Scan and Pan
Wednesday, January 31, 2007
Notes on a Scandal
Barbara is a lonely spinster who teaches at a north London school and keeps a detailed diary of her life. When the attractive thirtysomething Sheba joins the staff as an art teacher, Barbara becomes obsessed with her. She learns that Sheba is in a marriage to a much older man, and has a teenaged daughter and a son with Down's Syndrome. Sheba is also having an affair with a 15-year-old student. When Barbara discovers the affair, she uses this knowledge to manipulate Sheba into a closer relationship with her.
Director Richard Eyre (The Ploughman's Lunch) brings together a keen eye for detail and a knack for directing actors to make a persuasive and even suspenseful character drama. The screenplay by Patrick Marber (Closer), based on Zoe Heller's 2003 novel, is subtle and intelligent. I haven't read the novel, but based on an online summary the script appears to be reasonably faithful except for a more compressed timeline. Chris Menges (The Killing Fields, Michael Collins) is a master of naturalistic cinematography, and his work here is consistently good. Philip Glass contributes a moody score that nicely underscores the dramatic moments of the film.
Judi Dench is perfect in an outstanding performance as Barbara. Her character palpably aches with longing for a relationship, but her obsessiveness leads her into darker psychological terrain. Cate Blanchett provides an equally strong performance as Sheba, a bohemian art student turned respectable middle class wife and mother, whose repression breaks loose into a forbidden affair. Young Derry born actor Andrew Simpson is really quite good as Steven Connolly, the manipulative yet perceptive teenaged lover of Sheba, and convinces us that his character could believably seduce an older woman with his youthful charm and Irish brogue. Rounding out the good cast are Bill Nighy as Sheba's husband, Juno Temple as Sheba's daughter, Stephen Kennedy and Derbhle Crotty as Connolly's parents, and Philip Davis as a teacher with a crush on Sheba.
Notes on a Scandal has been nominated for four Oscars -- Dench as Best Actress, Blanchett as Best Supporting Actress, Marber for Best Adapted Screenplay, and Glass for Best Score -- and I recommend it just as highly.
This is a superb drama with excellent performances, and has deservedly garnered multiple Oscar, Golden Globe, and British BAFTA award nominations.
Barbara is a lonely spinster who teaches at a north London school and keeps a detailed diary of her life. When the attractive thirtysomething Sheba joins the staff as an art teacher, Barbara becomes obsessed with her. She learns that Sheba is in a marriage to a much older man, and has a teenaged daughter and a son with Down's Syndrome. Sheba is also having an affair with a 15-year-old student. When Barbara discovers the affair, she uses this knowledge to manipulate Sheba into a closer relationship with her.
Director Richard Eyre (The Ploughman's Lunch) brings together a keen eye for detail and a knack for directing actors to make a persuasive and even suspenseful character drama. The screenplay by Patrick Marber (Closer), based on Zoe Heller's 2003 novel, is subtle and intelligent. I haven't read the novel, but based on an online summary the script appears to be reasonably faithful except for a more compressed timeline. Chris Menges (The Killing Fields, Michael Collins) is a master of naturalistic cinematography, and his work here is consistently good. Philip Glass contributes a moody score that nicely underscores the dramatic moments of the film.
Judi Dench is perfect in an outstanding performance as Barbara. Her character palpably aches with longing for a relationship, but her obsessiveness leads her into darker psychological terrain. Cate Blanchett provides an equally strong performance as Sheba, a bohemian art student turned respectable middle class wife and mother, whose repression breaks loose into a forbidden affair. Young Derry born actor Andrew Simpson is really quite good as Steven Connolly, the manipulative yet perceptive teenaged lover of Sheba, and convinces us that his character could believably seduce an older woman with his youthful charm and Irish brogue. Rounding out the good cast are Bill Nighy as Sheba's husband, Juno Temple as Sheba's daughter, Stephen Kennedy and Derbhle Crotty as Connolly's parents, and Philip Davis as a teacher with a crush on Sheba.
Notes on a Scandal has been nominated for four Oscars -- Dench as Best Actress, Blanchett as Best Supporting Actress, Marber for Best Adapted Screenplay, and Glass for Best Score -- and I recommend it just as highly.
Tuesday, January 30, 2007
Blood and Chocolate
Vivian is a young American woman living in Bucharest. Vivian is also a werewolf, a member of a pack who closely guards its existence from the world of humans, and she's been promised to Gabriel, the pack leader. However, she meets a young human artist, Aiden, and falls in love with him.
Director Katja von Garnier (Bandits, Iron Jawed Angels) approaches the material with an eye to naturalism rather than horror excess, creating a solid film that owes as much to the romance genre as it does to horror, but it lacks any real spark and feels like a made for television film most of the time. Screenwriters Ehren Kruger (The Ring) and Christopher Landon make major changes to Annette Curtis Klause's novel, which will disappoint fans of the novel, but even with its shortcomings, the attempt to create a lycanthropic romance thriller is appreciated. Hopefully, another filmmaker will revisit the premise and make a better than average film out of it.
If there's one thing that works well in the film, it's the transformation scenes, which are very graceful and capture the beauty of lycanthropy rather than being gruesome. The transformed werewolves are portrayed by real wolves instead of animatronics or CGI creations, which makes them seem like tangible possibilities that may lurk in the shadows of our world.
There are no great performances here, but Agnes Bruckner as Vivian and Hugh Dancy as Aiden deliver solid ones and have the good looks necessary for what are essentially "Romeo and Juliet" roles. They don't seem to have much chemistry early in the film, but their chemistry increases as the story goes on, mirroring the growing relationship of their characters. However, Olivier Martinez as Gabriel and Bryan Dick as Vivian's cousin Rafe seem to have wandered in off the set of a daytime soap with their unconvincing overacting. Gabriel as written in the script should be a dark, seductive, and menacing presence, but Martinez doesn't manage anything even close to that.
If, like me, you enjoy werewolf films, it's worth a viewing, but wait until it's released on video (which shouldn't be long considering how poorly it's performed at the box office).
