janqb Reviews

Borat (2006)

A Good Comedy Can Be a Physical Workout

[10/10 · 9 November 2006]

"Borat" is hands down the funniest movie I have ever seen. Even though some of the physical comedy may repulse people it can be easily forgiven because "Borat" sets a new standard for the entire comedy film genre.

If you go see this film, you can afford to miss your daily (or weekly) workout at the gym. You'll be laughing so hard for 84 minutes that your abdominal muscles will cramp reflexively, toning and firming your six pack (or two pack, whatever) just as if you were using the ab machine at the gym. If you tend to laugh actively, you may have some scrapes and rug burns on your hands from slapping the arm rest and falling helplessly to the floor in spasms of laughter.

Now you've been warned.

Nae ireumeun Kim Sam-soon (2005)

Great Story Translates Well Across Cultures

[8/10 · 18 March 2006]

*** CONTAINS SPOILERS *** What a surprise to come across a Korean melodrama that is so heart-warming and a female character that is as endearing and lovable as Kim Sam Soon. Although by no means fat, ugly or plain by American standards (what kinds of insane standards of beauty are Korean women living by?!?), Sam Soon is not particularly striking and sits on the low end of the totem pole in relation to the hordes of pretty, skinny young things that surround her in the drama. Many of Sam Soon's problems are universal ones that women face, such as poor self-image, lack of confidence, unfaithful boyfriends, and a gnawing fear of one's biological clock ticking away. How she triumphs is through determination and a recognition that she can make it on her own, boyfriend or no boyfriend (this is evidenced in her decision to open up her own pastry shop with her sister later in the story).

The script is well-paced and well-written with clever dialogue (some in Korean that unfortunately fly past those of us who don't speak the language) and even more clever scenarios that I promise will have you rolling around laughing. Sam Soon's character is no dainty princess; like a bull in a china shop, she bowls over anyone--man or woman--that stands in her path. She triumphs over prettier and younger women not by wits or a makeover, but by mostly by brute strength.

I can't help feeling uneasy about how Sam Soon and other female characters are too much at the mercy of their men. When Sam Soon's love interest tries to seduce her, conveniently "forgetting" that he is already in a committed relationship, Sam Soon's reason for refusing him is that she wanted to lose 10 - 20 lbs first. Perhaps this was a superficial explanation obscuring the complex undercurrent of meanings that flows through their conversations (ie, the real reason is not her weight but the fact that he is already in a relationship but she doesn't want to confront him about it). However, if Sam Soon's comment was meant literally, then I am frustrated by the writer's decision to present such a flaccid model of womanhood.

Overall, this melodrama is very entertaining, well-acted, has great dialogue, and funny scenes that translate well across cultures. You can watch a grainy, low-res version of the entire series at YouTube.com by typing in "My Name is Kim Sam Soon eps 1".

Pretty Baby (1978)

Child Pornography Laws

[1/10 · 26 February 2006]

It's astounding that a film like this was made with a very under-aged Brooke Shields. I think it's a terrible tragedy to put a child in a movie like this. I am certain that psychological damage was inflicted on Brooke Shields as a child that had been subject to this kind of abuse. No child male or female should ever be made to undress and perform in a film for adults. Fortunately, laws are in place today forbidding the sexual exploitation of minors. With luck and compassion from the general public, no 13 year old girl will ever be made to perform in this kind of movie again. Though the film was well-made, placing a 13 year old girl in this role pretty much amounts to child pornography.

Brokeback Mountain (2005)

It Delivers Every Step of the Way

[9/10 · 18 December 2005]

It helps that two handsome young actors are the protagonists in this film. Nonetheless it's a great film with great acting. What can I say that the newspapers and magazines haven't already said a thousand times over? Ledger is a ripe young actor truly flexing his acting muscles for the first time and stunning us with his skill for someone so young. Lee, as usual, teases out genuine emotions and life-like struggles--the fear, longing, and sadness in this tragedy. This is Lee's work at its best. The fine adaptation of Annie Proulx's short story by McMurty and Ossana is highly commendable. They carefully painted a portrait of life in 1960s Signal, Wyoming, setting a very realistic stage for the drama to unfold. All in all, it's impossible for such a formidable group of people not to produce a marvelous work of art. The cast, screen writers, director, and even novelist each rank among the finest in their respective fields. This movie could not have gone wrong and it doesn't; it delivers every step of the way.

A History of Violence (2005)

No Growth

[6/10 · 4 November 2005]

Good storytelling but unnecessary and unpleasant gratuitous violence and sexual content. I don't know how the movie made it into the R rated category; it's too explicit at times. Even with a parent or guardian I would never allow my kids to see this movie. The sexual content was especially unpleasant as I found the protagonist and his wife repulsive.

