in-law gets some solid laughs. Norton and Cynthia Rothrock are clearly more martial artists than fully fledged actors and it shows but then again for a film that proudly displays a B-movie affection, their iffy acting does not come across as cringy or unintentionally hilarious.
"The Magic Crystal" does not require any additional analysis as it hardly has anything original or truly groundbreaking neither it is a multi-layered motion picture that you would think long after it end credits roll. Simultaneously, you cannot criticize with a straight face its various faults as the filmmakers are aware of their existence and choose to ignore them for the sake of entertainment. At the end, this is a solid martial art flick that stays true to its action roots due to its plethora of fight segments which will please the hardcore fans and might even allow newcomers to enjoy the pedestrian humour throughout.
Le Cinquième Élément (1997)
Outrageous sci-fi perfection
Reviewed by Filmmining 101:
Words will never be enough to describe in accuracy the lunacy of Luc Besson's extravagant action flick. "The Fifth Element" remains one of the most dazzling and original examples of outrageous science fiction, a bold artistic gamble that paid off which two and something decades later has aged quite well.
Sporting a blonde Bruce Willis and some of the most ridiculous (and unpractical) costumes you will ever see, Besson's creation (owning much to French pioneering novels like "Valerian" and the works of Moebius), brings to the big screen a tonally and visually polar opposite future than that of Ridley Scott's "Blade Runner" (1982). Despite its restrictive (and quite atmospheric) prologue, once we reach 2263 (!), the French auteur put the pedal to the metal unleashing an orgy of color, music and sound (at some point, he even incorporates slapstick effects) with manic energy and Looney Tunes comedy.
Yet, all these elements which could have led to a magnificent disaster across a thinly sketched plot, work together to deliver a wonderful inter-planetary adventure boasting a pseudo exploration of religious and technological themes that barely make it through the barrage of the film's flamboyant style. But you are not here to contemplate the existence of life but rather to take (excessive) pleasure from the on screen silliness. The 23rd century is as psychedelic and fluid as a Jim Morrison poem from the 1960s: aliens, priests, scientists, the army, space disc jockeys, dodgy physics and of course, the ultimate evil (and good) converge within gorgeously designed landscapes that since their onset in 1997, have become iconic.
The most expensive production at the time of its release, its $90 million dollar budget allows "The Fifth Element" to present a vibrant and wacky futuristic world that excels in all forms of (good and bad) fashion. The spectacular production design (which has predicted most of our technology now) is complemented by the outrageous costumes of Jean-Paul Gaultier. This cinematic canvas of gleeful creativity offers in every shot the opportunity of seeing something original and unique even if it occasionally reaches a level of camp and could bother those who despite colorful palettes.
The cast is clearly having a ball, all playing in different acting rhythms: Willis and Gary Oldman face the absurdity wearing a straight face, Ian Holm seems delighted to be there, Chris Tucker steals the show as an over exaggerated gay stereotype (who is straight!) while Milla Jovovich as Leeloo, the bright orange haired supreme being capable of ass-kickery, sweetness and naivety, her stunning looks and outfit have become synonymous with the (look of the) film.
Despite a rather long running time, this love it or hate it French movie never feels too long due to a large variety of set pieces ranging from rap and space opera performances (!) to shoot outs, flying car chases and intriguing monologues about the usefulness of chaos amidst genre bending execution and gleeful joy. It demonstrates Besson's ability to adapt in different territories successfully and bringing forward an alternative voice on the mainstream cinema that was dominated by US productions. Frequent collaborator Eric Serra offers an equally scattered score, a compilation of techno opera, saxophone, middle eastern, reggae and electronic cues (among others) without a particular thematic cohesion because that is the way Besson wants it.
This take it or leave it attitude puts "The Fifth Element" in the pantheon of classic fiction films. It might alienate those who seek deep and thought provoking ideas but not everything has to be made for gloomy discussion and analysis. It's visually distinct style and Jack Sparrow behaviour towards the execution of the genre's ideas is enough to propel this into cinema's most representative films. If all the above are not achievement worthy of praise, then what is?
The Nun II (2023)
Scare free sequel
Reviewed by Filmmining 101:
The terrifying Nun introduced herself/himself/themselves(?) in James Wan's lesser effective "Conjuring" sequel in 2016. Yet, the demon Valak was easily the most memorable element, a fantastically designed horror character who was visually arresting and frankly, disturbing. Like Annabelle before this demon, its effectiveness lied in its infrequent appearances and minimal use of CGI.
