Richie-33 Reviews

Ringu (1998)

What an ending

[22 March 2001]

This Japanese horror film is hugely popular in its homeland, spawning a sequel, TV series and even a line of toys. It has also been causing quite a stir in the West, being heralded as the sign of a revolution in the genre, returning to a more calculating horror rather than the cheap shock tactics of slasher flicks.

The story begins with Reiko, a reporter investigating the mysterious deaths of several high school students, including her niece, and the urban myth that is spreading through the country concerning a cursed videotape. The rumour goes that if you see this tape you have only one week left to live and after tracking down a copy and watching it, Reiko becomes convinced that she too has given herself a death sentence.

In this way the story is not too far removed from the 50's horror classic 'Night of the Demon', with an initially sceptical investigator becoming increasingly more fearful of their fate and racing to try and lift the curse. It also is not wholly unlike the slasher films which have reduced the genre to self-parody in that it has it's origins firmly in the whispers of school halls and spectre of urban legends. What does mark it our however is the ancient folklore underlying the modern myth which makes it more 'Candyman' than 'Scream'.

The beginning is very promising and really draws you in to the mystery surrounding the dead teenagers. However the story then begins to lose its way a little through the middle section as it turns out Reiko's ex-husband is conveniently psychic and they run from place to place trying to solve the puzzle of the videotape. The tape itself is genuinely unnerving, with grainy footage of writhing shapes accompanied by some unpleasant sound effects, but like the rest of the film never resorts to gore or shocks, instead content to establish, and for the most part maintain, an overriding sense of creepiness.

Then, just as the whole thing seems to be getting a little silly with tales of unnatural powers and the fury of the dead, just as it looks like everything is okay and everyone is going home to bed for a quiet drink of milk and some biscuits, you realise that there is still five minutes of the film left. And what follows is one of the most delightfully understated twist endings I have seen, which really does feel like someone has taken their filth encrusted fingernails and dragged them screeching down your spinal cord. In the face of this simple but effective exercise in fear the ridiculousness of the rest is forgotten and like the best films of it's kind, 'Ring' doesn't go away when you turn off the TV. In fact, you'll want to throw your telly out of the window just to be on the safe side.

The Ninth Gate (1999)

No fair!

[22 March 2001]

This supernatural tale of intrigue set amongst the shady world of arcane book dealing is highly promising for the first two thirds or so and really has you puzzling over identities and motives. Unfortunately it seriously loses it's way at the end and leaves you with a frustrated sense of disappointment that you were cheated out of seeing a really good movie.

The dependably spooky Johnny Depp is the book expert hired to investigate the rumour that of the three remaining copies of the much sought after 'The Nine Gates of the Kingdom of Shadows', only one is genuine and reputed to have been scribbled down by Lucifer himself. Several groups want this book and soon Depp is surrounded by shady millionaires who would stop at nothing to complete their collection or perhaps have more sinister designs for the book.

For the most part Roman Polanski's globe trotting jaunt is great. It has a pleasantly old school feel to it, mixed with cosmopolitan European stylings. It's not as serious as you might think and has many wickedly amusing moments, along with a frequently mischievous score. It's great fun following the various scrapes and characters encountered, with a delightfully convoluted plot.

Unfortunately the ending is awful, despite being adapted from a novel I'm sure it would have been a good idea to rework it into something entirely more satisfying. What a waste.

Suzhou River (2000)

Stylishly unconventional

[5 February 2001]

Most of this film is shot directly from the point of view of the narrator, an unseen videographer who travels the titular river recording the myriad stories played out on its banks and vessels. Even the scenes in which he is not involved could well be his thoughts of events as he recounts what he has been told by others and it is this that is initially the most striking element of Suzhou River. It makes the viewer feel much more involved in the unfolding tale, although at times the rapid cuts and shaky camera are unnecessarily disorientating.

The narrator begins to tell us about his life - his job, his girlfriend Meimei who he obsessively videos and his fascination with the people of Suzhou River. But then this takes a back seat to his recounting of one of the many tales infamous within the community, of Mardar the motorcycle courier who is relentlessly searching the city for his lost love, Mudan. Her body was never found after she threw herself into the river from a bridge when Mardar was forced into kidnapping her by his gangland boss. But then this tragic story collides with our own narrator's as Mardar is convinced that he has finally found his long lost love and that she is Meimei. Obvious comparisons have been drawn to Vertigo's plot of a man undone by his lover's suicide and determined that he has found her again.