The biggest downer to the film is that in spite of it being so character driven and so reliant on the relationships of the characters with each other and with themselves the characters don't really grow as people. Viggio's character seems to show some growth, but when he states to his brother that he does love having a family and being a father the audience realizes that he has always felt this way from the start of the film. He would not have stayed so long with his wife raising the children if he did not love them and love the simple life of a small town.

Because you become emotionally involved with main characters and hope the best for them, it was such a disappointment that after taking us through so many emotional ups and downs journeying through the life of a former hit-man that we are presented with an inconclusive conclusion and a wordless acceptance of the hit-man-father without justifying why he was accepted once more by his family. The complexities of a tight-knit, small town, blissfully happy family dealing with a tragic, earth-shattering betrayal by the father can't be glossed over with such a cavalier ending! It renders all the gory violence, all the graphic lovemaking, all the intensity of the main characters completely pointless at the end. The director's meanings are left disjointed and we make only the vaguest logical connections between different components of the film. I gave this film only 6 stars because it has the potential to be so much more.

March of the Penguins (2005)

Creates an Amazing Sense of Kinship Between You and the Emperor Penguins

[9/10 · 15 July 2005]

This movie is extraordinary in that there are no human actors, it is a documentary, there are no special effects, and yet it manages to enchant, enthrall, excite, and bring an audience to the brink of tears. Though "March of the Penguins" has a feel-good quality to it, rest assured it is not Disney-fied and will not nauseate you with Hollywood's mawkish sentimentality. The joys of two penguins falling in love (do birds fall in love? I don't know but it sure looks like it) and successfully raising a chick is neither subdued nor overdone. When a penguin couple loves, you can feel it, when a penguin suffers -100° snowstorms for the sake of its egg, you can feel it, when a penguin grieves over the loss of a chick, you grieve as well.

Perhaps a little guilty of anthropomorphizing these creatures, Jacquet nonetheless demonstrates that penguins and humans are a great deal alike. There were moments when I wondered if the birds' behaviors could be interpreted as humanly as Jacquet leads you to believe, but by the end of the film he fully convinces that penguins and people are a lot more alike than we could have imagined.

A film like this can make you start wondering if we are genetically more related to penguins than chimps! "March of the Penguins" creates an amazing sense of kinship between the viewer and these tough, admirable, imperfect, and courageous birds.

Kingdom of Heaven (2005)

Wonderfully Talented Cast -- Go See This Film on the Big Screen

[8/10 · 8 May 2005]

I'm going to try and stay out of discussions about the religion aspects of the movie even though the movie is centered around religion.

My thoughts on Bloom's role as Balian of Ibelin: I think Scott anticipated Bloom's acting inexperience at the outset of the film and decided to cast Liam Neeson and Jeremy Irons in prominent roles up to the middle of the story. This took some pressure off of Bloom's performance and the audience was focused on Godfrey and Tiberias, who carry the plot along. That was a smart move. Once Tiberius departs the spotlight truly focuses on Bloom, who by now has gotten more coaching from the director. Though Bloom's character is not entirely convincing at the start of the film, he is at the end. It was in the scene where Jerusalem comes under attack by Saladin's forces and Balian declares to the men that if they should fail, their wives and children will die that Bloom gives a convincing performance. When the fortress wall crumbles Balian manifests an inspiring conviction urging everyone to fight for what is right. It was at that moment that I realized Scott had casted the perfect actor for the part of Balian of Ibelin.

In other reviews, Balian has been compared to Russell Crowe (Maximus) in Gladiator. I think the reviewers are remiss in making this comparison. Maximus inspires the masses with acts of bravery and daring, but Balian is entrusted with protecting the lives of the people of Jerusalem. Crowe's Maximus is a fighter but Bloom's Balian is a protector. Balian embodies all the ideals of knighthood--integrity, charity, truthfulness, courage but with the added responsibility of safeguarding the people. I don't think Maximus could ever have inspired ordinary people to pick up weapons and sacrifice their lives for a cause but Balian did. And Bloom embodies Balian perfectly. Though the acting was occasionally awkward--yes, the rallying cry of "come on!" was pretty lame--Bloom still delivers a fine performance as a catalyst fueling a cause much bigger than himself.

And to the reviewer who complained about the hypocritical theologizing and lack of morality on Balian's part--there is a difference between rigidly following religious edicts and behaving with simple human compassion. Having sex with another man's wife is different from marrying her, taking over his future kingdom, and seeing him executed, which Balian refused to do. I don't think Scott intended Balian to be some kind of traditionalist who adheres to strict religious guidelines. The way that Balian fought and won the safety of the people of Jerusalem was completely chaotic. Balian is a revolutionary and not someone who follows the rules, he believes in doing what is right but on his own terms. Hence the appeal of this character.