This is Hollywood though baby and it makes sense to completely milk this horror well dry so why not offer two separate franchises for both Annabelle and Valak? Annabelle boasts three flicks that really do not add anything to its mythology (although "Annabelle: Creation" (2017) was well done) while Valak counts two entries so far ("The Nun" (2018), "The Nun II" (2023)). Although the first spin off this demonic religious mocker was hugely successful at the box office, it wasted its intriguing premise by featuring banal characters, cheap scares and an over-produced atmosphere of doom which was contradicted by modern dialogue despite being set in the 50s. Its sequel continues to dilute Valak's air of mysteriousness through a convoluted story of Saints and powerful relics that has more in common with Indiana Jones than full fledged supernatural horror. This is not your 70s religious horror outlet for sure.
You can't fault though the filmmakers for trying something different. However, at the hands of Michael Chaves (who did the absolutely awful "The Curse of the Llorona" (2019)), this is nothing but a snoozefest. Lacking of any substance and memorable scenes, entire sequences here have been seen in a much better form in other films. The environment could have been utilized better to invoke a more ominous tone but Chaves is not interested in setting up dread despite some ok production design (resembling visually the work of Renny Harlin's "Exorcist: The Beginning" (2004)).
The script shoehorns a travelling demon (I bet the next installment will take place in Spain) to tie the film's events eventually with "The Conjuring 2" and thus, putting itself into a corner unable to escape from the scathing criticisms for its glaring plot holes. The constant retrospectively story fitting seems more like a goal rather than to present a complete film that can stand in its own merits. Cursed by the disadvantages of cinematic universes, what was fresh is now rotten scaring only cute puppies and kittens but even those will fall asleep in the tedious final confrontation. Any efforts of the cast are undermined by horror standard (and expository) dialogue although the Maurice's character is the biggest offender feeling out of place and way too modern with a coming-and-leaving French accent.
"The Nun II" is really a film for the hardcore enthusiasts or first time newbies. They might find it scary but it is an easily consumed firework that offers nothing novel or remotely intriguing. It is a movie plagued by association with the much superior first two "Conjuring" films (2013-2016).
Ghosts of Mars (2001)
Kick ass soundtrack, mediocre script
Reviewed by Filmmining 101:
Following a somewhat creative decline in the 90s, John Carpenter was back with a moderate budgeted film featuring a highly intriguing title. A spiritual sequel of some sorts to "Escape from L. A" (1996) and a space remake of his "Assault on Precinct 13" (1976), "Ghosts of Mars" is an action horror western which despite its critical and commercial disappointment, its many eccentric choices are enough to place it the cult status altar like most of the iconic director's other cinematic outputs.
In the early noughties, the red planet proved to be an exciting new frontier for Hollywood adventures (e.g., De Palma's "Mission to Mars" (2000), "Red Planet" (2000), "Doom" (2005)), albeit none could capture a particularly inspiring story besides Paul Verhoeven's "Total Recall" (1990). "Ghosts of Mars" is by far the best even of this can be interpreted as a backhanded comment considering the competition is not that high.
Campy enough to pay an entertaining homage to those pesky drive in flicks of the 70s, certain aspects drag it down. Telling the story through a flashback only to have a flashback within a flashback and ... within a flashback is ultimately a cop out tactic sucking out dry the tension. Carpenter also plays the same moments twice for no particularly compelling reason besides extending the running time and our patience. The emphasis on a future matriarchy society is an interesting one considering (obvious) lesbian relationships and casual sex are nothing to be ashamed off but this commentary is redundant and the more characters the script introduces, the more easily are dispatched generating a 'whatever' response from both the survivors and the remaining audience. And the less said about Ice Cube's Desolation (really?) Williams, the better; the rapper simply does not have the necessary presence to pull out such a physically demanding (and imposing) role.
Yet, the film works best during its first half, with Carpenter typically echoing Lovecraftian sentiments of isolation, paranoia and incoming doom elevated by an authentic location and an actual night shoot blending elements of several genres together effectively. His expansive cast (including a Hollywood up and coming Jason Statham, Pam Grier and Joanna Cassidy) do what they can with their limited roles and the gorgeous Natasha Henstridge as the wannabe Ripley of Mars proves for a somewhat solid action lead.
The numerous fight sequences are goofy and cute within a "Big Trouble in Little China" (1986) way as Carpenter himself stated that he intended to shoot them as such. When the muscular Marilyn Mansonesque villain is named "Big Daddy Mars", you know you are not supposed to take this flick seriously. Come to think about it, it is all a B-movie execution packed with off beat humor (e.g., the lack of physics in gun power and grenades that sees goons flying off the screen like Air Jordan is a work of genius) and child-friendly grotesque make up effects as opposed to the emotions of horrific on screen self-mutilation.