This debut feature from Chinese director Lou Ye benefits greatly from his unconventional style which seems to make the events more tangible. He portrays the river itself as a metaphor for life, its swirling eddies and undercurrents the many stories it keeps within its deep mysterious heart, with no effect on the mass flow of life, but turning the individual lives of those involved upside down. The parts of the film dealing with the burgeoning affections of Mardar and Mudan are excellent (particularly for Zhou Xin, who plays both of the two vastly different lead female roles equally well) , however I felt the events gathered pace a little too quickly towards the end, rushing the story of the narrator and Meimei in comparison to that of Mardar and Mudan. The result of this was an ending which seemed a tad abrupt and so the empathy for the narrator was not as heightened as it might have been, even with the great device of us seeing everything through his eyes. Despite this Suzhou River is a stylishly original tale who's depth and undercurrents make it stand out from the majority of the flotsam and jetsam our video stores carry.

Traffic (2000)

Refreshingly honest

[5 February 2001]

Films that can be regarded as enlightening while at the same time entertaining are a rare occurrence. Steven Soderbergh's portrayal of the current state of affairs in the US drug war is one of the few pictures that can claim this, thanks to a screenplay that isn't afraid to tell it like it is and his own flair of spinning a good yarn. Much has been made of the fact that he was also the cinematographer (although credited as Peter Andrews after a disagreement with the Director's Guild), however while his style is certainly innovative in trying to give each location it's own individual look, it often seems a little unnecessary especially when, in the case of the washed out sterile blue effect in Washington, it sometimes seems to be employed at random.

Inspired by an 80s Channel 4 series, Traffic weaves together three connected plots, each reflecting a different front on which drugs are wreaking havoc. Michael Douglas plays the newly appointed drug czar who is naïve about the whole problem, but then finds out how far reaching it is when he has a bit of a Jack Straw and finds out that his daughter is a heroin addict. Don Cheadle and Luis Guzman are justly rewarded for their great supporting turns in Out Of Sight (which in my humble opinion is still Soderbergh's finest hour) with more prominent roles as DEA agents investigating a wealthy drug trafficker and are often the source of the film's comic relief. As for Catherine Zeta Jones who plays the trafficker's society wife, I think research should be done into the hormones released during pregnancy inducing dangerous bouts of acting in the otherwise average Hollywood denizen. Unfortunately her accent veers painfully frequently from Middle American to plum English and occasionally even dips into the lilting valleys of her native Wales, ironic as she has been quoted as saying she enjoys the opportunity of using an American accent in her films. The best act of this plot's golden triangle is saved for Benicio Del Toro, who you may remember as the nigh incomprehensible Fenster of The Usual Suspects. Here Del Toro brilliantly plays a world weary cop in the Mexican town of Tijuana (and would therefore be equally unintelligible were it not for subtitles), trying his best to battle the cartels in the face of police corruption and warring drug lords, while trying to maintain his own self-respect and stay alive.

Each of the three stories has a very strong plot and is well acted, while bringing up pertinent questions as to the root of the drug problem and the sheer scale of any attempt to solve it. However the film drags a little in the last half hour and seems to lack the courage of its convictions by serving up a happy ending of sorts for each storyline which, rather than showing that despite everyone's best efforts the war rages on, gives an upbeat finish oddly out of character with the rest of the film.

After Life (1998)

An original story immaculately told

[9/10 · 22 January 2001]

Think of the last film you watched. Was it a comedy? Maybe a drama, or an action flick. Perhaps it was even a combination of several genres, a sci-fi horror or a musical thriller, that kind of thing is quite common. However, the last film I saw completely defies definition and therefore I can't answer that question. It was just Afterlife.

Occasionally a film like this comes along with such a fantastic premise that it is completely unlike anything that has come before. It doesn't follow any of the well used paths trodden by previous pictures and is so unique that it cannot create a new genre, there's simply no bandwagon for anyone to jump on. The only thing it can possibly have in common with other films is its singularity; you could think of it as a Japanese 'Being John Malkovich'.

The inspired question posed is if you could choose just one memory from your life that you would relive for eternity, what would it be? The film follows a group of people trying to decide on their own personal heaven and includes several diverse characters, showing how different each person is and even answering such questions as what if you couldn't or even wouldn't choose? Watching them re-examine their life is by turns poignant, upsetting and uplifting. Meanwhile the plot that maintains the film's momentum, involving the councillors who help people choose their nirvanal afterlife, is great and ensures that the film never loses direction.

I would struggle to put into words exactly why this film has such an effect on me. It is a thought provoking concept so well delivered by all involved, with such a great examination of people and what makes them different or brings them together, and also brings up themes such as responsibility and the same event meaning different things to different people. However, there is one thing I can say for certain. If I had to pick a film to relive for eternity it wouldn't be a drama, or a thriller, or a comedy. It would just be Afterlife.