However, the award goes to Edward Norton for his portrayal of King Baldwin who is afflicted with leprosy. I never knew Norton could play such a convincing leprotic king! Overall, Ridley's Scott's film has a wondefully talented cast and in spite of the similarities to the Lord of the Rings movies (Ridley's just milking a money-making trend), I enjoyed myself immensely. Definitely see this film at the theater, don't wait for the DVD.

InuYasha the Movie 3: Swords of an Honorable Ruler (2003)

A Surprisingly Good Film

[8/10 · 16 April 2005]

"Tenka Hadou No Ken" or "Sword of World Conquest" (SOWC) may easily be the best Inuyasha movie ever. My guess is that if you're curious about seeing the third Inuyasha film then you are already an Inuyasha fan, so I'll write this for all you "otakus" out there!

In SOWC, the ghost Soyosama, a former counsel of Inuyasha's father, releases the evil demonic sword Sounga from its sheath after containing it for 700 years. Somehow the sword has ended up in the Higurashi family temple in modern-day Tokyo and Inuyasha and Kagome everywhere throughout Japan. The Sounga is connected intimately with Inuyasha's past and we learn more about Inuyasha's family history and the existence of the three great swords, including the Sounga.

Not only is SOWC a genuine movie (and not just a long tiresome episode), it is more surprisingly a GOOD film! SOWC is well-scripted with excellent pacing, rich setting, and an exciting climax. You can tell that the Inuyasha movie production team finally took the time to learn how a film differs from an animated sitcom. For fans, it fills the gap in our understanding of Inuyasha's origins and the history between his demon father and human mother.

I highly recommend this film and hope the Inuyasha 4: Fire on the Mystical Island proves to be as good or even better. Even though it's a nonsequitur I must add that this female otaku thinks Inuyasha's older brother, Sesshyomaru, is a real babe.

Inuyasha (2000–2004)

Strongly recommended to those who enjoy a rich, entertaining fantasy tale.

[16 April 2005]

It's a shame that viewers outside of Asia tend to shun anime as "kid's stuff". Though the Inuyasha anime series seems to be directed at a predominantly teen aged audience even in Japan, Rumiko Takahashi is a master storyteller and Inuyasha nonetheless appeals to people of all different ages, genders and backgrounds. Nobody spins a tale like Takahashi and Inuyasha is a brilliant example of her skill. Weaving a complex storyline interspersed with action, fantasy, the innocence of young love, and a cast of endearing though fallible characters, Inuyasha is a rich fantasy tale drawn from Japanese mythology and set in feudal Japan. Names and references to actual Japanese historical and mythological characters interwoven into the story gives this series added texture and richness not readily found in most graphic novels. Takahashi lightens the serious tone at times with uniquely Takahashi humor (often imitated, never duplicated) and creates credible, flawed characters whose shortcomings become endearing over time. If the animation is too childish for you, try reading the original graphic novel series, which is even more outstanding since the anime doesn't do Takahashi's comic timing any justice. Strongly recommended to those who enjoy a rich, entertaining fantasy tale.

Shaun of the Dead (2004)

Can you believe it? A funny, campy, emotionally stirring film!

[30 October 2004]

I haven't been this impressed with the directing and script of a film for ages! A few years back, I read in a magazine article that attendance at the cinemas has decreased over the years because audiences are realizing that they can get the same caliber of entertainment (particularly romantic comedies) from TV. "Shaun of the Dead" puts movies back where they belong--as a respite to the garbage on mainstream American television. SOTD is an old-new kind of movie-making--a reminder of Hollywood's yesteryear where outstanding script and original direction is as it should be the bread and butter of the film industry.

I haven't laughed this hard at the movies or been moved emotionally for a long time. This film has it all. Don't let the title fool you--it's more than just a funny, campy film about zombies. It will touch you in more ways than you can imagine.

Fahrenheit 9/11 (2004)

What Would Thomas Paine Say?

[12 September 2004]

Bravo to Michael Moore for releasing a film that does what a good film should do--make people talk, debate, argue, question, and THINK! For his obnoxiously outspoken bravado in asserting his anti-Bush POVs, he deserves the Palme d'Or.

We really need someone like Moore--his aggressive opinions reinforce the democratic ideals of our US founders, like Thomas Paine. Paine argued that a

government should be protective while respecting the personal liberty of its citizens. Prior to the release of "Farenheit", our country was in the throes of a twisted, repressive crusade by the Bush administration to intimidate Americans into silence. At times to question the authority and judgment of our federal government seemed tantamount to treason. It seems that our current administration doesn't subscribe to the belief that a democratic society should question the actions of its leaders. I suspect that, for them, questioning authority would best be construed as a traitorous act. A professor of mine at Columbia University received many death threats because he expressed satisfaction in seeing the US fight a losing war in Iraq with heavy casualties on both sides. For him the senseless loss of so many lives reinforces the senselessness, purposeless, and inherent greed in the Bush administration's decision to go to war with Iraq. Instead of recognizing this, his comments were interpreted by jingoists as treacherous. How do we call ourselves a free and democratic society if we do not allow every American to honestly speak his or her mind no matter how controversial?