I have a soft spot for werewolf films. It's a genre that's produced some classics (The Wolf Man, The Howling, An American Werewolf in London, Ginger Snaps), but has also produced more than its fair share of bad films. This film has some good moments, but it's ultimately an unsatisfying addition to the genre. Not one of the bad films, mind you, just average.
Vivian is a young American woman living in Bucharest. Vivian is also a werewolf, a member of a pack who closely guards its existence from the world of humans, and she's been promised to Gabriel, the pack leader. However, she meets a young human artist, Aiden, and falls in love with him.
Director Katja von Garnier (Bandits, Iron Jawed Angels) approaches the material with an eye to naturalism rather than horror excess, creating a solid film that owes as much to the romance genre as it does to horror, but it lacks any real spark and feels like a made for television film most of the time. Screenwriters Ehren Kruger (The Ring) and Christopher Landon make major changes to Annette Curtis Klause's novel, which will disappoint fans of the novel, but even with its shortcomings, the attempt to create a lycanthropic romance thriller is appreciated. Hopefully, another filmmaker will revisit the premise and make a better than average film out of it.
If there's one thing that works well in the film, it's the transformation scenes, which are very graceful and capture the beauty of lycanthropy rather than being gruesome. The transformed werewolves are portrayed by real wolves instead of animatronics or CGI creations, which makes them seem like tangible possibilities that may lurk in the shadows of our world.
There are no great performances here, but Agnes Bruckner as Vivian and Hugh Dancy as Aiden deliver solid ones and have the good looks necessary for what are essentially "Romeo and Juliet" roles. They don't seem to have much chemistry early in the film, but their chemistry increases as the story goes on, mirroring the growing relationship of their characters. However, Olivier Martinez as Gabriel and Bryan Dick as Vivian's cousin Rafe seem to have wandered in off the set of a daytime soap with their unconvincing overacting. Gabriel as written in the script should be a dark, seductive, and menacing presence, but Martinez doesn't manage anything even close to that.
If, like me, you enjoy werewolf films, it's worth a viewing, but wait until it's released on video (which shouldn't be long considering how poorly it's performed at the box office).
Monday, January 29, 2007
Venus
Maurice and Ian are elderly actors and good friends. When Ian's twentyish great-niece, Jessie, comes to work for him, Maurice begins to take an interest in her and finds himself falling in love with her, despite the vast age difference and her lack of sophistication.
While the premise of this sometimes bittersweet romantic comedy with touches of Pygmalion isn't very original, the execution of it by screenwriter Hanif Kureishi (My Beautiful Laundrette) is high quality. It exhibits razor sharp dialogue and strong characters, and is sparkling with wit, but it's not all sweetness and light. Director Roger Michell (Notting Hill) shows a deft touch with the material, achieving a good balance of comedy and drama, while creating a polished film that doesn't put style for the sake of style above the story and getting excellent performances from his cast.
The soft, low key cinematography of Haris Zambarloukos (The Best Man) complements the story quite nicely, capturing the drabness of the main characters' lives. The score by David Arnold (Casino Royale) is top notch, and the songs by Corinne Bailey Rae are also good.
Peter O'Toole is absolutely masterful as Maurice, exhibiting charm and grace that remain even when his character is being a dirty old man. He moves effortlessly between comedy and drama, and takes what could be a somewhat unlikable character and makes us like him. The performance has earned him his eighth Oscar nomination for Best Actor, now we'll see if it becomes his first win. His performance is certainly good enough to merit a golden statue.
O'Toole is surprisingly well-matched by young actress Jodie Whittaker, making her film debut, who is very believable as a sullen, unsophisticated young woman torn between expanding her horizons and taking advantage of an older man's interest for her own selfish reasons. Leslie Phillips is also outstanding as Ian, and his character's friendship with Maurice is touching and even hilarious at times. Vanessa Redgrave is strong in a smaller role as the wife Maurice abandoned years ago. Last but not least, Richard Griffiths has some good scenes as a friend of Maurice and Ian.
The strength of Venus is seeing veteran actors like O'Toole, Phillips, and Redgrave working their magic with a well-written screenplay that gives them some great characters to bring to life. Recommended.
This is one of the most enjoyable romantic comedies I've seen in a long time and one of the better films of 2006.
Maurice and Ian are elderly actors and good friends. When Ian's twentyish great-niece, Jessie, comes to work for him, Maurice begins to take an interest in her and finds himself falling in love with her, despite the vast age difference and her lack of sophistication.
While the premise of this sometimes bittersweet romantic comedy with touches of Pygmalion isn't very original, the execution of it by screenwriter Hanif Kureishi (My Beautiful Laundrette) is high quality. It exhibits razor sharp dialogue and strong characters, and is sparkling with wit, but it's not all sweetness and light. Director Roger Michell (Notting Hill) shows a deft touch with the material, achieving a good balance of comedy and drama, while creating a polished film that doesn't put style for the sake of style above the story and getting excellent performances from his cast.
The soft, low key cinematography of Haris Zambarloukos (The Best Man) complements the story quite nicely, capturing the drabness of the main characters' lives. The score by David Arnold (Casino Royale) is top notch, and the songs by Corinne Bailey Rae are also good.
Peter O'Toole is absolutely masterful as Maurice, exhibiting charm and grace that remain even when his character is being a dirty old man. He moves effortlessly between comedy and drama, and takes what could be a somewhat unlikable character and makes us like him. The performance has earned him his eighth Oscar nomination for Best Actor, now we'll see if it becomes his first win. His performance is certainly good enough to merit a golden statue.
O'Toole is surprisingly well-matched by young actress Jodie Whittaker, making her film debut, who is very believable as a sullen, unsophisticated young woman torn between expanding her horizons and taking advantage of an older man's interest for her own selfish reasons. Leslie Phillips is also outstanding as Ian, and his character's friendship with Maurice is touching and even hilarious at times. Vanessa Redgrave is strong in a smaller role as the wife Maurice abandoned years ago. Last but not least, Richard Griffiths has some good scenes as a friend of Maurice and Ian.
The strength of Venus is seeing veteran actors like O'Toole, Phillips, and Redgrave working their magic with a well-written screenplay that gives them some great characters to bring to life. Recommended.