Bedazzled (2000)

Not too shabby

[18 January 2001]

Bedazzled sees director Harold Ramis return to the gentle comedy genre that he struck gold with in 'Groundhog Day'. There certainly are similarities with the main character repeatedly having chances to try and impress his love interest but that's about where it ends. Instead we have a loose remake of Peter Cook and Dudley Moore's 1969 tale of temptation, the main difference being that in this age of female empowerment the devil is played by Liz Hurley. After a fantastic opening credit sequence of a global search for a suitable soul, we are introduced to the main character, Elliot Richards (Brendan Fraser), who is like an American version of Colin from 'The Fast Show', a computer helpline operative seriously lacking in both social skills and sense of humour. His colleagues try their hardest to exclude him from their circle, while the apple of his eye has spoken to him once, to the extent of discussing the weather (it was wet). Without further ado, the devil visits him and offers him a faustian pact to the tune of seven wishes in exchange for his soul. The deal breaker is the prospect of impressing Alison, his sweetheart who doesn't even know he exists. Of course, this being a contract with Lucifer, the wishes manage to backfire and so we get to see how each of his utopias manage to go horribly wrong.

The concept of different wishes providing Elliot with completely different lives makes the film seem like a series of themed sketches and plays like a medley of 'Quantum Leap' episodes. It also allows Fraser to showcase his comedy talents in portraying several subtly different roles, from sensitive new man to basketball star, which he does to great effect while still retaining enough of Elliot's core to make him recognisable. He is helped in this by some neat make-up work and in the case of the basketballer, nicely employed computer graphics to make him tower over everyone else. It's not just Elliot who is reinvented with each new wish but also the rest of the cast, who have great fun cropping up in very different roles for Alison and Elliot's workmates within each reality. Hurley does little more than turn up in various stripper outfits that will undoubtedly have those nice people in the advertising department of Estee Lauder in cardiac arrest. This is actually the best performance I have seen from her, and although anyone who has seen her in other films will know this is nothing to get excited about, she revels in her role as Beelzebub and though her acting is as wooden as ever, she manages to occasionally show the flair for light comedy that we first glimpsed in 'Austin Powers'. She also gets the lion's share of the lovely throwaway gags that litter the script, which also has some nice little knowing touches such as a filing cabinet made of mortician's slabs and hounds of hell named Peter and Dudley to name check the plot's original creators.

Despite me thinking that I would inevitably be disappointed after seeing the visual A-Bomb that is the 'Charlie's Angels' trailer sear it's way across the scene moments before, I found this film pleasantly diverting. It's a gently humorous yarn, which while not containing the gross-out set pieces of more recent comedies (with one knob joke and no swear words, this is no 'American Pie') has a nice enough premise and sufficient opportunities for chuckling to keep you entertained. The only disappointment is an ending that feels a little rushed and predictable, but I'm hard-pushed to think of an alternative to this studio-pleasing wrap up considering the mood of the rest of the film. It won't challenge or shock, but it's well worth a couple of hours of your time.

Meet the Parents (2000)

Right, that's it, the wedding's off

[18 January 2001]

This highly enjoyable comedy is based on a simple premise that we can all easily relate too, the first efforts of someone to introduce their partner to the prospective in-laws. Even if you haven't had this problem directly, it's easy to empathise, and surely everyone has been in the awkward situation of being a guest in someone's house and being petrified of putting a foot wrong. There is plenty of scope for humour with this situation and there are also several great set pieces as the weekend takes a turn for the disastrous. Even when they seem fairly predictable, each one hits home and gives a great payoff.

Ben Stiller plays pretty much the same kind of role here as he did in 'There's Something About Mary', but that's no problem as his everyman likeability means you root for him throughout his tribulations. As Greg Fokker, he is desperate to impress his girlfriend's dad with a view to asking him for his blessing for her hand in marriage. Robert De Niro is great as the father who is not everything he first seems, and shows a knack for comic timing which you wouldn't expect of such a heavyweight actor.

Even if the ending is slightly contrived, it's great fun getting there with laughs aplenty. One for those who can reminisce and those who will be filled with dread anticipation alike.

Memento (2000)

Excuse me, who are you?

[18 January 2001]

It's really not a question of whether you should see this film, rather when you should. It's obviously not an actionfest, however neither is it a mildly engaging thriller with a good plot and an unexpected twist. This is a film that requires the utmost concentration throughout to keep up with exactly what's going on - it's not a rollercoaster that threatens to throw you with sharp turns and dizzying sights, more of an endurance test which you struggle to keep a grip of for it's near two hour running time.

The films concerns an ex-insurance investigator, Leonard Shelby (Guy Pearce, who gives a remarkable performance and is almost matched by the other cast members), who has lost the ability to form new memories since he was attacked while his house was broken into. The same incident left his wife raped and murdered and now his only purpose for living is to exact vengeance on the person who ruined his life. We follow his endeavours in trying to find this man and also to try and not have his condition taken advantage of by the various manipulative characters who know him.