But then again the greatest asset of "Ghosts of Mars" is just how mental and yes, metal it is and sounds. It was the first film with a score entirely composed by Carpenter and famous metal musicians. You might have had the occasional Ry Cooder or Trevor Rabin performing scoring duties, but it was this flick that started the trend where "obscure" (in terms of sound) bands were contributing towards movie scores (e.g., Marilyn Manson for "Resident Evil" (2002), Massive Attack for "Danny the Dog" (2005)). This novel score boasts superb solo work from virtuosos like Steve Vai, Buckethead, Robert Finck ("Nine Inch Nails", late years of "Guns N' Roses"), Elliot Easton ("The Cars") and Scott Iain ("Anthrax") all coming together to create bluesy, synth based and guitar shredding tracks much to the pleasure of the genre crowd.
"Ghosts of Mars" might not have been the vehicle to bring Carpenter back 100%. I fact, it did the exact opposite sending the silver hair filmmaker to exile until his return with 2010's "The Ward". Yet, in a cruel and delayed twist of fate, it evolved towards a cult gem( depending on where you stand) requiring pizza and cold beers to offer appropriate comfort for a night in. It is something unique, a piece of entertainment that Carpenter can claim as his own featuring capable female leads, a kick ass soundtrack and a novel premise.
Death Proof (2007)
An extraordinary slasher with a twist
Reviewed by Filmmining101:
"Grindhouse" (2007), the double feature of Quentin Tarantino and Robert Rodriguez had all the star power in the world, an excellent marketing campaign, strong word of mouth, good-to-great reviews, and it was coming hot right after the success of "Kill Bill" (2003-2004) and "Sin City" (2005). Yet, it was a spectacular failure leading to the release of its features as two solo movies with one being QT's unique take on the slasher genre: "Death Proof".
"Death Proof" can be easily seen as one of the director's lesser interesting cinematic outputs due to its over-simplified plot and its over-reliance of his trademark dialogue. While his penned exchanges do not support the plot at any capacity, they retain his primary ability to entertain the audience with endless disputes between a number of gals and their wannabe boyfriends. It is his way to pay homage to the established formula of horny teenagers and naive maidens only for him to reinvent it a few chapters down the road when the s*** hits the fan (more on that later). QT's 5th film features some of the best and most funny material he has ever written. Cleverly capitalizing on the "Kill Bill" success, the stars of the show are 8 women, each one blessed with distinct characteristics and traits enough to make a memorable splash on the big screen - their little gatherings and chats can easily be equally and pop culturally significant as Mr Brown's opening monologue in "Reservoir Dogs" (1992).
For the patient audience, the reward though is worth the wait. Showcasing action chops that would make Michael Bay blush, one can only wonder what Tarantino could achieve if he truly wished to delve deeper into the territory of gun fu, vehicular mayhem and aggressive stuntwork. His final car chase (more like a duel) is an exhilarating 16 minute sequence done without an ounce of CGI boasting one of the most spectacularly dangerous stunts ever captured on celluloid. The glorious sound design where engines roar and metal crashes under editor Sally Menke's magical abilities are enough to keep you at the edge of the seat since you know, in the Tarantino universe, nobody is safe. Just ask Vincent Vega.
"Death Proof" works on several levels and its initial failure as a cinematic experiment, has not been able to diminish its value over time. Quite the opposite in fact. Tarantino's years of encyclopedic movie knowledge championing the movie underdogs and genres alike provide him this opportunity to take the albeit simplistic approach of the 70s grindhouse concept and imbue it with a new life (i.e., killer performances, more style, superb soundtrack) while simultaneously honoring its technically neglected aspects (e.g., scratches, missing reels, audio/visual asynchronization). To write more would spoil the tremendous amount of fun to have with Tarantino's most accessible (in terms of story) film.
For a motion picture called "Death Proof", you better have a lead supremo and Kurt Russell's take on Stuntman Mike can only be described as top tier Tarantino: charming, disarming, funny and knowledgeable, his trustable visage masquerades for something brutal. And this is why QT's choices in his screenplays are those of a genius (e.g., Take the car away and Stuntman Mike poses no threat to anyone). Russell's performance is an all time high making his antagonist relatable enough (to be human) even as the film races towards its two hour running time. In the role of victims and emerging (?) heroes we have 8 fully grown women minding their own business and oozing confidence around the much more stupid male counterparts (in a nice twist) but how these elements play against each other remains to be seen until the very end.