Thursday, January 25, 2007
The Last King of Scotland
The film tells the story of Nicholas Garrigan, a young Scottish physician who travels to Uganda to work in a rural medical clinic. Entirely by chance, he's called in to treat an injured Amin, who is impressed by the young doctor and asks him to become his personal physician. Over the next five years, Garrigan becomes Amin's most trusted advisor, closing his eyes to the horrors perpetrated by the regime. When his affair with one of Amin's wives is discovered, the horror becomes personal.
Director Kevin Macdonald (Touching the Void) creates a taut, character driven film that, while fictionalized, manages to convey the truth about Idi Amin's regime through the eyes of a character who is an amalgamation of three of Amin's actual advisors. He skillfully negotiates the film through several changes of direction without missing a beat. Screenwriters Peter Morgan (The Queen) and Jeremy Brock (co-creator of the British television show Casualty) adapt the novel by journalist Giles Foden into a satisfying blend of personal drama and political thriller.
Anthony Dod Mantle (28 Days Later) keeps it real with cinematography that is practical and professional but never slick, focusing the attention on the actors rather than on itself. Production designer Michael Carlin (Wallis & Edward) uses the Ugandan shooting locations to bring the country's past vividly back to life. Composer Alex Heffes (Imagine Me & You) provides a solid, unobtrusive score.
Forest Whitaker was nominated for a Best Actor Oscar and won a Golden Globe on the strength of his performance as the by turns charming and menacing dictator. He allows the audience to see why Amin's charisma made him so popular at first and why he was so terrifying to the victims of his regime. Whitaker so thoroughly inhabits the role that he disappears inside Amin's skin. In an interview, the actor said that even after shooting was done, he found himself talking like Amin.
James McAvoy is also strong as Garrigan, a cocky but idealistic Scot looking for adventure after graduating from medical school and finding more than he wanted. Gillian Anderson is good in a small role as the wife of the man who runs the medical clinic. Kerry Washington as Amin's young wife Kay, Simon McBurney as a British official, and David Oyelowo as Garrigan's predecessor also deliver good performances.
Forest Whitaker's performance alone would be worth seeing the film for, but The Last King of Scotland is also a very good film on its other merits. Recommended.
This fictionalized film about Ugandan dictator Idi Amin is a compelling drama turned thriller, with a brilliant performance by Forest Whitaker as Amin.
The film tells the story of Nicholas Garrigan, a young Scottish physician who travels to Uganda to work in a rural medical clinic. Entirely by chance, he's called in to treat an injured Amin, who is impressed by the young doctor and asks him to become his personal physician. Over the next five years, Garrigan becomes Amin's most trusted advisor, closing his eyes to the horrors perpetrated by the regime. When his affair with one of Amin's wives is discovered, the horror becomes personal.
Director Kevin Macdonald (Touching the Void) creates a taut, character driven film that, while fictionalized, manages to convey the truth about Idi Amin's regime through the eyes of a character who is an amalgamation of three of Amin's actual advisors. He skillfully negotiates the film through several changes of direction without missing a beat. Screenwriters Peter Morgan (The Queen) and Jeremy Brock (co-creator of the British television show Casualty) adapt the novel by journalist Giles Foden into a satisfying blend of personal drama and political thriller.
Anthony Dod Mantle (28 Days Later) keeps it real with cinematography that is practical and professional but never slick, focusing the attention on the actors rather than on itself. Production designer Michael Carlin (Wallis & Edward) uses the Ugandan shooting locations to bring the country's past vividly back to life. Composer Alex Heffes (Imagine Me & You) provides a solid, unobtrusive score.
Forest Whitaker was nominated for a Best Actor Oscar and won a Golden Globe on the strength of his performance as the by turns charming and menacing dictator. He allows the audience to see why Amin's charisma made him so popular at first and why he was so terrifying to the victims of his regime. Whitaker so thoroughly inhabits the role that he disappears inside Amin's skin. In an interview, the actor said that even after shooting was done, he found himself talking like Amin.
James McAvoy is also strong as Garrigan, a cocky but idealistic Scot looking for adventure after graduating from medical school and finding more than he wanted. Gillian Anderson is good in a small role as the wife of the man who runs the medical clinic. Kerry Washington as Amin's young wife Kay, Simon McBurney as a British official, and David Oyelowo as Garrigan's predecessor also deliver good performances.
Forest Whitaker's performance alone would be worth seeing the film for, but The Last King of Scotland is also a very good film on its other merits. Recommended.
Monday, January 22, 2007
INLAND EMPIRE
Lynch describes the film as being "about a woman in trouble, and it's a mystery." It is, on both counts. To describe the story to someone who hasn't seen it is probably an exercise in futility, but suffice it to say it involves an actress named Nikki Grace starring in a remake of a cursed foreign film, her character in the film, a Hollywood streetwalker, shady men in Poland, and a television sitcom about a family of anthropomorphic rabbits. Oh, and there are dancing girls, a lumberjack, and a monkey, too.
This film represents Lynch at his absolute finest, an American surrealist telling the stories lurking in the shadows of his mind without any consideration for mainstream tastes. It isn't improvised, but it's quite close - he would write the next day's scenes each evening and the actors would receive them just before shooting. In a different director's hands this could easily turn into a self-indulgent mess, but in his hands it's an artistic statement and the purest expression of his brand of surrealism since Eraserhead three decades ago. He also serves as editor, composer, and as one of the camera operators, making him a true auteur. There's a surprising amount of humor in the film, contrasting with a sense of dread that wouldn't be out of place in a Japanese horror film. At nearly three hours of running time, it's easily his longest film, but it never feels as long as that.
It's also the first Lynch film to be shot entirely on digital video, and no attempt is made to give it a more cinematic appearance. It's the most unpolished looking film he's ever made, with the rich, vivid images of his previous films being replaced by murky, grimy ones. While some critics have complained about the look created by Norwegian cinematographer Odd-Geir Saether, this is a raw, unfiltered download from Lynch's brain to the cinema screen, and the cinematography correctly reflects this. Filmed in southern California and Poland, there's a mood of decay everywhere.