The reason for Memento making you feel like your grey matter is being stretched like the fabric of Lara Croft's t-shirt is not just because it is a meticulously constructed plot packed with twists, but because you have to negotiate the storyline backwards, reflecting Leonard's inability to remember what had previously occurred. Only the opening scene runs literally in reverse, however the sequence of scenes is rearranged so you know the end of the story from the start (bear with me here, please) but not until the final line are you able to say you can truly see the full picture.

Once this narrative structure is adopted writer/director Christopher Nolan is more or less committed to it, although there are some interspersed scenes in black and white that break the framework but are vital in revealing clues or sometimes providing further complexity. When these 'flashbacks' (although essentially the entire film is composed of flashbacks) become one of Leonard's facts to remember each day, due to him taking a polaroid of the incident, the film subtly transfers back to colour. This format, combined with a sparse soundtrack and relentless reassesment of each characters motives, makes Memento a wearing but ultimately rewarding experience; the only moments of levity are some laugh out loud moments due to Leonard's condition, or rare dramatic irony which we are denied for most of the film. However, even these are offset by the tragic story of Sammy, a man with a similar condition, that runs alongside the main events and is uncomfortable viewing. Make sure you've got your thinking cap on when you watch this film, anyone wearing their dunce's cap will quickly get lost and be denied a great challenge.

Small Time Crooks (2000)

Not looking good for the little fella

[18 January 2001]

This is actually the first Woody Allen film I have ever watched, so I was intrigued to see what all the fuss was about. Apparently you either love his work or hate it - if that's the case then 'Small Time Crooks' places me firmly in the camp wondering why people pay money to watch his efforts.

The film is split into two distinct parts, the first concerning Allen and his friends trying to tunnel into a bank using his wife's cookie shop as a front location. The second, longer half deals with the Winkler's attempts to adapt to high society after the cookie shop turns into a successful franchise. The plot is predictable and lightweight, and this is okay if other elements of the film compensate for it. Unfortunately they don't as, despite claiming to be a comedy, only the occasional one-liner raises a chortle. Direction is uninspiring and the camerawork pedestrian, while the acting veers between good and bad throughout the film.

I find Tracy Ullman irritating at the best of times, so no favours are done when she adopts a New Jersey accent. I found neither her nor Allen's character garnered any sympathy at all, so I could not care less whether they made it to the all-too-predictable conclusion of the film, which although welcome seemed a little rushed. The main comedy was supposed to stem from how stupid the rest of the cast were, however this cerebral deficiency seemed to be employed when convenient for a laugh, and sometimes the actors seemed uncharacteristically intelligent, especially Allen who clearly struggled to maintain the pretence of stupidity.

So not encouraging as my first foray into the world of Woody, 'Small Time Crooks' is a predictable caper with more flaws than laughs. Hugh Grant was quite good, although he essentially played Hugh Grant.

Crouching Tiger, Hidden Dragon (2000)

Gosh, golly and quite possibly wow

[18 January 2001]

Forgive me this moment of supposition but I think I may have just seen the film of the year. I know it's only January but this epic fantasy makes such an impression that it will take something truly special to challenge it. Taiwanese director Ang Lee says this was the film that he always wanted to make and after much critical acclaim for his recent Western character-driven pieces he has finally been able to realise that dream. The current fad in Hollywood is martial arts fight scenes and it seems that every action hero, and indeed villain, must be capable of chop-sockying their way out of a tight spot. So it's great to see kung fu in it's natural environment, a romantic myth of love and honour in ancient China. These kind of stories are churned out at a frightening pace by the far-Eastern film industry, but Lee was able to assemble some of the biggest Asian film stars and a most experienced crew and combine them with his knack for drawing out well-rounded characters and picking great locations to produce something truly special.

The main story follows two warriors, Li Mu Bai (Chow Yun-Fat) and Yu Shu Lien (Michelle Yeoh), and their search to retrieve the famous Green Destiny sword after it is stolen by a mysterious intruder. Yeoh and Yun-Fat return to their old stomping grounds after attempting to make an impact in America and it's clear why they are two hottest properties in Eastern cinema. They show that while they are both known as action stars they are more than able to handle the sideplot of struggling with their unspoken feelings for each another. However, I get the feeling that the only reason they are credited above Ziyi Zhang ('The Road Home') is due to their crowd pulling reputation, as the young Chinese actress is absolutely riveting as Jen, the headstrong aristocrat who the experienced warriors try to tame and who rapidly becomes the films central character. If 'The Road Home' proved that rising star Zhang can act then CT,HD shows that she can kick arse at the same time and really is one to watch.