Indeed time is the best judge of character, movement and art form. In the case of "Death Proof", the emphasis on 8 women and lengthy chatting did not particular resonate well with the audiences in 2007. Now, if QT would have made the film in 2017 (i.e., post #MeToo), it would have been lauded as a critical masterpiece that places front and center toxic masculinity and coercive control while the polar opposite group would have been tremendously annoyed with the diverse cast, the intelligence of women and the stupidity of men.
"Death Proof" even within its own simplistic conception proves that the distorted thoughts of Tarantino on a serial killer flick deserve commendation for not only having set their own course (which might have contributed to the box office results) but for going places in 2007 that others dare not and the absolutely banger of a soundtrack (e.g., Jack Nitzsche, Willy DeVille, The Coasters, An April March) make scenes standing out even more (e.g., a lap dance in particular, is reinvigorating). While "Death Proof" does not have much of a story development or progression due to the limitations of the grindhouse films that inspired it, it still finds Tarantino at a creative peak with groovy feelings, plot twists, high octane energy and an incredible Kurt Russell.
Killers of the Flower Moon (2023)
Poignant but long
Reviewed by Filmmining101:
"Killers of the Flower Moon" marks Martin Scorsese's first film since his larger than life greatest hits compilation of the gangster genre in "The Irishman" (2019). Adapting the book of the same name, this time there is no distracting de-ageing CGI or a profound sense of deja-vu. Instead this epic western sheds light into an American era that has remained forgotten in history books, rarely featured in modern conversations regarding ethnic cleansing.
This could be easily be "Gangs of Oklahoma" with the systematic killing of rich Native Americans after World War I fitting nicely into the thematically diverse filmography of the American-Italian director. The Osage were considered second rate citizens until of course, they stabled black gold across their land attracting riches and a life of luxury much to the displeasure of the average (and in a nice hint white-supremacist) American. Enter white vultures who devised a plan to inherent this type of money by marrying their women and killing their relatives one by one in a slasher like fashion.
In this admirable and passionate labor of love, Scorsese tackles the movie's delicate subject through a respectful lens using valuable input from the Indigenous community on a scale that has not seen before since Michael Mann's "Last of the Mohicans" (1992). A master of tension, he slowly raises the dramatic stakes asphyxiating the audience when shocking violence erupts making this a hard to watch film. As this subject has not been explored before, "Killers of the Flower Moon" presents a unique opportunity to present these events from a fresh perspective: the Native American one showcasing the harsh reality that many members of the Osage tribe faced back then.
However, the primary emphasis on DiCaprio's (despicable) character really grinds the proceedings to a halt. Easily in need of a 45 minute trim, how many times do you have to see him and De Niro scheming? The script makes it clear from the opening that they are out for blood so any meaningful moments between DiCaprio and his prey (Lily Gladstone) lack the necessary tension. We never get to know (or even understand) her point of view, a fatal flaw considering the amount of tragedy she experiences in a sea of endless betrayals and emotional manipulation.
In the inevitable final act, Scorsese performs a swan dive bringing together all the failed and successful schemes but in this effort he highlights the Natives as complete lighthearted and almost naive individuals in their own movie. "Killers" becomes more an expensive Hollywood vehicle for DiCaprio's A-list status something that is echoed in the prolonged finale where the script offers an unremarkable pseudo-redemption arc for a thinly sketched protagonist. This marks "Killers" a wasted opportunity to detail in depth the murderous circumstances that plunged the Osage tribe almost into oblivion. The variety of names, locations and acts might even further alienate those who can't keep track of who is who and who killed whom as events and people are referenced and are rarely seen.
In their 6th collaboration ("Gangs of New York" (2002), "The Aviator" (2004), "The Departed" (2006), "Shutter Island" (2010), "The Wolf of Street Street" (2013)) together, "Killers" is perhaps the least noteworthy acting wise for DiCaprio. Easily overshadowed by De Niro (who can play this type of role in his sleep), his one note parasite with a permanently distracting facial expression is utterly unmemorable. Yet, the film belongs to Lily Gladstone who invokes quite moments of strength and dignity further echoing sentiments of making her the main heroine while a few selected cast members do standout in their limited screentime including a fresh from his Oscar Brendan Fraser and John Lithgow.
