z46629 Reviews

The Mummy (1999)

A brilliant parody of the action/horror genre

[9/10 · 4 February 2008]

Reading the most highly-rated comments for this film, I've seen many praising the action and the "fun-factor". But none have highlighted what for me takes this film to a higher level, which is the way that it adroitly and subtly sends up every mummy/horror/action film in the genre.

It is a masterpiece: the progressing bullet-holes in the paddle-steamer's side, about to take Fraser's head off; the salute as the bi-plane sinks into the sand; the dismembered arm reaching for the sword at *just* the right moment. It is simply the most ingenious parody I have ever seen -- and it does it all with such grace that most viewers never even noticed.

But for those who are aware of it, there are a few signposts to show that this parody is intentional. The one that stands out in my mind is the camp-fire that flickers every time someone mentions something otherworldly, until one of the characters remarks, "That happens a lot around here, doesn't it?"

This film is comic timing at its best. Rachel Weisz, Brendan Fraser and John Hannah are clearly having a ball, and who can blame them? This film has it all -- action, comedy, great lines and a hot librarian.

The Golden Compass (2007)

Deus ex machinae, writ large

[2/10 · 11 January 2008]

This was, in short, an appalling film. It had so much promise -- the trailer had enticed me for half a year at least and the big name stars in the billing added to the attraction. Having spoken to friends who have read the book, I'm convinced that the starting material had much potential. But the adaptation disappointed as few have before it.

There are three major issues with this film, which can be revealed without any spoilers. The first, ironically (given Pullman's atheism), is the repeated use of deus ex machina devices to save the main character from impending doom. The first instance jars badly enough; the many repeated examples merely serve to complete the dissociation of audience from film. If nothing else, this screenplay serves as a cautionary tale as to why deus ex machinae are bad plot devices.

Second on the list is the repeated use of "watchman devices" to take the place of plot development. (Want to cut suddenly to an unrelated scene without any prior lead-up material? Just get the main character in it to give a brief synopsis as to why they have to be there, and why they're in danger.) Several scenes in particular smack at best of poor editorial cutting in post-production. At worst, they suggest screen-writing by rank amateurs.

Finally, the big problem with this film is the lack of character development. Only Nicole Kidman's character has any depth or subtlety (although Daniel Craig's character at least gives unfulfilled hints of it). The rest are mere cardboard cut-outs, almost laughable in their simplicity. We have the heroic-character-brought-low-by-liquor, the simple-but-wise-Texan-cowboy, the misunderstood-outcasts, the evil-villain (replete with oily hair follicles, and helpfully dressed in black), the brave-and-plucky-child ... If it only had a shred of humour, you could at least call it a farce.

Ultimately, this seems to have been a golden opportunity to adapt a book which has been completely wasted by Chris Weitz. I can think of only two reasons to see this film: either to appreciate the impressive CGI, or to laugh at its ineptitude.

The Wedding Party (1997)

Brilliant but largely unknown Australian film

[9/10 · 3 March 2007]

It has always perplexed me why this film remains largely unheard of, whilst other, lesser Australian productions before it (e.g. "Strictly Ballroom", "Muriel's Wedding") went on to gain lasting international acclaim. The basic plot of "Thank god he met Lizzie" is deceptively simple - Guy (Richard Roxburgh) meets Lizzie (Cate Blanchett); they have a whirlwind romance and are married within six months, two people seemingly made for each other. But nothing in this film is as straightforward as it first seems, and - as the wedding night slowly unfolds - we learn that Guy has had a past relationship in his life with Jenny (Frances O'Connor) that haunts him still. As we discover more and more about Guy, Lizzie and Jenny, this film looks at what it means to be happy - and asks whether we can ever recognise happiness until it's gone.

The three leads, O'Connor, Roxburgh and Blanchett all give strong and credible performances. Roxburgh and O'Connor especially create an amazing dramatic tension as their relationship unfolds in flashbacks, and credit must be given to O'Connor for her reading of Jenny, a character who gradually moves from simple naivety to heartbreaking sensibility. The other minor characters are perhaps a who's who of Australian cinema in the '90s, but there a few if any stock caricatures here, and all provide strong support. The direction by first-time director Cherie Nowlan is brilliant, making subtle use of hand-held camera work for the most intimate moments of Guy and Jenny's failed relationship in a way that is astonishingly sympathetic and tender.

This is a film that is at times humorous, at times thoughtful, at times shocking but always powerful. Nothing is quite resolved until the final lines, and there is a poignancy that envelopes it which lasts long after the final scene has faded away. Highly recommended.