"Farenheit 9/11" has given Americans a little breathing room and, in my opinion, almost single-handedly pushed back the culture of silence that characterized the early days of the war with Iraq. "Farenheit" gave Americans permission to express our opposition to the war with Iraq without being called "traitors". Mr. Moore's aggressive opposition to the Bush administration has given moderate Americans comfortable space to express our dissenting points of view. Thanks for letting us exhale, Michael!

Mr. Bean (1990–1995)

Mr. Bean Takes You Away

[29 February 2004]

Many reviewers here compare the Mr. Bean TV series to "The Simpsons", "King of the Hill", and other comedy shows. Though many shows at times employ slapstick, "Mr. Bean" is very different from the majority of these shows and their characters. The most glaring contrast is between what constitutes as humor in "The Simpsons" and "Mr. Bean". "The Simpsons" can sometime present gory themes in an offhanded way (eg, Itchy & Scratchy), making ethically questionable images and situations funny to the audience. The humor in part lies in the blase way in which the characters treat something like murder, torture, etc. However, I don't find that very enjoyable. That is why I applaud Rowan Atkinson for proving that slapstick humor can still be funny without turning murder and torture into light-hearted entertainment. Mr. Bean maintains an innocence that, for me, is a welcomed relief from the harshness of the TV landscape in general. From reality TV shows where participants backstab each other for money to shows like "South Park" and "The Simpsons" that fuel their comedy with questionable material, TV land can be a harsh place thesedays.

Many people may feel that Mr. Bean is childish and foolish, but his is by far a gentler character than many you would meet on TV nowadays. I don't wax nostalgic for shows like "Leave It to Beaver" or any of those black and white TV shows where everyone is super cheery and pretend death and homosexuality don't exist. But need we go to the other extreme and portray the world as treacherous, dangerous, and continuously in conflict? Maybe what some people want when they get home from work is to sit down on the couch with a cup of hot cocoa and forget all their problems as they indulge in the foolish yet heartwarming character that is Mr. Bean.

Mr. Bean takes you away from your divorcing parents, your backstabbing co-worker, your bills piling up on the table, your annoying household chores, the clogged drain in the kitchen, your sister's frantic wedding plans, and all the depressing murders and robberies on the nightly news. Mr. Bean takes you away from all this for 25 glorious minutes and into his simple-yet-complicated little world where the biggest problem is learning how not to bite off more than you can chew.

It is nice to go to a simpler place where problems don't get more complicated than a stuck fly while trying to impress the queen.

The Matrix Revolutions (2003)

Uneven movie, some dialogue insightful, some insipid.

[25 November 2003]

Best part of the movie were the special effects. The serpentine machines are wonderfully animated and the soundtrack is very intense and appropriate for conveying the might and threat of these machines. The settings (city of Zion, Machine City) are beautifully filmed, and you will be fully transported to another world.

**SPOILERS**

Hugo Weaving as Agent Smith, the insidious computer program, is compelling and full of interesting thought somewhat prosaic computer-type observations (eg, love is just conjured from the feeble human mind). Smith is one of the few characters in the movie who isn't full of foolish platitudes and excessive melodrama. He's spiteful but in spite of his spite(?), his observations are more keenly expressed than those of the other characters. It seems as if two different writers wrote the script for Smith and the script for the other actors. Maybe it's because of this that most of the newer actors (Matrix Reloaded and later) seem to just blur together indistinctly.

I suspect that the interesting philosophical and existential musings throughout the film originated with the Matrix comic book series. I somehow don't believe the Wachowski brothers could have come up with these philosophical ponderings. I enjoyed them more than any other dialogue in the film. The observations of some of the other characters struggling so hard to sound wise come off as frivolous. The fact that they speak their lines with such a serious face nearly made me double over from laughter. Let's put it this way, these guys are pure cheese, whereas dialogues engaged with questions of existence, its purpose, and human nature are much more thought-provoking. I found this film to be nearly as uneven as Artificial Intelligence, though the unveven-ness is less readily discernible.

Death in Venice (1971)

"Death in Venice" has none of the exploitativeness of books/films like "Lolita"

[8/10 · 7 September 2003]

Graceful, welll-paced, fine use of zooming, close-up shots. The music that occupies what otherwise would be silence during the film is finely chosen. I read the book first and felt disinterested in it. I watched this film and acquired a new respect for the book. Björn Andrésen is reminiscent of the Grecian ideal of boyish beauty. Though the subject matter--an older man in love (lust?) with an adolescent boy--is somewhat unsettling, "Death in Venice" has none of the exploitation of books/films like "Lolita", where a child becomes the pawn of an older, more powerful adult man. Gustave can only admire and long from afar. And unlike Lolita, Tadzio is an admired and unattainable ideal. Unfortunately for girls, they have yet to be idealized and respected in film.