Opposing vehemently the state of modern cinema, the greatest living director today however is at his worst still the best amidst a sea of mediocre and idiotic puppets who kiss the a** of large corporations (e.g., Disney) for shallow entertainment and a quick buck. You would think this engaging story could not be visually represented through a Scorses-ian eye, yet here we are, the beloved New Yorker employing all his signature tricks: one (and complex) track shots, slow mo, authentic soundtrack, atmospheric and spotless cinematography and of course a technically superb production and costume design that does shine on the big screen.
"Killers of the Flower Moon" is a splashy auteuristic output with a $200 million dollar price tag that does not involve a flying cape, a blue beam and copious amounts of unrendered CGI but features a story in need to be told, heard and seen even if this hugely ambitious artistic gamble loses its compelling focus during the last act.
The Crow (1994)
Mesmering comic adaptation
Reviewed by Filmmining101:
Alex Proyas' "The Crow" is a cult gem, a stark reminder when American cinema was willing to take ambitious artistic gambles. However, looming over this motion picture's post production and release was the sudden death on set of twenty eight year old Brandon Lee. With only a few scenes left to shoot, "The Crow" became unfortunately one of these rare instances where art and life intermingled together blurring the lines of fantasy and reality. Similarly to how the protagonist Eric dies at the eve of his wedding day, Brandon suffered the same fate (just before his own wedding); his infamous Paul Bowles quote now engraved permanently on his tombstone.
If someone can bypass these devastating aspects (and the carefully used CGI to bring back to life Lee through Chad Stahelski's (the director of the "John Wick" (2014-2023) franchise) body, "The Crow" is a film synonymous with style over substance. Taking cues from Ridley Scott's futuristic LA in "Blade Runner" (1982) and Tim Burton's Gotham in "Batman" (1989), Proyas' vision for a never named but carefully implied Detroit makes the aforementioned cities look like a Venice cruise in comparison. Elevated by the spectacular production design of Alex McDowell, this Detroit is an absolute s***hole. Between captivating shots of the crow flying throughout brick-layered buildings, scattered Gothic architecture, rain soaked and garbage littered streets populated by every scumbag type you can think of, this is a neighborhood that would make the Punisher crap his pants.
In a city where the sun never rises and its socioeconomic decline is evident in each frame, Dariusz Wolski's slick but depressing cinematography absorbs all colors except crimson red and orange flame. The shadows take over the celluloid and only minimal light sources (candles, single bulbs, club lights, explosions) reveal the extend of decadence in a metropolis where hardly anyone is out. Proyas blends complex shots of models and sets displaying Scott-esque eye for composition making his Detroit a filth centered concrete jungle with room for (limited and unexplained) supernatural shenanigans. Eric Draven is brought back from the dead guided by a Crow in the world of the living to deliver divine justice on a quartet gang of one dimensional yet utterly memorable sleazoids, each one with their own set of skills and nicknames (i.e., Skunk, Funboy, Tin-Tin, T-bird).
Despite a few explosions, shoot outs and fist fights, "The Crow" primarily relies on R-rated atmosphere and sudden bursts of violence as opposed to a 90s John Woo/Michael Bay take. Make no mistake: this superhero tale is not easily digestible: profanities, rape, incest, theft, battery, gang rape, drug abuse, intimidation, coercive control, murder ("it's fun, it's easy") and nudity ("I think we broke her") occur at an alarming rate next to the indifference of police and bystanders alike. This is not a Marvel cookie cutter product but comes from a time when superhero flicks bore a strong visual medium; in its extended climax alone inside the Goth-iest cathedral you will ever see, there is so much visual panache enough to lay down the foundations of specific art styles to newcomers.
Kiwi composer Graeme Revell excels in orchestrating a combination of hard edge guitar riffs, throat monks, haunting female choruses, vocal solos, duduk, flutes and ethnic drums among a variety of ambient electronic synths. This distinct audio identity gave birth to a fantastic complementary soundtrack reflecting the sound of the on-film Detroit (e.g., Nine Inch Nails, My Life with the Thrill Kill Kult, Violent Femmes, Stone Pilots) in an era that songs could still propel a movie's popularity.
Nevertheless, this straightforward tale of revenge is not all bang and no chat. There is an elegant and subtle Alan Edgar Poe melancholia when people are not dropping like flies. The return of Eric haunts those he left behind, in particular Sarah, a street rat whose mom (on a nice twist) is emotionally controlled by one of Eric's targets (Funboy). Filled with genuine moments of sadness ("I thought I'd use your front door"), the audience will find themselves resonating with Eric and his mission under a screenplay that never attempts to use gratuitous violence or cheap sentimentalisms to manipulate movie goers.