Laura Dern, who had key roles in previous Lynch films Blue Velvet and Wild at Heart, delivers an astonishing, multifaceted performance that is without a doubt the best of her career. The film may lack a traditional narrative, but Dern's performance creates a compelling narrative of its own, no matter which of the two (possibly three) characters she's playing. If this was a mainstream film, she would earn an Oscar nomination, but the non-mainstream nature of the production may hurt her chances.
Other notable performances are delivered by Jeremy Irons as a film director, Harry Dean Stanton in a funny turn as the director's right hand man, Justin Theroux as Nikki's co-star in the film being made, Peter J. Lucas as Nikki's controlling husband (possibly a gangster), Karolina Gruszka as a young woman crying in a hotel room while watching television, Grace Zabriskie as Nikki's eccentric neighbor, Ian Abercrombie as Nikki's butler, and Nae Yuuki as a homeless girl. Scott Coffey, Laura Harring, and Naomi Watts perform as the rabbit family (reprising their roles from Lynch's Internet short film series, Rabbits).
This is a film for hardcore Lynch fans or fans of avant-garde cinema. If you're not a fan or only a casual one, or if you prefer mainstream filmmaking, this film is probably not for you. I think it's an audacious and brilliant piece of art that, on its own terms, may just be the best film of 2006.
The prospect of seeing a new film from a favorite director is like opening a Christmas package. There's a lot of anticipation and you hope that once it's unwrapped you'll find a wonderful gift. This is perhaps the strangest feature film that writer/director David Lynch has ever made, which is saying a lot, but it's the perfect present for his hardcore fans.
Lynch describes the film as being "about a woman in trouble, and it's a mystery." It is, on both counts. To describe the story to someone who hasn't seen it is probably an exercise in futility, but suffice it to say it involves an actress named Nikki Grace starring in a remake of a cursed foreign film, her character in the film, a Hollywood streetwalker, shady men in Poland, and a television sitcom about a family of anthropomorphic rabbits. Oh, and there are dancing girls, a lumberjack, and a monkey, too.
This film represents Lynch at his absolute finest, an American surrealist telling the stories lurking in the shadows of his mind without any consideration for mainstream tastes. It isn't improvised, but it's quite close - he would write the next day's scenes each evening and the actors would receive them just before shooting. In a different director's hands this could easily turn into a self-indulgent mess, but in his hands it's an artistic statement and the purest expression of his brand of surrealism since Eraserhead three decades ago. He also serves as editor, composer, and as one of the camera operators, making him a true auteur. There's a surprising amount of humor in the film, contrasting with a sense of dread that wouldn't be out of place in a Japanese horror film. At nearly three hours of running time, it's easily his longest film, but it never feels as long as that.
It's also the first Lynch film to be shot entirely on digital video, and no attempt is made to give it a more cinematic appearance. It's the most unpolished looking film he's ever made, with the rich, vivid images of his previous films being replaced by murky, grimy ones. While some critics have complained about the look created by Norwegian cinematographer Odd-Geir Saether, this is a raw, unfiltered download from Lynch's brain to the cinema screen, and the cinematography correctly reflects this. Filmed in southern California and Poland, there's a mood of decay everywhere.
Laura Dern, who had key roles in previous Lynch films Blue Velvet and Wild at Heart, delivers an astonishing, multifaceted performance that is without a doubt the best of her career. The film may lack a traditional narrative, but Dern's performance creates a compelling narrative of its own, no matter which of the two (possibly three) characters she's playing. If this was a mainstream film, she would earn an Oscar nomination, but the non-mainstream nature of the production may hurt her chances.
Other notable performances are delivered by Jeremy Irons as a film director, Harry Dean Stanton in a funny turn as the director's right hand man, Justin Theroux as Nikki's co-star in the film being made, Peter J. Lucas as Nikki's controlling husband (possibly a gangster), Karolina Gruszka as a young woman crying in a hotel room while watching television, Grace Zabriskie as Nikki's eccentric neighbor, Ian Abercrombie as Nikki's butler, and Nae Yuuki as a homeless girl. Scott Coffey, Laura Harring, and Naomi Watts perform as the rabbit family (reprising their roles from Lynch's Internet short film series, Rabbits).
This is a film for hardcore Lynch fans or fans of avant-garde cinema. If you're not a fan or only a casual one, or if you prefer mainstream filmmaking, this film is probably not for you. I think it's an audacious and brilliant piece of art that, on its own terms, may just be the best film of 2006.
Wednesday, January 17, 2007
El Laberinto del Fauno (Pan's Labyrinth)
Northern Spain, 1944. Ofelia, an imaginative 12-year-old-girl, moves with her pregnant mother to live with her stepfather, an officer in the fascist government's army who's been assigned to the area to deal with an anti-fascist militia hiding in the hills. While exploring the woods, Ofelia discovers an ancient labyrinth guarded by a faun, who reveals that she is the long lost daughter of the King of the Underworld and she can return to her true home if she completes three tasks.
Del Toro's magnificent vision coalesces into a darkly poetic elegy to the end of innocence and childhood, framed as a psychological drama. As he did so well in The Devil's Backbone, which was set a few years earlier in Civil War-era Spain, del Toro grounds the fantastic elements in the very real horrors of the historical period, which provides an entrance to the magical power of another world. Like all great unexpurgated fairy tales, it doesn't shy away from the darkness of the world. The fantasy elements can be viewed literally or simply as the escapist fantasies of a lonely but imaginative girl. In common with magical realism, the film doesn't dictate to the audience which interpretation is correct, but rather allows each viewer to choose from two equally valid possibilities. The interpretation one chooses will also determine whether one sees the ending as tragic or happy.
Cinematographer Guillermo Navarro, a longtime collaborator of del Toro's, and production designer Eugenio Caballero lay a sumptuous visual feast, contrasting the realism of the house with the vivid waking dreams of the fantasy realms. Composer Javier Navarrete's score weaves its own spell, working with the visuals to draw you into the story's worlds. The visual effects are seamless and a very organic part of the film, but they are few in number compared to the average fantasy film. Master storyteller that he is, del Toro doesn't lean on the effects like a crutch. It's all about how they serve his story.