Charlotte Sometimes (2002)

I could barely suppress the impulse to run out of the theater before the film was over.

[1/10 · 30 August 2003]

Contains spoiler In an effort to support up and coming Asian American filmmakers, I went to see "Charlotte Sometimes" at the Screening Room in Tribeca tonight. Supporting artists of your own race because they are of your race has been called a "pitfall of identity politics", and tonight I wallked straight into the pit. Now, I am not at all ashamed of supporting Asian American artists, directors, musicians, especially when they are very talented. I truly want to see talented Asian Americans emerge out of the woodwork. But Mr. Byler's film was lacking on so many levels, I could barely suppress the impulse to run out of the theater before the film was over.

"Charlotte Sometimes", in my very honest opinion, is not a good film. If anything, watch this film to make a general list of what NOT to do when making a movie. Here is my list:

1. Never forget your audience. Events in the film must be purposeful to the audience or they lose interest in your story.

2. Don't create pointless dramatic tension. There must be a reason why your characters are tense, otherwise, don't make them tense just for the sake of tension. Real life is stressful enough without the movies making us pointlessly nuts...

3. If you don't have fine insight into human nature, don't make a film about human relationships. There is a reason why Albert Einstein studied physics and Sigmund Freud studied people.

4. Character communication is necessary! Communication can be verbal or non-verbal. But no matter what, characters must be clearly communicating with each other. Otherwise, nothing happens. Even in silence, which this film has a lot of, there needs to be clearly implied meanings. Ang Lee is the master of wordless communication.

5. Make characters interesting and matter to the audience. Do people feel emotionally bonded with the characters? Do we care about them?

6. When dropping hints/clues, make sure the answers comes out later! When a character discovers a secret, etc. make sure the audience eventually understands the big secret.

My personal issue with this film is that the HAPA boyfriend (Half Asian Pacific American) ends up having sex with both women, while the Asian American man does not sleep with either of them. That seems emasculating from an Asian man's point of view (still losing Asian women to white, or in this case a half-white, man). The Asian women are not much better off--one is overly coy and seductive (reinforcing the sexualized/fetishized Asian woman stereotype), while the other seems to be a nymphomaniac (still reinforcing the sexualized/fetishized Asian stereotype). I would not classify Eric Byler's film as one directed by an Asian American. "Charlotte Sometimes" does very little to challenge the racist stereotypes that Asian American men and women have been forced to contend with in the American media since the dawn of Hollywood. For better insight into Asian America, try "Better Luck Tomorrow", directed by (dare I say it?) a 'full' Asian. "Better Luck Tomorrow" (affectionately dubbed "BLT") has generated a lot of buzz with Asian Americans, some good and some bad. But the controvery it has generated among Asian Americans is testimony to how deeply this film speaks to us.

The Twin Bracelets (1991)

Like a game of Russian roulette, you never know who you'll end up with.

[8/10 · 1 June 2003]

Two teenage girls make a pledge to each other to be as "man and wife" in a small Chinese fishing town. The notions of women's rights or sexual freedom are absent in their oppressive minority culture, and when one becomes happily married to a stranger, the other is cruelly betrothed to the abusive son of a wealthy family. Seeking to free herself from a lifetime of abuse, Hui-hua desperately looks for a way out.

I found out about this film through PlanetOut.com. I was looking for intelligent movies that feature gay Asian women. This movie did not disappoint. Often, film crtics are so involved in the intellectual process of filmmaking and innovative filming techniques that they forget about one of film's greatest strengths--its ability to communicate the delicate nuances of human relationships. In this respect, books will never compare. Books can describe what a character feels and how she acts, but books will never let you see the finely shifting colors of emotion that flow through a protagonist's eyes as she watches her first love betray her, her sickly child grow strong, her fears challenged, and all the emotional frontiers people encounter in life. Through a book you will never fully witness the vast variety of non-verbal cues people use to communicate with each other. And this is why movies are so engaging: non-verbal communication expressed by our bodies often say far more than the words coming out of our mouths. This kind of communication will be never captured by mere words. Certain cultures, such as Arabic-speaking and Chinese cultures are without comparison in their heavy reliance on non-verbal communication to express meaning.

I found "The Twin Bracelets" to be full of unspoken meanings. That some Chinese minority cultures encourage non-sexual intimacy between friends of the same sex brought up questions for me. Was this really a movie about the stirrings of love in the heart of a young girl for her best friend, or were these two girls merely close friends who sought to avoid the abuse of arranged marriages? Though lesbian overtones in this movie are strong, the true nature of the girls' relationship remains undefined.

