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Reviews
The Black Dahlia (2006)
Criminally underrated, THE BLACK DAHLIA shines
The work of a true artist, Brian De Palma's THE BLACK DAHLIA is a terrific cinematic achievement that unfortunately won't be appreciated in its time. A brief scan of the user comments here reveal proclamations such as "The worst film ever made" and so forth. Clearly DePalma has pushed a button in audiences and defied their expectations, challenging them to think, look closely and prepare for the unexpected. It's too bad that audiences prefer their murder mysteries served straight up, CSI-style. They've missed out on a thrilling and insightful journey. To those naysayers out there, take a second look at THE BLACK DAHLIA and you might actually find it illuminating. DePalma has packed so much in this 2 hour masterwork that repeat viewings are bound to prove rewarding, and might possibly even change a few minds.
DePalma applies many straightforward film noir conventions within the framework of his darkly comedic, socially and morally conscious sensibility. His playfulness with the genre is likely what angers so many people, but for those open to a different approach, what a journey he takes you on! Many of De Palma's signature techniques are on full display in THE BLACK DAHLIA and are used to great effect, including his roaming camera, slow motion action, POV angles and rapid fire edits. As usual, many find these techniques just for show, but they add weight to the film, both visually and thematically. De Palma's favorite themes are woven throughout, including corruption, voyeurism, doubles and not trusting what you see. They combine to tell a riveting tale of moral degradation in Hollywood, both within the movies (The "Black Dahlia" character, played wonderfully by Mia Kirschner) and outside of it (Josh Hartnett, very strong in the lead and his best performance to date). While the narrative complications may annoy some, I personally enjoyed the ride of navigating through all the plot's challenges. I certainly didn't find it incomprehensible, and I'm a bit puzzled by that common response. And focusing too intently on the 'whos' and 'whats' distracts from the IDEAS that DePalma raises, such as the moral compromise and sexual potency of his characters.
The leads are uniformly well-suited to their roles, filling in their archetypical characters with color and nuance. While Fiona Shaw's performance has been a bit of a contentious point for some, to not appreciate her delicious turn as the snobbish, sodden and soused matriarch would be to miss out on one of the film's delightful pleasures. I also loved Mark Isham's striking and atmospheric score, as well as the lush cinematography, sets and costumes.
While I can accommodate that some of the characters, humor and plot threads might not resonate with some audiences, I cannot comprehend why audiences loathe this film so much. With so many unchallenging and creatively bankrupt movies filling our theatres, dismissing THE BLACK DAHLIA outright is a disgrace. But why should this De Palma film be different from all others? SCARFACE was detested back in 1983 and is now considered a universal classic. For those who do appreciate THE BLACK DAHLIA today, it's a shining example of movie-making at its most thrilling.
Tamara (2005)
A worthy entry in the horror genre
I was fortunate to have seen an early screening of TAMARA and was quite impressed with the final result. The film is propelled by the star-making turns of its two leading female characters, Tamara (Jenna Dewan) and Chloe (Katie Stuart). Dewan is a real find, striking a terrific balance between pathos and horror. She makes quite an impact in her first starring role, and the fact that she's also quite stunning certainly does nothing to diminish her screen presence! Stuart's performance as the tragic do-gooder lends real weight and credibility to the film. It's a smart and sincere performance and not just another sassy-talking teen role that too often occupies this genre. The film is engaging throughout and provides some well-placed shock-and-gore to keep its pace humming along. Credit Jeff Reddick's screenplay for that- here's a film clearly written by someone who respects the genre. He never condescends to his audience, and just like in his film, FINAL DESTINATION, includes enough cleverly gruesome moments to ensure that the experience will memorable. While certain performances and scenes could have been tighter, all in all TAMARA makes for a solid entry in the horror genre and mercifully rises above the pack of overly slick (and perhaps overly sick) entries that horror fans have had to contend with as of late.