Young Spanish actress Ivana Baquero delivers an excellent performance as Ofelia that's so natural that you never get the sense that she's acting as much as channeling the spirit of her character. Doug Jones (Abe Sapien in Hellboy and the Silver Surfer in the upcoming Fantastic Four: Rise of the Silver Surfer) is fabulous as both the faun and the Pale Man. As good as the makeup and effects are, it's his acting that makes us believe. Strong performances are also given by Sergi Lopez as Ofelia's stepfather, Ariadna Gil as her mother, Maribel Verdu as the housekeeper and secret supporter of the militia, and Alex Angulo as the local physician.
Mexico's official submission for a Best Foreign Language Film Oscar is a visually stunning and captivating dark fantasy film that's also one of a kind. It's not like anything you've seen before. Highly recommended as one of the best films of 2006 and an outstanding film in the fantasy genre.
This dark fantasy from producer Alfonso Cuaron (director of Harry Potter and the Prisoner of Azkaban and Children of Men) and writer/director Guillermo del Toro (The Devil's Backbone and Hellboy) owes much to the literary genre of magical realism and is truly a work of art.
Northern Spain, 1944. Ofelia, an imaginative 12-year-old-girl, moves with her pregnant mother to live with her stepfather, an officer in the fascist government's army who's been assigned to the area to deal with an anti-fascist militia hiding in the hills. While exploring the woods, Ofelia discovers an ancient labyrinth guarded by a faun, who reveals that she is the long lost daughter of the King of the Underworld and she can return to her true home if she completes three tasks.
Del Toro's magnificent vision coalesces into a darkly poetic elegy to the end of innocence and childhood, framed as a psychological drama. As he did so well in The Devil's Backbone, which was set a few years earlier in Civil War-era Spain, del Toro grounds the fantastic elements in the very real horrors of the historical period, which provides an entrance to the magical power of another world. Like all great unexpurgated fairy tales, it doesn't shy away from the darkness of the world. The fantasy elements can be viewed literally or simply as the escapist fantasies of a lonely but imaginative girl. In common with magical realism, the film doesn't dictate to the audience which interpretation is correct, but rather allows each viewer to choose from two equally valid possibilities. The interpretation one chooses will also determine whether one sees the ending as tragic or happy.
Cinematographer Guillermo Navarro, a longtime collaborator of del Toro's, and production designer Eugenio Caballero lay a sumptuous visual feast, contrasting the realism of the house with the vivid waking dreams of the fantasy realms. Composer Javier Navarrete's score weaves its own spell, working with the visuals to draw you into the story's worlds. The visual effects are seamless and a very organic part of the film, but they are few in number compared to the average fantasy film. Master storyteller that he is, del Toro doesn't lean on the effects like a crutch. It's all about how they serve his story.
Young Spanish actress Ivana Baquero delivers an excellent performance as Ofelia that's so natural that you never get the sense that she's acting as much as channeling the spirit of her character. Doug Jones (Abe Sapien in Hellboy and the Silver Surfer in the upcoming Fantastic Four: Rise of the Silver Surfer) is fabulous as both the faun and the Pale Man. As good as the makeup and effects are, it's his acting that makes us believe. Strong performances are also given by Sergi Lopez as Ofelia's stepfather, Ariadna Gil as her mother, Maribel Verdu as the housekeeper and secret supporter of the militia, and Alex Angulo as the local physician.
Mexico's official submission for a Best Foreign Language Film Oscar is a visually stunning and captivating dark fantasy film that's also one of a kind. It's not like anything you've seen before. Highly recommended as one of the best films of 2006 and an outstanding film in the fantasy genre.
Thursday, January 11, 2007
Eragon
If you put the ideas of George Lucas and J.R.R. Tolkien into a blender, the result would be a story about a young farm boy who discovers a dragon's egg, learns he's destined to become a Dragon Rider, finds his uncle murdered by the forces of an evil ruler (who happens to a Dragon Rider who went over to the dark side), meets a bearded older man (and former Dragon Rider) who trains him, rescues an elf princess, reaches a rebel stronghold, and fights against the minions of the ruler and his dark sorcerer.
Stefen Fangmeier, a former visual effects supervisor at Lucas' Industrial Light & Magic, makes his directorial debut with a film that demonstrates a good eye for the visual aspects of storytelling, but inexperience with directing actors combines with a derivative story to limit its appeal. I haven't read Christopher Paolini's novel, but an online summary shows that scriptwriter Peter Buchman (Jurassic Park III) greatly condensed the storyline for the film, resulting in not much really seeming to happen. That said, the blame for the derivative story has to go to Paolini. As one reviewer said, this was much better when it was called Star Wars.
Cinematographer Hugh Johnson (The Chronicles of Riddick) and production designer Wolf Kroeger (Ladyhawke, Reign of Fire) use the natural beauty of the Hungarian and Slovakian locations to great advantage. The visual effects by ILM and Weta Digital (The Lord of the Rings) are outstanding, and the CGI dragon is simply amazing. It's easy to forget that you're watching a visual effect rather than a real dragon, and it's this wondrous trick of magic that provides the entertainment value despite the film's flaws. Patrick Doyle (Harry Potter and the Goblet of Fire) contributes a generic but competent score.
First time film actor Ed Speleers isn't as wooden as the title character as I feared, but he's miscast, lacking any charisma necessary to convincingly portray an epic hero. He's not even on the same level as Mark Hamill as Luke Skywalker. I don't want to place the blame entirely on him because I think the inexperience of director Fangmeier was a factor, which can also be seen in the uninspired performances of usually excellent actors Jeremy Irons, Robert Carlyle, John Malkovich, and Djimon Hounsou. Rachel Weisz, though, fares well with her voice work for Saphira the dragon, working with the visual effects to bring her character to life very convincingly. Sienna Guillory makes an attractive elf princess, but her character doesn't have much to do. Caroline Chikezie (Lisa the Cyberwoman in Torchwood) has a small role as the daughter of a rebel leader.
I have mixed feelings about the film. Derivative plot, yes; uninspired acting performances, yes; but I enjoyed the film whenever the dragon was on screen. It's not a bad film as much as it is unoriginal. If you like dragons or great visual effects, it might be worth a video rental.
This is a lightweight and derivative fantasy film, but the visual effects and dragon provide some entertainment value.