As to the film's cinematography, you will find scenic views of quaint fishing boats and old wooden houses, the bustle of daily life in an ethnic minority village, beautiful shots of the seaside, and distinctly non-Chinese dress and coifs worn by the women.

The main character, Hui-hua, is both lovely and engaging. It rends my hearts to see her suffer under the restrictive and patriarchal values of her community. Even her mother, who dotes on her, blatantly asserts the importance of her brother's marriage over hers. The few moments of carefree happiness that the girls experience together seem far too short.

The film is comfortably paced and engaging at every turn. The narrative structure is fairly tight, with a clearly foreseeable climax building every step of the way. Though the outcome of the story is predictable, the characters are engaging enough so that you still wish the best for them as they stoically march into matrimony. Like a game of Russian roulette, you never know who you'll end up with.

Lilya 4-Ever (2002)

Moodysson's Exploration Becomes Itself Exploitation

[1/10 · 9 May 2003]

The trouble with films that deal with trafficking, and especially films that intimately examine the lives of sex workers, is walking the fine line between sensitively portraying an individual's life, and inadvertently perpetuating her sexual exploitation. The act of dwelling on the sexual violence that permeates many sex workers' lives can fuel a kind of sensationalism similar to a Barbara Walters special. Dwelling on graphical images of sex work doesn't aid sex workers; neither does it improve an audience's understanding of the complexity of sex work or how girls and women are roped into sexual slavery. At worst, dwelling on the lurid details of a sex worker's tragedy can end up catering to the public's fascination for violence and, for some, sadistic sexual pleasure in watching a 16-year-old girl being brutalized.

Moodysson's film, I feel, falls into the latter category. The repeated scenes with desensitized, animalistic johns copulating, and at at times, raping, the protagonist reached the height of its efficacy sometime after the 5th one. The rest looked to be no more than gratuitous violence and indulgence in sadistic pornography (minus X-rate details) that conveyed little information to the audience. All I could conclude was that they were filmed for the enjoyment of lecherous old men or sadists who enjoy watching a young woman being tortured. Even the couple sitting in front of me found them pointlessly offensive and left.

The fact is that the public loves sensationalism, and it loves hearing of stories of 6-year-old girls being abducted and god-knows-what unspeakable thing done to them (remember Jean Benet in the tabloids?). The ABC "documentary" on sex trafficking several years ago easily confirmed this when it bypassed exploring the layered complexity of sex trafficking and, instead, dwelled on lurid details given by former prostitutes with equally lurid reinactments for viewers to gawk at.

I had expected more from Mr. Moodysson's film. It would have been refreshing to see a film with an unapologetically determined Lilja quickly wising up to the realities of the world, and taking a far more proactive stance in dealing with the abuse. Sex workers are too often shown as passive, impotent participants in the sex trade with little decision-making power. The reality is that many sex workers choose to remain in the sex industry in spite of opportunities to leave. Stories of enslavement, like Lilja's, are just one small portion of a much larger picture. It is important to recognize that many sex workers are far more in control of their own destiny than Lilja.

Raising Victor Vargas (2002)

Only Great Movies Can Generate Great Criticism

[10/10 · 25 April 2003]

** WARNING: SPOILERS BELOW **

I don't remember ever having seen a movie about adolescence in NYC's Latino neighborhoods so authentically portrayed. Victor, Judy, and the entire cast are so believeable, I feel like I've met them at some time in my youth. Victor's primping and posturing is hilarious, as is their exceptionally strong abuela. Victor's relatively innocuous teenage exploits are cleverly tied together and culminate at the dinner table as his grandmother pieces together Victor's hastily contrived scheme and blames him for the corruption of the other children. But devout Catholic Dominican grandmothers are prone to that. I read in a review that director Peter Sollett, who drew the cast from the Lower East Side, did not force the actors to memorize the script word for word. It was for that reason that the actors exuded an authenticity little seen from actors who are so young

Where I feel the script could have been improved is with clarification of cultural differences. It wasn't fully clear that the kids were doing something wrong when Judy visited Victor's apartment without his grandmother's prior consent. Victor's old-fashioned grandmother holds old-fashioned Latin values, and a prospective girlfriend visiting her home without prior introduction is inappropriate. I had to sit on this for a while before realizing it, and I realized this only because I've lived in NYC nearly my whole life and had enough Latina friends to inform me. Also, it seems that more needs to be said between Victor and Judy, and the development of their love. At least on Judy's part, the development of her feelings could have been more carefully considered; Judy's character has a complex history and her ice queen demeanor didn't appear out of nowhere. What exactly broke the ice queen exterior and changed her mind about Victor is still fuzzy to me. It seems to have had something to do with Victor's confession that he wants Judy to see how he "really lives" at home. But that wonderful moment on the street when Judy has a change of heart deserved much closer scrutiny and dramatic exploration.