The kung fu itself is beautifully choreographed by Yuen Wo Ping, he who stunned Hollywood with 'The Matrix' fights and although the wire work may not be realistic it is part for the course in this genre and employed to great effect. The duels scorch across the screen so that after each confrontation you find yourself scrabbling around on the cinema floor to try and retrieve your jaw. But CT,HD is made so much more than a succession of well-executed fisticuffs by the tale which holds it all together, conjuring up some really tearful, emotional moments.

It's a foregone conclusion that CT,HD will win the Oscar for Best Foreign Language Film, but I would be surprised if it hasn't staked an outright claim for Best Picture too.

Magnolia (1999)

Frogs?

[18 January 2001]

'Magnolia' is too long, in fact it lasts about 3 hours. Everyone (except maybe Kevin Costner) knows movies tend to get tedious after 120 minutes. There are far too many characters, too many sprawling storylines tenuously held together by two men dying of cancer, creating a lack of focus and leaving many loose ends. At one point the whole cast, for no apparent reason, start singing along to the soundtrack. The self same soundtrack features Gabrielle's 'Dreams' for chrissakes! So how come Magnolia works?

Paul Thomas Anderson's latest ensemble melodrama doesn't cover the same timespan of 'Boogie Nights' but is more eventful and emotional; and despite all the things listed above, it is essential viewing. The film follows several characters through one day in San Fernando, documenting their lives, loves and losses. The element linking all the storylines together are two men, both dying of cancer and seeking forgiveness for mistakes they committed during their lives. However, Anderson includes many threads that are only weakly linked to this idea, all brought together under the umbrella of bizarre coincidence.

Isn't it great when Tom Cruise acts? I don't mean onscreen flashing his perfect smile and tossing his flaxen hair. I mean really acts. Like in 'Rain Man' or 'Born on the 4th of July'. Or 'Magnolia'. His performance here reminds you why he is a cut above the average Hollywood crowd-puller, though I wouldn't say it was outstanding. This is not because he isn't brilliant, rather that the rest of the cast match him every step of the way; despite not being household names, writer/director Anderson knows he is privileged to be able to cast some of the best actors currently plying their trade and they will nail their given character perfectly.

Despite Gabrielle's dirge rearing it's ugly head, the soundtrack is otherwise excellent, and Aimee Mann's songs seem to match the events perfectly. In fact, in the album inlay Anderson admits to having written Magnolia to fit Mann's songs, not the other way around. Unusual, but like so much else about the film, it works. So not perfect, but thoroughly recommended, even if just for the scenes with the frogs.

Any Given Sunday (1999)

You should try rugby, lads.

[18 January 2001]

So American Football eh? A nancy's version of rugby replete with body armour and lax rules about forward passes or a game of tactics and skill played by honed athletes? Whatever your opinion on the game, you will be able to enjoy Oliver Stone's homage to that strange American 'sport'. This is mainly due to the blistering match sequences, which are the most realistic of any sports film with shaky cameras and frame jumping creating a truly kinetic feeling of action and bringing home the impact of the crunching tackles thrown by these human breeze blocks. Stone also evokes the testosterone-fuelled atmosphere of the front line with savage growls laid over the sound and cutting in of images to realise the aggression.

However, these same techniques are totally inappropriate in the more dramatic scenes but Stone insists on employing them, erasing any tension that may have been established previously. Unfortunately this undoes a lot of the actors' good work, we all know Al Pacino can rage without him having to be symbolised with lightning strikes and feral snarls. The cast performs well though; I don't think anyone would doubt Pacino's suitability for playing the beleagured coach, so the real impression is made by comedian Jamie Foxx as the upstart quarterback with the talent to lift the team to greatness but an attitude which could instead bring it to it's knees. Cameron Diaz is okay in a role which was far from made for her but, like the rest of the female characters, is little more than a money grabbing bitch.

The main story is the obligatory one for any sports movie, with a team struggling to overcome their difficulties and win a tournament - at least with American Football it can't go to penalties. It's disappointing that no one could come up with an alternative to this, although in 'Any Given Sunday' there are at least a couple of sideplots in which to take interest. These could have been developed further, and perhaps originally were; surely James Woods and Matthew Modine as the warring physios warrant more screen time than they are given here. Perhaps it was their scenes which were left on the cutting room floor to accomodate Stone's visual excesses.

In the Mood for Love (2000)

No, it's just that I've got something in my eye

[18 January 2001]

Some people may say that Kar Wai Wong's latest piece is a triumph of style over content. While the film is meticulously crafted, from costumes and sets to shot framing and score, the simple story is tenderly and achingly realised by the two leads; this is one of the most emotional films I have seen in a long time.