The cast is superb and Proyas offers hints of visual storytelling to indicate their skills and half-explored pasts particularly the film's villain Top Dollar. Although never introduced by name, this gruff voiced gang lord is imposing, menacing, composed and cunning, one of those bad guys who do not have necessarily a personal score or vendetta to settle with the hero; he even considers to let Eric go for a moment. Michael Wincott plays him straight, stoically mattering anarchic philosophy under a taste for incest, the mystical, drugs, swordplay and black humor amidst a gazillion of quotable lines serving as a clear inspiration for Christopher Nolan's Joker in his "Dark Knight" (2008). His banter with Lee is great and it is a shame that these two did not have many scenes together.
Yet, it is a film (rightfully) dedicated to Lee; his towering performance elevating every single scene he is in oozing natural charisma. Switching from a menacing presence to a prankster, from a sad rocker to a rageful and death-welcoming maniac, Eric is a man broken physically and emotionally driven mad by the hows and whys of his supernatural trauma. Championing a sole purpose of vanquishing those who wronged him, Lee relishes in a range of emotions, mannerisms and line delivery shifting as the occasion calls for it all the while sharing simultaneously good chemistry with Rochelle Davis and Ernie Hudson's honest cop. It is an impressive feat demonstrating a talent that vanished before our eyes way too early.
Words cannot describe how influential "The Crow" was and remains three decades later; its unique and dark visual style, soundtrack, score, amazing villain and acting from the late Brandon Lee keeps it among the best graphic novel adaptations and one of the best films of all time. If cinema could be represented as an art medium only a handful of films could be selected. "The Crow" would be one of those chosen ones to highlight humanity's imagination for novel and unique tales despite its troubled and unfortunately tragic production.
Brave: Gunjyo Senki (2021)
Average manga adaptation
Reviewed by Filmmining101:
Another day, another semi decent manga adaptation. Catering exclusively to Japanese tastes, this "Back to the Future" (1985) inspired tale of a time travelled school back in the brutal time of Japan's 16th century bears a central intriguing concept.
Starting out quite ominously and in brutal fashion, none is spared from a full on assault (or massacre) by evil soldiers. Fingers are cut off, skulls are opened and blood flows in every possible direction drenching the school halls and rooms red. It is an impactful scene translating well on screen the unfolding chaos of the confused students who have not the fainted idea of what is happening and why. It also serves besides being a nail biting sequence as a platform to introduce several manga-ish characters, each one carrying a unique set of skills that can be used to somehow defend themselves from the onslaught; karate, fencing and kendo are among the most highly effective ones but in a clever twist, sportsmanship can prove useful too whether it is rugby, archery or baseball.
Competently made, "Brave" has a problem though when the characters talk. In a running time of just 2 hours, most of them barely register Their obvious visual cues - the fencer keeps playing with his hair, the boxer has only one glove for some reason, etc - is what makes the audience to remember the what first and the who later on. Although there seems to be an abundance of more interesting individuals to take the lead mantle, we are stuck with the charismatic Mackenyu ("Rurouni Kenshin: The Final" (2021), "Rurouni Kenshin: The Beginning" (2021), "One Piece" (2023)), the son of the great Sonny Chiba who can excel in action beats but overall is stuck in a thankless role for no reason. The audience has absolutely no idea why everyone is rallying behind him as we see he is nothing more than a coward, not a particularly smart person and he neither has an interesting personality to begin with. He is as blunt as they come but the pretty face has to get all the attention.
Being a Japanese flick that aims for the teen masses, it ticks every box of OTT characteristics you would expect; characters crying in the middle of human carnage (especially female ones), last minute hesitations that cause the death of others, the capable girl who is stoically in love with the lead and follows him around for no other reason, a villain lacking an explanation of why or how besides a smug boy visage and more.
If you have seen any other adaptation of the same caliber, then this text book storytelling that does not take at all advantage of its clever and as we see at the beginning violent premise. After a fantastic opening act under the cool sounds of Yuugo Kanno, the film suddenly stops, stretching its various plot holes and impossibilities without a care in the world gearing up towards a finale that resembles more "Battle Royale: Requiem" (2003) than "Battle Royale" (2000) where human action figures die very fast to make way for the inevitable confrontation.
"Brave" recovers some momentum during its final good vs evil skirmish with superb choreography but the bluntness of its lead in combination with superficial characterization and a barrage of unnecessary flashbacks of things the audience already knows puts "Brave" in the awkward position of half baked entertainment. You will get some sort of enjoyment but once the credits start rolling, you would wish to see Zemeckis sci-fi adventure instead for far memorable cinematic results.