All in all, "Raising Victor Vargas" is certainly the finest movie that I've seen this year. For a movie to generate the kind of criticism that I'm offering here is, in my experience, no mean feat. Victor Rasuk delivers an outstanding performance as a strong young man learning how to be a man with little guidance but trial and error.

Better Luck Tomorrow (2002)

What About the Girls?

[10/10 · 12 April 2003]

Just came back from a screening of this movie in NYC. Being Chinese American, I felt I could vicariously live through the characters' mishaps and adventures. I think this film is a manifestation of some unconscious fantasies I had during high school. Unfortunately, during high school I was too busy trying to land a spot in the incoming class of an Ivy League to think about power trips from petty crimes or even relieving the stress of perfectionism. Being female also dramatically reduced my access to the possibility for petty crimes and other risky experimentation. Chinese girls are raise to be good, dutiful daughters, who in turn become their own slave drivers feeding off of their need for perfectionism. Thanks to the oppressive histories of East Asian cultures, Asian parents brook no rebellion from girls. Girls are constantly taught that the slightest transgression will bring harsh criticism. And, having already fallen out of favor for not being born male, girls are dealt much harsher punishments than boys for rebellious behavior. The patriarchal adage "boys will be boys" resonates through Asian cultures with the accompanying implication that "girls must also be girls". Unfortunately, "Better Luck Tomorrow" makes no mention of the double standards imposed on Asian-American girls. It was disappointing to see the sole female actress become a pawn in the brokering of power between two high school boys.

The Asian girls in my high school who exhibited risky behavior were always sidelined by more daring male exploits. Essentially, female risky behavior amounted to wanton sex with men and occasional petty thievery. How little it differs from our non-Asian counterparts!

But if anything, at least this movie is not about kung fu fighting Chinese actors coupled with black or white male leads in movies like "Bulletproof Monk". Justin Lin's "Better Luck Tomorrow" aptly reminds the audience that Chow Young Fat, Jet Li, and Jacky Chan are not Asian-American men!

Criticisms aside, "Better Luck Tomorrow" is a clever film featuring some fine acting. The strengths and vulnerabilities of the Asian American boys are explored in a hitherto unprecedented way. Kudos to Jason Tobin for some fine acting!

The Lord of the Rings: The Two Towers (2002)

Choppy and Uneven

[6/10 · 24 December 2002]

I don't know what compels audiences to sit through "The Two Towers" (TTT), especially when Peter Jackson's directing is uneven, the storyline choppy, and the movie endlessly long (nearly 3 hours). In the book, many events unfold simultaneously, but to depict Tolkien's finely crafted synchronicity takes a directorial finesse that Jackson just doesn't have in TTT. Though the special effects and musical score are very impressive, when a film relies heavily on these elements rather than narrative drive to evoke emotions and to move the story forward, you know the film is floundering. Several vistas of New Zealand's majestic geography are accompanied by equally evocative music. But whether the shots of the landscape were ill-timed or just too numerous, most of these scenes failed to convey any emotional intensity. In fact, the audience is left feeling a bit bored by it all. An example of better use of music and landscape shots is in "Crouching Tiger Hidden Dragon" (CTHD). It wasn't that CTHD had better scenery or more dramatic music, but that these scenes came at appropriate times and did not look awkwardly placed. Jackson's camera work also leaves much to be desired. The camera pans in and out at breakneck speed, naturally taking advantage of the immersive experience of a large movie screen, but the camera moves so quickly at times that the audience doesn't get a chance to form an emotional bond with characters. The sense of intimacy one tries to develop with characters is crippled when the camera zooms out precisely at the moment when we are starting to get to know them.

Though the directing is nothing to brag about, TTT does have a few things to applaud. The special effects are truly amazing and several characters are well-developed in the script.

American History X (1998)

Transformation too good to be true, but an amazing film nonetheless

[18 June 2002]

The first word that escaped my lips after the film was "WOW". A wonderfully directed film with outstanding performances from Edward Norton, who plays Neo-Nazi, Derek Vinyard, and Jennifer Lien, who plays his frustrated sister. "American History X" is one courageous movie.

I didn't think such a realistic and sensitive portrayal of a skinhead could be possible. Though I felt that Norton's character, after a traumatic event, capitulated to the embrace-all-minorities point-of-view too quickly, the distinct periods in which he hated minorities and accepted them were wonderfully performed. The only part of the movie that made me uncomfortable was the transformation of Derek Vinyard. Throughout the film, I sensed an urgency to turn a misguided skinhead into a good guy (maybe someone who doesn't embaress white people?). The director, writer, actors all probably wanted Derek Vinyard to become more tolerant, less angry, (and, dare I say it?) more in line with the current racial politics that embraces diversity and abhors racism.