Set in 1960's Hong Kong, the story concerns two new lodgers in neighbouring apartments, both of whom are married but see little of their spouses due to their hectic schedules. Drawn together in their loneliness, they slowly begin to suspect that the timing of their partners' absences are not mere coincidence and that they may be having an affair. As they spend more time together, they try to resist their growing feelings for each other so they do not also embark on a similar affair.

Why on Earth Maggie Cheung spent her formative years being pulled off the back of a moped by Jackie Chan is beyond me, when here she shows that she is clearly capable of so much more. Her performance is matched every step of the way by Tony Leung, who's face is able to display an astonishing range of understated expression. If it were not for the quality of the actors portraying the two main characters the film would not survive, as they feature in nearly every scene with the rest of the cast purely incidental; even the adulterous spouses never actually show their faces on camera. Together they perfectly create an atmosphere of confused feelings and an attraction brought about through mutual loneliness.

Although the lack of any real events may be seen as a fault by the casual viewer, this serves to concentrate on the story and amplify the burgeoning relationship. The end of the film seems slightly curtailed, as if Wong realised that he would struggle to sustain the mood of the film for more than one and a half hours and so the locations of Singapore and Cambodia are covered in a slightly rushed manner. Also, the main characters' fondness for acting out hypothetical situations, although a vital part of the story, at times seemed a very strange thing to do. However, it does provide some of the best moments for Cheung to show her previously underused acting abilities.

If you have been raised on a staple diet of saccharine-sweet Hollywood-happy-ending romcoms, then 'In the Mood for Love' is a welcome alternative. While some may find it's heavy tone difficult to settle into, it is a beautiful film in every sense and packs more lasting emotional punch than Meg Ryan's entire back-catalogue.

Fargo (1996)

I'm not gonna debate you...

[18 January 2001]

This darkly comic tale from the Coen brothers is arguably their finest piece of work to date. They apply their trademark quirky style to the not entirely original plot of a car salesman who arranges his own wife's kidnapping in order to get the ransom money from his scrooge-like father-in-law. However, the simplicity of the plot allows you to concentrate on the most important part of the film, the carefully crafted characters, each with their own idoesyncrasies that make it a delight to see which strange creation will appear in the next scene.

These are perfectly realised by a fantastic cast of actors. While credit must go to the ever-dependable Steve Buscemi as the bungling kidnapper and William H. Macy as the salesman full of frustration and impotent rage, the best performance is by Frances McDormand, who deservedly won an Oscar as the heavily pregnant sheriff trying to solve the crime. The only main female character in the film, she is surrounded by a succession of increasingly more pathetic men, from her househusband, to an old school friend who still lives with his parents. Even the crime itself lurches from one disaster to another as events conspire to make a seemingly straightforward kidnapping escalate into a multiple homicide. The unfamiliar location of Dakota provides some great backdrops and spectacularly barren vistas and the snow somehow adds to the absurdity of the whole situation. Also adding to the comedy element are the unusual local accents which are seemlessly adopted by the cast and if you don't find yourself mimicking a Minnesotan for a few days after seeing 'Fargo' then you really ought to visit a doctor to see about getting that funny bone removed, it's obviously not working right.

Ghost in the Shell (1995)

Not your average anime

[9/10 · 18 January 2001]

This thoughtful anime is a meditation on the meaning of consciousness disguised as action sci-fi. The checklist of futuristic Japanese animations is dutifully adhered to, however the requisite guns, tanks and robots are used sparingly and provide a backdrop to a more cerebral storyline.

In a futuristic Japan, cyborg augmentation is commonplace, leaving many questions concerning what is the definition that qualifies humanity. What starts as an investigation into a mysterious computer wizard hacking into peoples electronically enhanced brains quickly escalates into political intrigue between government sections and a race against time to discover exactly who the hacker is before he is killed. The quality of the animation is superb throughout and is combined with computer graphics to great effect, with the optic camouflage brilliantly realised, notably in the two spectacular action scenes which bookend the main story development, one involving a chase through a crowded market and the other a tense standoff between the lead character and a typically insectoid tank.

There are nice touches throughout (look out for the director's strange predilection for beagles), especially the scuba diving scene laden with rebirth symbolism. The plot is overly complicated at points (in fact I needed a repeat viewing to sort out exactly what happened), several characters seem to be mentioned in passing and later become important and I found I initially lost track of who was being referred to. If you aren't paying attention right from the first scene, you may well find yourself (like me) getting a bit lost towards the end. However, I think the premise of A.I. and consciousness was a fascinating one and found the film pleasantly deep. Credit must also be given to the writers for imbuing the lead roles with depth and in Major Kusunagi providing possibly the strongest female character I have seen in film.

The Texas Chain Saw Massacre (1974)

What the hell happened there?