Renfield (2023)
Let sleeping corpses lie
Reviewed by Filmmining101:
"Renfield" sounded like a nice idea on paper: the servant of the most adapted cinematic character of all time is given his own movie where he tends to his master's needs and in possession of supernatural powers, acrobatic talents and centuries of social awkwardness. Taking place in New Orleans (completely wasted in this production), the film has an unnecessary narration and makes one grievous mistake: it gives instantly away its main selling point without any sort of a build up: the dysfunctional (i.e., toxic) relationship between Renfield and Dracula.
Although the notion of exploring this abusive relationship is not bad and could have become the source for a few laughs, "Renfield" is overstuffed with unnecessary elements which bring its momentum to a halt. Intercutting between a severely underutilized Nicolas Cage and Renfield's attempts to provide for him a fresh bunch of innocent victims with banal criminal proceedings through Awkwafina's (least convincing) honest cop, several tones exist at once. Yet the delicate balance of horror and comedy that for example, "Scream" (1996) perfectly captured, is not something that anyone can pull off. "Renfield" is a mis-match of "John Wick" (2014) esque action infused with OTT computer generated gore and gun fu (!) alternating genres every time Cage is on screen or Hoult and Awkwafina try to have a moment of genuine connection with as much conviction as of the latter's ability to sing in "The Little Mermaid" (2023).
Its greatest asset remains of course Nicolas Cage who devours mountains of scenery in one of his most entertaining performances in his rather prolific and eccentric career; a sequence in Renfield's flat that sees Dracula becoming increasingly frustrated at his minion's attempts to move away from him is by far the best thing in the entire movie laying the blueprint of what "Renfield" should been about. Yet, the script prefers to incorporate illogical and unnecessary action beats that tire more than excite. This tremendously wasted opportunity is not assisted by anything else. A bizarre, hypersaturated and colorful lighting scheme converts the film into a kitsch painting with several and unnecessary neon light sources directly inspired by the "John Wick" franchise which cancel each other out. Chris McKay's anemic direction has not improved either since his lackluster "The Tomorrow War" (2021) requiring 3(!) editors to make sense over a myriad of cuts between deaths and minor doses of wacky humor.
It is a shame that "Renfield" is destined to be forgotten. Nic Cage playing Dracula considering his beginnings in the "Vampire's Kiss" (1988) seemed something worth exploring with the right director and screenwriter. But perhaps Renfield should have let Dracula to take over the world instead of forcing the audience to sit through this bore. It is for everyone's best interest.
Ginga tetsudô no chichi (2023)
Heavy biopic on melodrama
Reviewed by Filmmining101:
"Father of the Milky Way Railroad" is a biopic with a twist. Dealing with the life of the famous children book author and poet Kenji Miyazawa, we are not witnessing those key events that contributed to his "rise" but rather we experience a number of significant moments through his father's perspective. It is an interesting framework even if it does not work as well as director Izuru Narushima wants it to do so. Balancing two tones - goofy comedy and (be prepared) wailing melodrama, "Father of the Milky Way Railroad" seems like it is wasting its intriguing premise.
The first half of this dramatic biopic has potential bearing a more restrained approach in Kenji's early years amidst some beautiful landscapes and just about right production design. Kenji's uncertainty of what to do does not sit well with his father who wants him to take over the family business (as a pawnbroker). What could have been the central conflict between past and present is sidelined due to a muddy script. We never know what makes Kenji's father tick or even Kenji himself. The film becomes too distracted with superficial details that eventually have no meaningful impact in the eventual growth of Kenji or his father.
Kenji wants to do something, his father disagrees only to back down at the last minute and the circle begins anew. The famous author's personality is not given enough room to breathe (perhaps intentionally) but we never understood why Kenji is so important considering there is a much more capable and smarter son (off screen). There is no catalyst here except disagreements for the sake of disagreements.
The rest of the cast has hardly any material to work with introduced out of thin air: suddenly there are 4 more siblings yet only one is named (Toshi). Toshi's relationship with Kenji, a contributing factor to his inclination towards storytelling is not explored besides an one minute sequence. Consequently, Kenji comes across as a rather naive, spoiled and parasitic individual since the audience has no one to hold him against as a comparison. Secondary characters like the old school grandfather or the kind-hearted mother serve as filler points entering and exiting the cine-frame under a limited line supply having nothing to do with Kenji's life decisions.