But in order for Derek Vinyard to be believeable, he has to transform from a Neo-Nazi racist into less of a racist. The change in Derek Vinyard seemed overnight and miraculous. His change is like laser eye surgery that instantly restores 20/20 vision. Reality doesn't work like that. Derek the immigrant-hating Neo-Nazi suddenly became Derek the benevolent, people of color-loving liberal. I just can't buy it. Being a person of color myself, and having encountered more racism in my lifetime than I care to remember, I have never seen miraculous transformations in life. Nobody goes from complete bigotry to complete tolerance. A more credible outcome is that Derek remains uncomfortable with his former African-American history teacher and other minority groups. He will still be grappling with his conscience--guilt for the senseless murders, knowledge that he killed people of his teacher's ethnicity, and desire to protect and release himself from the misery of old hatreds.

This film definitely has a social conscience, and wants to teach people well. I commend its success with such a difficult topic. Right after watching "American History X", I saw "Monster's Ball". The latter was not a good movie to begin with, and unfortunately it came on the heels of one of the finest movies ever made about race politics in the United States.

The only other complaint I have is that the film ended too happily. It is a sad movie that tries to make you feel good in the end. But that's not realistic. Edward Furlong's character, after hearing his brother's ordeal, shrugs off all his former prejudices and joins his brother's newfound doctrine of love-thy-ethnic-neighbor. The insidious influences of Cameron Alexander evaporates into thin air. I just can't quite buy it.

Irma Vep (1996)

Painful

[18 June 2002]

This truly is a film for film elites. I really enjoy films about human relationships and films about social injustice. I don't enjoy uber-intellectual movies that discuss film-making in a way that can be understood by only a limited number of folks who are keyed into interpretions of art house films. This is not a film for a wide audience, though at best it makes the uninitiated curious. Overall, films made for a select few should be available to the select few only. The rest of us who stumble on it at our local video store sit for a painful 96 minutes waiting for the plot and story to congeal enough for us to understand what the heck it's all about. We come out empty-handed in the end. It is a waste and it isn't. I know what people are bitching about with regards to intellectual French films, but then again, I'm not sure if I really care.

Star Wars: Episode II - Attack of the Clones (2002)

There is No Hero

[15 May 2002]

The whole Star Wars Prequel (both I and II) has been one big disappointment. All that movies seem to rely on these days are special effects. I found Star Wars: Episode II to be as confusing as Episode I. The genius which Lucas had drawn from the works of Joseph Campbell in the 1970s is highly lacking in the new episodes. Maybe it's for the simple fact that one has no interest in relating to any of the characters in the movie because there is no true hero and no real character involvement. Though George pushes for it, we all know where Anakin is headed and we are loathe to identify with this future traitor. The glory of the first Star Wars trilogy lay largely in the hero, Luke, who embodies the noblest and most ideal qualities of humanity. Luke Skywalker inspired the audience with his naivete, integrity, growing wisdom, lofty idealism, and his eventual journey towards Jedi glory. The viewer lived out Luke's experiences vicariously. But in the new Star Wars triology, there is no one to take on the responsibility of our imagination.

Certainly not the illaudable Anakin, who is surely the greatest known disappointment, nor the personality-less Jedi Council and grammatically challenged Yoda. Not the uninspiringly fallible Obi-Wan (his folly being his conceit). And definitely not the passively hyper-feminine Senator Padme (at least Leia had an attitude on her--thanks to the saving grace of the Women's Liberation movement). These characters provide little fodder for an audience's yearning for heroism with a greater purpose. Though the prequels provides the history to Star Wars IV, V, and VI, they are unlikely to appeal to mass audiences who care less about science fiction and more about universal themes of human growth, change, and triumph over adversity. In Star Wars I and II, Lucas fails to engage the audience with these crucial elements that comprise a great heroic epic.

Monster's Ball (2001)

More Suited For the Porn Rack Than the Oscars

[14 May 2002]

Though the movie has a tone of gravity about it, the transformation of the protagonist, Hank, from a racist corrections officer to a kinder, more tolerant man, is not apparent. The movie does not adequately demonstrate the impact of Hank's son's suicide on him. The audience sees that he is gradually a changed man, but the logic of his reasoning and the gradations of his transformation remain vague. I had watched the movie "American History X" right before "Monster's Ball", and the contrast is striking. Whereas in "American History X", the transformation of the main character, a reformed Neo-Nazi, is clearly demonstrated by his attempts to navigate through the racial politics of prison life, "Monster's Ball" provides a weak glimpse into the interior psyche of the racist white Southerner.

If anything, this movie was created to showcase Halle Berry's impressive breasts and overall figure. In this respect the film has outdone itself. But to use a serious and weighty subject, like the contentious racial divide of the South, to display not only Berry's acting prowess but perky body as well, insults the importance of the social problems that the film inadequately probes. A movie inordinately preoccupied with situating Berry's character in sexual positions is more suited for the porn rack than the Oscars.