[18 January 2001]

Everyone's heard of this notorious groundbreaking horror film, but it's reputation as one of the goriest films of it's genre is thoroughly undeserved. What is true however, is that TTCM is a truly unsettling experience but this is achieved through a pervading feeling of menace, not the explicit violence more frequently used by it's peers. There are no overwrought set-piece slayings, no decapitations or disembowelling. The killings are, in the main, relatively quick and workmanlike. The scenes that produce the most squirming are those involving the meat hook and aside from that the two instances of small knife cuts. Even the meat hook event, which is deeply unnerving, shows no actual gore.

The plot is really quite insignificant, as are the performances of the ubiquitous imperilled teens. The real stars of this movie are the cunning use of sound and the sheer insanity portrayed by the family of butchers. The absence of any score creates a heightened sense of awareness and the discordant use of sound effects are similarly designed to unsettle. The relentless buzz of the chainsaw and the ceaseless sound of the generator are used to similarly good effect. The film is heavy in mood but light in actual content. The speech in the establishing scenes is occasionally mumbled and unclear, while there is very little character development before the killings begin, removing any empathy. However, this film is extremely effective in what it sets out to achieve and never has ideas above it's station, and so avoids over-reaching itself. It's not the most thoughtful or complex piece of work, but that's probably not what anyone renting a film about a chainsaw massacre is looking for is it?

The villains of the piece are made all the more scary by the sheer lack of motive in their actions. Most celluloid serial killers are out for vengeance or have some similar back story to their crime spree, but these guys just seem to be butchering people for their own enjoyment. The father switches between sadism and misplaced concern with alarming alacrity, while Leatherface and his brother derive great pleasure in the torture of the heroine. This empty feeling is compounded by an ending brave enough not to provide any kind of closure; instead it leaves the viewer pondering exactly what the hell happened there.

Onibaba (1964)

Stand by your man

[18 January 2001]

Although often described as a horror movie, 'Onibaba' is for the most part completely devoid of any scary moments. In fact, the only thing it has in common with modern horror fare is that it seems to contain a strong subtext trying to keep young women's more frisky urges in line and discouraging them from having any fun.

Caught in the middle of political turmoil in feudal Japan, a girl and her mother-in-law try to survive by killing soldiers who stray into the nearby cornfields and scavenging their weapons and armour to sell to the local arms dealer. When the rogue Hachi returns from the war alone, bringing news of the sons death, the older lady is suspicious of his story and to her disgust he begins to try and seduce her daughter-in-law. Scared that she will be left to fend for herself, and also a little jealous if her strange and suggestive handling of a nearby tree is anything to go by, she tries to keep the two apart, even resorting to dressing as a demon to scare the girl on her nightly trips to Hachi's hut.

For the most part 'Onibaba' is fairly dull, with an unnecessary number of long shots of the whispering cornfields. The girl is clearly just sex-mad after being cooped up with her mother-in-law and would jump on any man she found - although strangely Hachi keeps his big white Japanese man-nappies on throughout. The whole idea of the nearby pit the two women use to dispose of the bodies being a source of ancient evil is left completely unused and, despite the demon mask being very scary, it's not at all effective because we know exactly who is behind it.

However, just as I was beginning to get seriously bored of the whole 'horny lass running through corn sees demon and runs home screaming' affair, two deliciously unpleasant fates befell two of the unsavoury lead characters. Shame all the good bits are left for the last 5 minutes.

Vertigo (1958)

Not his best by far

[18 January 2001]

For the most part, this suspense thriller from Hitchcock the master of the genre, seems a fairly run-of-the-mill affair. However, thanks to the usual directorial touches and a fascinating final act, along with some top notch performances most notably from James Stewart, it manages to lift itself above first impressions.

The story concerns Stewart's retired police officer being hired by old college friend to tail his wife (the quite wonderful Kim Novak), whom he claims has been possessed by her grandmother. As he becomes involved in this mystifying scenario, Stewart finds himself falling in love with his quarry and elects to try and help solve her paranormal problems. The film really comes into it's own in the last half hour or so, which is hard to describe without revealing too much, but gives a fascinating portrayal of a desperate man and the hurt that can come of a doomed relationship.

I wasn't too happy with the ending (surely nun's aren't that scary?) but all in all this has a dark psychological edge which could have been explored further and makes for an interesting watch. Plus now I know the film playing in the cinema in 'Twelve Monkeys'.

Rashomon (1950)

I'm gonna get lynched for this.

[18 January 2001]

Akira Kurosawa has been described as one of Japan's most accessible directors for the Western audience and this is often quoted as one of his finest hours, along with the more famous 'Seven Samurai'. In my opinion it is vastly overrated.