If you put the ideas of George Lucas and J.R.R. Tolkien into a blender, the result would be a story about a young farm boy who discovers a dragon's egg, learns he's destined to become a Dragon Rider, finds his uncle murdered by the forces of an evil ruler (who happens to a Dragon Rider who went over to the dark side), meets a bearded older man (and former Dragon Rider) who trains him, rescues an elf princess, reaches a rebel stronghold, and fights against the minions of the ruler and his dark sorcerer.
Stefen Fangmeier, a former visual effects supervisor at Lucas' Industrial Light & Magic, makes his directorial debut with a film that demonstrates a good eye for the visual aspects of storytelling, but inexperience with directing actors combines with a derivative story to limit its appeal. I haven't read Christopher Paolini's novel, but an online summary shows that scriptwriter Peter Buchman (Jurassic Park III) greatly condensed the storyline for the film, resulting in not much really seeming to happen. That said, the blame for the derivative story has to go to Paolini. As one reviewer said, this was much better when it was called Star Wars.
Cinematographer Hugh Johnson (The Chronicles of Riddick) and production designer Wolf Kroeger (Ladyhawke, Reign of Fire) use the natural beauty of the Hungarian and Slovakian locations to great advantage. The visual effects by ILM and Weta Digital (The Lord of the Rings) are outstanding, and the CGI dragon is simply amazing. It's easy to forget that you're watching a visual effect rather than a real dragon, and it's this wondrous trick of magic that provides the entertainment value despite the film's flaws. Patrick Doyle (Harry Potter and the Goblet of Fire) contributes a generic but competent score.
First time film actor Ed Speleers isn't as wooden as the title character as I feared, but he's miscast, lacking any charisma necessary to convincingly portray an epic hero. He's not even on the same level as Mark Hamill as Luke Skywalker. I don't want to place the blame entirely on him because I think the inexperience of director Fangmeier was a factor, which can also be seen in the uninspired performances of usually excellent actors Jeremy Irons, Robert Carlyle, John Malkovich, and Djimon Hounsou. Rachel Weisz, though, fares well with her voice work for Saphira the dragon, working with the visual effects to bring her character to life very convincingly. Sienna Guillory makes an attractive elf princess, but her character doesn't have much to do. Caroline Chikezie (Lisa the Cyberwoman in Torchwood) has a small role as the daughter of a rebel leader.
I have mixed feelings about the film. Derivative plot, yes; uninspired acting performances, yes; but I enjoyed the film whenever the dragon was on screen. It's not a bad film as much as it is unoriginal. If you like dragons or great visual effects, it might be worth a video rental.
Rocky Balboa
This film finds a widowed Rocky living alone and reliving his glory days by telling stories to the patrons of his restaurant. His son is somewhat estranged and he doesn't seem to have much else in his life but past memories. After he befriends a woman trying to raise her teenaged son alone, Rocky realises that his life isn't over and decides to try boxing again. When a televised computer simulation shows that Rocky in his prime would have defeated Mason Dixon, the current champion, Dixon's managers find a way to get the well past his prime Rocky into the ring with their client for a highly publicised exhibition fight.
Writer/director Sylvester Stallone serves up a surprisingly low-key, character-driven film that recalls the themes of the original Rocky while providing a fitting coda to the series. A film about an aging, washed up Rocky getting into the ring with a man half his age could easily turn into self-parody, but it doesn't, and it reminds us that what makes Rocky great is his heart rather than his fists. Stallone eschews the slickness of the later films for a bare bones filming style that recalls the raw feel of the original film (which was directed by John G. Avildsen), and cinematographer Clark Mathis (the 2005 remake of the Night Stalker television show) perfectly complements his director's vision. The fight scenes were mostly shot using digital HD cameras to give them a live feel, while the rest was shot on film. Bill Conti's score is solid and he finds ways to work his famous "Rocky Theme" into quite a few scenes, sometimes subtly, sometimes not.
Stallone returns to the role that made him a star and delivers his best performance in years, if not one of the best of his career, and he's genuinely moving at times. He has sleep-walked through far too many routine action films during his career, but he reminds us here that he's also a skilled actor. Two of the best scenes in the film are when he's turned down for a license by the boxing commission and when he confronts his son. Milo Ventimiglia (Heroes) is effective as Rocky Jr., who feels overshadowed by his father and unable to live up to expectations, and Burt Young is good once again as Rocky's brother-in-law, Paulie. Belfast-born actress Geraldine Hughes sparkles as Marie, the woman Rocky befriends (and a character who appeared as a young woman in the first film, played by a different actress), and James Francis Kelly III is charming as her son in limited screen time. Boxer Antonio Tarver is believable enough as Mason Dixon. Mike Tyson has a cameo as himself.
This film is far better than anyone could have expected and it ensures that the series goes out the same way it came in: as a champion.
Like the title character, the 30-year-old film franchise returns to the ring for one final fight, and it's a good one.
This film finds a widowed Rocky living alone and reliving his glory days by telling stories to the patrons of his restaurant. His son is somewhat estranged and he doesn't seem to have much else in his life but past memories. After he befriends a woman trying to raise her teenaged son alone, Rocky realises that his life isn't over and decides to try boxing again. When a televised computer simulation shows that Rocky in his prime would have defeated Mason Dixon, the current champion, Dixon's managers find a way to get the well past his prime Rocky into the ring with their client for a highly publicised exhibition fight.
Writer/director Sylvester Stallone serves up a surprisingly low-key, character-driven film that recalls the themes of the original Rocky while providing a fitting coda to the series. A film about an aging, washed up Rocky getting into the ring with a man half his age could easily turn into self-parody, but it doesn't, and it reminds us that what makes Rocky great is his heart rather than his fists. Stallone eschews the slickness of the later films for a bare bones filming style that recalls the raw feel of the original film (which was directed by John G. Avildsen), and cinematographer Clark Mathis (the 2005 remake of the Night Stalker television show) perfectly complements his director's vision. The fight scenes were mostly shot using digital HD cameras to give them a live feel, while the rest was shot on film. Bill Conti's score is solid and he finds ways to work his famous "Rocky Theme" into quite a few scenes, sometimes subtly, sometimes not.