This motion picture lacks the stoic panache that similar biopics have, utterly devoid of a more interactive approach for the uninitiated which is a typical element of Japanese cinema. The writers and director make no attempts to ease and frankly engage those who are not aware of Miyazawa. It is expected of you to know specific key moments and influences and ride along. Yet, the biggest and most tiresome offender is the strong emphasis in the second half on large segments of melodramatic moments sucking out dry any goodwill the movie has left. Almost every new scene has someone crying backed by a try hard violin driven score to emotionally manipulate the audience on things which are not that deep or affectual. Word to the wise, this is not "Schindler's List" (1993).
But then again, the Japanese cinema's sensibilities have always been catering to the native audience unbothered to appeal towards foreign tastes and preferences. Japan's notorious appetite for excessive emotional expressions has not changed one bit in 2023. This type of execution makes you wonder how ahead of their time Ozu, Kurosawa, Fukasaku and Miyazaki were bringing a different take on telling stories with gravitas, depth and genuine emotion instead of hugging walking cinematic stereotypes.
Lost in Translation (2003)
An ode to lonely and melancholic souls
Reviewed by filmmining101:
An ode to melancholic and introverted souls, Sofia Coppola's follow up to "The Virgin Suicides" (1999) remains still her best movie and one of the finest outings of original independent cinema.
Centered around a platonic relationship between two wildly different individuals who seem to be sharing more than meets the eye, "Lost in Translation" uses the largest metropolis of our planet as a supporting cast member. The disconnection from this mixed aesthetic of technological infrastructure and traditional architecture that only Tokyo can offer is evident by two Americans alienated by a culture where their prevalent (and privileged if you will) language means nothing. This "superficial" isolation only elevates their segregation from their life choices; Bob struggles to produce any sort of sentiment, discontent by his affluential lifestyle and static marriage while Charlotte is drifting further away by a clueless husband even in the smallest of social circumstances.
Coppola shows a remarkable maturity and understanding of human connection never electing to sacrifice her (frankly gorgeous) female lead to the altar of cheap comedic or dramatic thrills or let herself become infatuated with Murray's comedic talent. She suggests an emotional depth that even critically acclaimed movies of the early noughties lacked generating cinematic fireworks with the shortest of sentences and subtle acts of stoicism; a bed scene is shot with such rigorous honesty which Yasujiro Ozu would be proud, their body behavior and looks are enough to hint complex feelings, regrets and life contemplation. Devoid of mid-life crises to make us laugh or OTT reactions of despair and anger, "Lost in Translation" might be initially referring to a cultural incompatibility but it is also about how you (loosely) "translate" yourself in own life too whether as a young or an older adult. It is how you choose to find satisfaction (or is it gratification?) into a easy to step into care-free circle that requires no effort.
This is filmmaking at its most sincere presenting a unique story that only a collage of pictures and a symphony of sound can reveal. Deconstructing the concept of loneliness and soul wondering and dissecting carefully human relationships, Coppola's script never attacks or condemns any of the on-screen choices and feelings we experience allowing the audience to decide even the outcome of this story.
Bill Murray gives the performance of a lifetime (and one of the best in movie history), a far cry from his deadpan chops sharing an enviable chemistry with his much, much younger Scarlett Johansson. What could have easily overshadow the story and glide into sleazy territory is an opportunity for subtle frankness. Harris is by no means portrayed as a life mentor from a moral standpoint neither is the lover whom Charlotte has been looking for (or we as the audience are rooting for). Yet, his small nuggets of middle age wisdom and capacity for child like jokes are enough to resonate with her in the most of unorthodox of environments (e.g., karaoke or a strip club). His apathy on the other hand despite his apparent fluent materialistic success is neutralized by a willing individual to explore Tokyo's neon soaked streets through clubbing, eating yakiniku and watching movies. With tired emotionally eyes, Bob attempts to reconnect with the world around him, even if its culture wise concepts, make him unable (yet open) to understand. His calls with an equally "robotic" wife on L. A is firm evidence that the older you get, one's passion and urges became to fade away but no judgement is being passed here wisely. Johansson complements him and gives her "heroine" an appropriately underdog flair that will resonate with plenty of men and women.
"Lost in Translation" is one of these rare occasions where every shot is perfect and serves a narrative/character purpose prompting plenty of discussion afterwards about which one was the most representative (e.g., Johansson overseeing Shinjuku from her hotel window will be imprinted at the audience's memory). Boasting one of the most memorable duos of the last twenty years, a bittersweet tone, a hard to be found truthfulness and a beautiful finale, it will sweep you off your feet.