Admittedly, it is a fascinating premise that drives 'Rashomon'. Shirking traditional narrative structure in a manner that would later inspire such films as 'The Usual Suspects' and to a lesser extent 'Go' and 'Run Lola Run', 'Rashomon' has the same story (of banditry, rape and murder) told from several different perspectives, all conflicting and causing the viewer to constantly reassess each character. However the potential of this concept is completely undermined by some truly unfathomable motives on the part of the main protagonists. Some of their actions are completely inexplicable and this isn't helped by some woeful overacting by Toshiro Mifune and Machiko Kyo. The whole plot spirals further into the preposterous and then suddenly becomes a debate about the twisting of truth driven by motive that, like the monk's character, was unnecessarily preachy. A special mention must be reserved for the sword fights which are some of the most amateurish ever filmed.

This could have been terrific if the storyline had remained sensible; thankfully the one thing the film has going for it, the structure, has been salvaged by the movie world so it is not a total waste.

The Road Home (1999)

A love story of the purest kind

[29 December 2000]

Oh, to be young and in love. The Road Home is, quite simply, a love story of the purest kind; girl meets boy, they fall in love but he has to leave her, and then finally they are reunited. The film opens in the middle of winter, with city businessman Luo Yusheng returning to his remote home village after the death of his father, Changyu, the local school teacher. His grieving mother requests that, following an old local custom, his father's coffin be carried by the villagers from the mortuary in the nearby town, over the hills to his burial. All the while the coffin bearers must shout to remind Changyu that he is on the road home, so he doesn't forget where he comes from. Unfortunately the village mayor has reservations about the expense and practicality of this tribute.

These opening scenes are shot in black and white with no music and a slow, morose pace; you begin to feel this will be a thoroughly depressing arty affair. Then Yusheng finds a picture of his mother and father in their youth and begins to recall the tale of their courtship which captured the attention of the entire village. Suddenly the screen fills with colour as we are transported back to the summer they first met, with the newly appointed teacher arriving, accompanied by a surging score (okay it sounds like the Titanic theme, but it's still damn effective). This is where the real heart of the film lies, recounting the beautiful tale of the young Di and her efforts to get noticed by Changyu. This is story telling at it's most uncomplicated, we already know the two will get together but it is an unadulterated joy to share in their journey toward each other.

Director Yimou Zhang clearly has an eye for scenery and the canvas he uses to paint his picture are fabulous, evoking the truly alive feeling brought on by falling in love. But his meticulously lingering style would be in vain were it not for the main object of the camera's attention, Ziyi Zhang. She is captivating as the young Di, not only because you feel you could look at her all day without breaking to blink, but her performance is perfect as the teenage girl caught up in her feelings for Changyu, veering between barely contained excitement and frustrated obsession.

We then return to the present, finding Yusheng determined to fulfil his mother's wishes. The return to stark black and white has the audience feeling for the family's loss all the more keenly and as the film draws to an end you, like Di, find yourself longing to be back in that perfect summer again, where all that mattered was the attention of that one person and the whole world seemed alive because of your love.

The closing scenes are a montage of memories, and as that music surges again I defy anyone not to have a lump in their throat as the images end with a view of the young Di, overflowing with joy, running back along The Road Home.

Perfect Blue (1997)

A groundbreaking anime

[10/10 · 18 December 1999]

This film is a stunning example to Western audiences of how anime films do not have to be about giant robots and laser guns. Granted, the crazed stalker theme is nothing new, but this takes a back seat to the main character's confusion and paranoia due to the mind games she is subjected to. In fact, there is no effort made to disguise the identity of the stalker, the emphasis is placed firmly on the psychological repercussions of the pressure the young Mima is subjected to, not just by her crazed fan, but on the lengths she must got to in order to maintain her popularity. The film neatly weaves real events around the similar plot of the series that Mima stars in to try and boost her flagging career. This serves to increase the uncertainty of what is real and what isn't, leaving you at the end of the film wanting to watch it again to discern which scenes are fact and which figment. The haze of confusion is punctuated on occasion with startling scenes of violence, highlighting the extreme nature of her fan's feeling he is responsible for her protection. If there were to be any faults with Perfect Blue then the voice acting (in the dubbed version), although better than most anime, is a slight detraction from the film's quality. Also, the stereotyped appearance of the stalker is a disappointment, although the animators sometimes convey a true sense of his adoration and love for Mima which serves to make the viewer more sorry for his delusion than fearful of him. And couldn't the translators have looked in the thesaurus instead of describing Mima as a 'pop idol' every single time? All in all, a thoroughly recommended film, not just for anime fans but for anyone who is interested in an intelligent, mature psychological thriller and can look past the fact it is 'just a cartoon'. You won't find anything like this on Children's BBC.