Stallone returns to the role that made him a star and delivers his best performance in years, if not one of the best of his career, and he's genuinely moving at times. He has sleep-walked through far too many routine action films during his career, but he reminds us here that he's also a skilled actor. Two of the best scenes in the film are when he's turned down for a license by the boxing commission and when he confronts his son. Milo Ventimiglia (Heroes) is effective as Rocky Jr., who feels overshadowed by his father and unable to live up to expectations, and Burt Young is good once again as Rocky's brother-in-law, Paulie. Belfast-born actress Geraldine Hughes sparkles as Marie, the woman Rocky befriends (and a character who appeared as a young woman in the first film, played by a different actress), and James Francis Kelly III is charming as her son in limited screen time. Boxer Antonio Tarver is believable enough as Mason Dixon. Mike Tyson has a cameo as himself.
This film is far better than anyone could have expected and it ensures that the series goes out the same way it came in: as a champion.
Children of Men
Earth, 2027. No children have been born since 2009. While most of the world has collapsed into chaos, Britain has survived as an authoritarian state with sharp class divisions that uses brutal methods to keep refugees out. Theo, an activist turned low level bureaucrat, is kidnapped by an alleged terrorist organisation called the Fishes, only to discover that his ex-wife, Julian, is its leader. They use a financial inducement to convince Theo to obtain a travel permit for a West African refugee girl named Kee. When Theo travels with Kee and members of the Fishes because the permit requires his presence, the car is attacked by an apparent mob of bandits and Julian is killed, forcing them to turn back. Soon Theo discovers that Kee is pregnant and the Fishes want to use her for their own purposes, leaving it up to him to get her safely to a ship from the Human Project while avoiding both the Fishes and the government.
Director Alfonso Cuaron (Y tu Mama Tambien, Harry Potter and the Prisoner of Azkaban) carefully crafts a dark, visceral vision of humanity's possible future in great detail. There isn't a single frame or scene out of place, and it's by turns thought provoking and thrilling. There's so much detail in the background that it might take repeated viewings to see it all. Cuaron and screenwriters Timothy J. Sexton (Live from Baghdad), David Arata (Brokedown Palace, Spy Game), and Mark Fergus and Hawk Ostby (writers of the upcoming Iron Man and John Carter of Mars films) make significant changes from James' novel, but as someone who loved the novel I think the changes all work to make the film relevant to contemporary audiences by skillfully including themes of terrorism, immigration, and environmental degradation into the narrative. As such, it reflects the possible future of our reality better than a literal adaptation of the novel could have. It's both a cautionary tale and a thriller, but it's also firmly grounded in the human drama.
Cinematographer Emmanuel Lubezki (Y tu Mama Tambien, The New World) creates a dark, overcast look that perfectly captures the mood of the story. The only time the look changes is a scene where Theo is driven through the area where the rich people live, which is bright and beautiful. Handheld cameras are used to give a sense of immediacy to scenes, most notably during the battle scenes at the end of the film, especially when a character's blood hits the camera lens and stays there for several minutes until a shift to a different shot. It makes the audience feel embedded in what the characters are experiencing.
Production designers Jim Clay (Blake's 7, The Crying Game) and Geoffrey Kirkland (two 1967 episodes of Doctor Who, Angela's Ashes) create a vividly realised future world which feels lived in and possible, with one set inspired by the cover to Pink Floyd's Animals album, which was itself thematically inspired by George Orwell's Animal Farm. The beautiful score by composer Sir John Tavener combines with classical pieces and pop songs, including a stunning version of "Ruby Tuesday", to create an aurally rich film.
Clive Owen's riveting performance as Theo provides the audience with a compelling protagonist and his character's journey is the heart of the film, turning the familiar trope of the cynical hero into something fresh. Michael Caine delivers a second outstanding performance for the year (after The Prestige) as Jasper Palmer, Theo's friend and a former radical political cartoonist. Julianne Moore makes a strong impression as Julian despite her limited screen time. Claire-Hope Ashitey holds her own as Kee, the vulnerable yet tough young woman who may just be the key to humanity's survival. Chiwetel Ejiofor as the Fishes' second in command, Peter Mullan as a corrupt policeman, and Pam Ferris as a former midwife also stand out.
Children of Men is one of the most engrossing science fiction films to come along in quite awhile and it's also one of the best films of 2006. Highly recommended.
P.D. James' 1992 novel is brought to the screen as an outstanding dystopian vision.
Earth, 2027. No children have been born since 2009. While most of the world has collapsed into chaos, Britain has survived as an authoritarian state with sharp class divisions that uses brutal methods to keep refugees out. Theo, an activist turned low level bureaucrat, is kidnapped by an alleged terrorist organisation called the Fishes, only to discover that his ex-wife, Julian, is its leader. They use a financial inducement to convince Theo to obtain a travel permit for a West African refugee girl named Kee. When Theo travels with Kee and members of the Fishes because the permit requires his presence, the car is attacked by an apparent mob of bandits and Julian is killed, forcing them to turn back. Soon Theo discovers that Kee is pregnant and the Fishes want to use her for their own purposes, leaving it up to him to get her safely to a ship from the Human Project while avoiding both the Fishes and the government.
Director Alfonso Cuaron (Y tu Mama Tambien, Harry Potter and the Prisoner of Azkaban) carefully crafts a dark, visceral vision of humanity's possible future in great detail. There isn't a single frame or scene out of place, and it's by turns thought provoking and thrilling. There's so much detail in the background that it might take repeated viewings to see it all. Cuaron and screenwriters Timothy J. Sexton (Live from Baghdad), David Arata (Brokedown Palace, Spy Game), and Mark Fergus and Hawk Ostby (writers of the upcoming Iron Man and John Carter of Mars films) make significant changes from James' novel, but as someone who loved the novel I think the changes all work to make the film relevant to contemporary audiences by skillfully including themes of terrorism, immigration, and environmental degradation into the narrative. As such, it reflects the possible future of our reality better than a literal adaptation of the novel could have. It's both a cautionary tale and a thriller, but it's also firmly grounded in the human drama.
