Franklyn is a film I stumbled upon while browsing the New Release wall of MovieStop about a week ago. I was intrigued not only by the description on the back of the case ("Four souls bound by fate, romance and tragedy collide in the parallel worlds of London and the futuristic Meanwhile City, where a single bullet will alter the course of their lives forever."), but also due to the simple fact that Eva Green - an actress I became particularly fond of after her performance in Casino Royale - plays one of the leading roles. Still, I remained unconvinced and placed the title back on the shelf. A few days ago, however, I made another trip to MovieStop in search of Takeshi Kitano's Zatoichi and once again came face-to-face with Franklyn. I had money to spare due to Christmas funds from relatives, so I decided to indulge in the blind purchase.
Normally when I do such a thing, I find myself trading the DVD in if I do not like it (as I did with the previous film I reviewed, The Other Man), but Franklyn is one that I believe I will hold on to. Right from the outset, the film drew me in with the beautifully decayed Meanwhile City, a futuristic world where mankind is ruled by religion. There are literally millions of different faiths, some outrageous in their ridiculousness (such as the Seventh Day Manicurists), and everyone is required to belong to a faith. Sure, the overall design is not far from your typical Utopian future found in a great many sci-fi films, but it at least maintains an air of originality.
One of our protagonists, living in Meanwhile City, is a man named Jonathan Preest (Ryan Phillippe), a character that is sure to spark comparisons to Rorschach from Watchmen. Basically, Preest is a masked vigilante who has no faith and is attempting to track down the leader of a particular religion. Known only as "The Individual," the leader is responsible for murdering an eleven-year-old girl that Preest had been trying to protect. Unfortunately, in his pursuit of justice, Preest is captured by the government and imprisoned for four years. He is released after he accepts an intriguing offer: he will regain his freedom if he will track down and stop The Individual, who is back in Meanwhile City. This seems a bit silly, though, as this offer is coming from the very people who stopped Preest from getting to The Individual four years prior.
Enough about Meanwhile City, as it is only one side of the narrative. The film frequently alternates between Preest's world and modern-day London, where the viewer plays witness to three stories. One involves a heartbroken man named Milo (Sam Riley) in his search to find love again; another follows a man named Esser (Bernard Hill) as he attempts to find his missing son; and the third observes an art student named Emilia (Eva Green) who is eerily engrossed in a project that has her recording her own suicide attempts. These stories are where the film suffers to some extent, as it seems that more information surrounding each character could have been divulged. I love a film that makes me think - as this one surely did - but a lot of said thinking was in trying to piece together aspects of the characters' lives that could have (and perhaps should have) been more clearly explained.
Another unfortunate quality of the film is that it flows at an exceptionally slow pace - too slow in some areas. I found myself constantly wishing to be transported back to Preest's exploits in Meanwhile City, as his scenes move swiftly and are infinitely more interesting than those set in modern-day London. That is not to say that the other characters are not interesting. Quite the opposite, actually, as all three become increasingly engrossing and are greatly aided by the three capable performers filling the roles. Basically, it is a scattered pacing that upsets what should have been a balance between the four stories.
Though slow and uneven, the film does build up to a finale that is both clever and surprising, even if one scene involving Esser does make what revelation is forthcoming rather obvious. Despite a few flaws in logic that raise some bothersome questions by the end of the film, director Gerald McMorrow successfully draws the four characters together - as well as the worlds of Meanwhile City and modern-day London. The viewer is left with a great deal to contemplate thematically, which is an immensely positive attribute in my eyes. While Franklyn possesses a number of flaws, it serves as one of the better directorial debuts I have seen as of late. Thus, McMorrow is definitely a director I will be keeping my eye on in the years to come.
Wednesday, December 30, 2009
Wednesday, December 16, 2009
The Other Man (Richard Eyre, 2008)
One fine day, while browsing through an issue of Film Comment (as I am wont to do), I had my interest piqued by a film on the back cover titled Five Minutes of Heaven. I was intrigued for two reasons, one being that it was a new film from the director (Oliver Hirschbiegel) of Downfall (2004; starring Bruno Ganz as Adolf Hitler in one of the most incredible performances I have ever had the pleasure of witnessing). The other reason was that it starred Liam Neeson, whom I had just recently seen in Taken (Pierre Morel, 2008). Due to my admiration of Taken and the exhilarating trailer for Five Minutes of Heaven, I decided to see what else Neeson had been up to lately. That is how I learned of The Other Man. Upon discovering that Laura Linney was also starring in the film, I was sold. The trailer was mighty promising, too.
Unfortunately, Richard Eyre's effort is a tragic case of a good premise gone horribly wrong. The plot is intriguing enough: a seemingly happy couple living in England is introduced; the wife (oddly) asks her husband if he has ever thought of sleeping with another woman; fast-forward to the future where the wife is gone; husband learns that she had been having an affair; husband tracks down his wife's other lover and confronts him, desiring revenge. The husband, Peter (Neeson), is a jealous individual who seems to be easily angered (and who would not be in such a situation?). His wife, Lisa (Linney), is a bit of a mystery. Her conversation early in the film with her husband is incredibly awkward, albeit as a result of poorly written dialogue that serves little purpose other than as an allusion to what revelation is forthcoming - as if the title of the film did not make it obvious enough.