Cinematographer Emmanuel Lubezki (Y tu Mama Tambien, The New World) creates a dark, overcast look that perfectly captures the mood of the story. The only time the look changes is a scene where Theo is driven through the area where the rich people live, which is bright and beautiful. Handheld cameras are used to give a sense of immediacy to scenes, most notably during the battle scenes at the end of the film, especially when a character's blood hits the camera lens and stays there for several minutes until a shift to a different shot. It makes the audience feel embedded in what the characters are experiencing.
Production designers Jim Clay (Blake's 7, The Crying Game) and Geoffrey Kirkland (two 1967 episodes of Doctor Who, Angela's Ashes) create a vividly realised future world which feels lived in and possible, with one set inspired by the cover to Pink Floyd's Animals album, which was itself thematically inspired by George Orwell's Animal Farm. The beautiful score by composer Sir John Tavener combines with classical pieces and pop songs, including a stunning version of "Ruby Tuesday", to create an aurally rich film.
Clive Owen's riveting performance as Theo provides the audience with a compelling protagonist and his character's journey is the heart of the film, turning the familiar trope of the cynical hero into something fresh. Michael Caine delivers a second outstanding performance for the year (after The Prestige) as Jasper Palmer, Theo's friend and a former radical political cartoonist. Julianne Moore makes a strong impression as Julian despite her limited screen time. Claire-Hope Ashitey holds her own as Kee, the vulnerable yet tough young woman who may just be the key to humanity's survival. Chiwetel Ejiofor as the Fishes' second in command, Peter Mullan as a corrupt policeman, and Pam Ferris as a former midwife also stand out.
Children of Men is one of the most engrossing science fiction films to come along in quite awhile and it's also one of the best films of 2006. Highly recommended.
Monday, January 01, 2007
The Pursuit of Happyness
San Francisco, 1981. Chris Gardner is a self-employed but unsuccessful medical imaging device salesman with a young son and a wife who works long hours to keep the family afloat. One day he meets a successful stockbroker and decides to pursue an unpaid internship at Dean Witter. When his relationship with his wife collapses, she leaves him, but he keeps their son. Unable to sell any devices, he grows increasingly desperate to make ends meet as he and his son find themselves sleeping in subway restrooms and homeless shelters.
Italian director Gabriele Muccino (L'Ultimo bacio, Ricordati di me) makes his US debut and brings a European style of gritty realism to the scenes of homeless life, but that style struggles against with the "American dream" propaganda of the story and the happy ending. The script by Steve Conrad (The Weather Man), based on the book by the real Gardner, is nothing we haven't seen before in similar films, complete with the predictable ending, but it redeems itself with a well-realised protagonist and some vivid scenes of being down and out in America.
Phedon Papamichael (Walk the Line) contributes cinematography that captures the essence of the story, gritty with the poverty of the characters and bright with the hopes of Chris Gardner represented in the internship, without looking slick. Good score by Italian composer Andrea Guerra (Hotel Rwanda), too.
Will Smith delivers perhaps the best performances of his career as Chris Gardner, imbuing the character with a complexity that lifts the film up to a higher level. If he isn't nominated for an Oscar, it'll be a shock. I'd like to see him take on more roles like this, because he's a better actor than many of his roles require him to be. Smith's real life son, Jaden, plays his character's son, and has his father's natural, effortless charm. Acting with his real father lends credibility to the father-son bond that forms the film's emotional core.
Thandie Newton seethes anger and disappointment as Gardner's wife. Dan Castellaneta is good as the instructor for Dean Witter's internship. In a funny in-joke, Castellaneta, most famous as the voice of Homer Simpson, asks Smith's character to get him some doughnuts. Brian Howe is likable as a senior Dean Witter partner who takes an interest in Gardner. Zuhair Haddad is quite funny in a small role as a taxi driver stiffed by Gardner.
Overall, The Pursuit of Happyness is predictable, but Will Smith and his son Jaden keep it watchable with their performances. This film is probably one better suited for a video rental.
This film is a predictable melodrama, but gritty direction, well-written characters, and excellent acting make it watchable.
San Francisco, 1981. Chris Gardner is a self-employed but unsuccessful medical imaging device salesman with a young son and a wife who works long hours to keep the family afloat. One day he meets a successful stockbroker and decides to pursue an unpaid internship at Dean Witter. When his relationship with his wife collapses, she leaves him, but he keeps their son. Unable to sell any devices, he grows increasingly desperate to make ends meet as he and his son find themselves sleeping in subway restrooms and homeless shelters.
Italian director Gabriele Muccino (L'Ultimo bacio, Ricordati di me) makes his US debut and brings a European style of gritty realism to the scenes of homeless life, but that style struggles against with the "American dream" propaganda of the story and the happy ending. The script by Steve Conrad (The Weather Man), based on the book by the real Gardner, is nothing we haven't seen before in similar films, complete with the predictable ending, but it redeems itself with a well-realised protagonist and some vivid scenes of being down and out in America.
Phedon Papamichael (Walk the Line) contributes cinematography that captures the essence of the story, gritty with the poverty of the characters and bright with the hopes of Chris Gardner represented in the internship, without looking slick. Good score by Italian composer Andrea Guerra (Hotel Rwanda), too.
Will Smith delivers perhaps the best performances of his career as Chris Gardner, imbuing the character with a complexity that lifts the film up to a higher level. If he isn't nominated for an Oscar, it'll be a shock. I'd like to see him take on more roles like this, because he's a better actor than many of his roles require him to be. Smith's real life son, Jaden, plays his character's son, and has his father's natural, effortless charm. Acting with his real father lends credibility to the father-son bond that forms the film's emotional core.
Thandie Newton seethes anger and disappointment as Gardner's wife. Dan Castellaneta is good as the instructor for Dean Witter's internship. In a funny in-joke, Castellaneta, most famous as the voice of Homer Simpson, asks Smith's character to get him some doughnuts. Brian Howe is likable as a senior Dean Witter partner who takes an interest in Gardner. Zuhair Haddad is quite funny in a small role as a taxi driver stiffed by Gardner.
Overall, The Pursuit of Happyness is predictable, but Will Smith and his son Jaden keep it watchable with their performances. This film is probably one better suited for a video rental.