The film revolves around a rather profound twist - at least one that is profound in nature. The actual revelation in the film is forced and rather dull. This was primarily due to the fact that what little interest I had in discovering this ultimate truth was constantly being placed behind my desire to know why the characters were acting the way they were. After the aforementioned conversation between Lisa and Peter, the film, as I said, leaps into the future - though it does not say how far. Peter is giving some of his wife's belongings to his daughter, attempting to clean out the house. Okay, so she is gone. That is all the viewer knows: she is gone. During the exchange with his daughter, Peter is given a note that his wife left for him and from there he begins digging into her apparent secret life, discovering much to his dismay that she had been having an affair with a man named Ralph (Antonio Banderas). Obsessed and angry, he tracks Ralph down in Italy and befriends him. While getting to know Ralph (who constantly talks about Lisa, not knowing that Peter is actually her husband), Peter pretends to be Lisa and starts contacting Ralph through e-mail. For whatever bizarre reason, Peter's daughter decides to make the trip out to Italy to find her father, nearly having an emotional breakdown when she learns that Peter has been posing as Lisa and stringing Ralph along. But why? And why is everyone around Peter so concerned about him, always teary-eyed?
There are a lot of peculiar moments such as these in The Other Man that are given proper explanation by the time the credits role, but the manner in which the climactic events are executed is poorly conceived and wholly unremarkable, especially given the distracting nature of the awkwardness surrounding the actions of practically every character in the film. It is a shame, considering the talented cast (all giving rather good performances) and solid foundation. I went with it at first, hoping that my endurance would pay off, but by the end, I was only left thinking of ways that the film could have been better - incredible, even - and thus utterly distraught that it was not so.
Unfortunately, Richard Eyre's effort is a tragic case of a good premise gone horribly wrong. The plot is intriguing enough: a seemingly happy couple living in England is introduced; the wife (oddly) asks her husband if he has ever thought of sleeping with another woman; fast-forward to the future where the wife is gone; husband learns that she had been having an affair; husband tracks down his wife's other lover and confronts him, desiring revenge. The husband, Peter (Neeson), is a jealous individual who seems to be easily angered (and who would not be in such a situation?). His wife, Lisa (Linney), is a bit of a mystery. Her conversation early in the film with her husband is incredibly awkward, albeit as a result of poorly written dialogue that serves little purpose other than as an allusion to what revelation is forthcoming - as if the title of the film did not make it obvious enough.
The film revolves around a rather profound twist - at least one that is profound in nature. The actual revelation in the film is forced and rather dull. This was primarily due to the fact that what little interest I had in discovering this ultimate truth was constantly being placed behind my desire to know why the characters were acting the way they were. After the aforementioned conversation between Lisa and Peter, the film, as I said, leaps into the future - though it does not say how far. Peter is giving some of his wife's belongings to his daughter, attempting to clean out the house. Okay, so she is gone. That is all the viewer knows: she is gone. During the exchange with his daughter, Peter is given a note that his wife left for him and from there he begins digging into her apparent secret life, discovering much to his dismay that she had been having an affair with a man named Ralph (Antonio Banderas). Obsessed and angry, he tracks Ralph down in Italy and befriends him. While getting to know Ralph (who constantly talks about Lisa, not knowing that Peter is actually her husband), Peter pretends to be Lisa and starts contacting Ralph through e-mail. For whatever bizarre reason, Peter's daughter decides to make the trip out to Italy to find her father, nearly having an emotional breakdown when she learns that Peter has been posing as Lisa and stringing Ralph along. But why? And why is everyone around Peter so concerned about him, always teary-eyed?
There are a lot of peculiar moments such as these in The Other Man that are given proper explanation by the time the credits role, but the manner in which the climactic events are executed is poorly conceived and wholly unremarkable, especially given the distracting nature of the awkwardness surrounding the actions of practically every character in the film. It is a shame, considering the talented cast (all giving rather good performances) and solid foundation. I went with it at first, hoping that my endurance would pay off, but by the end, I was only left thinking of ways that the film could have been better - incredible, even - and thus utterly distraught that it was not so.
Wednesday, December 2, 2009
Ninja Assassin (James McTeigue, 2009)
If there is one thing that James McTeigue has accomplished with Ninja Assassin, his third outing as a director (though he has served as an Assistant Director on many films), it is that he has a deliciously alluring knack for orchestrating slick, hyper-stylized visual elements - particularly action sequences. That is essentially what Ninja Assassin is - pure style over substance. There is a plot, or at least there is the absolute slightest foundation for one, told mostly through flashbacks of opportunity. However, the plot is not what draws one to see this film, and McTeigue knows this fact all too well. The script serves only as a bridge to cross the gaps between scenes of brutal, frenzied bloodbaths in which the protagonist, Raizou, slaughters countless evil doers (predominately other ninjas from the clan he once belonged to). Just like most other films featuring a rogue badass taking on absurd odds in every other scene, none of the other ninjas can seem to take Raizou down, despite the fact that they attack in ridiculous numbers and have undergone the same rigorous training.
Though preposterous, Raizou's godlike abilities do make for one hell of a fun time. McTeigue maintains control throughout each fight sequences, meticulously blending fluid choreography and CGI effects (specifically blood - of which there is an ample amount) to create visually appealing (if not occasionally disgusting) scenarios that are truly a spectacle to behold - especially in the final scenes of the film. The final battle between Raizou and his former master stands out among the rest, as McTeigue beautifully renders the action inside a burning temple, capturing an immensely entertaining duel that unfolds amid flames, cinders, and ashes that majestically share the frame with the two combatants. This climactic bout provides as much closure as the narrative requires in its extremely limited scope, and leaves the viewer with something bordering on breathtaking, if only for the pleasure it brings to the eyes.
So, is Ninja Assassin a good film? Hardly. It is merely an acceptable offering aimed at those thirsting for action, which has been provided in copious amounts all throughout the summer by a tidal wave of blockbusters - most of which ranged from mediocre to downright awful. This film finds its place somewhere in between. Given that McTeigue was the director of V for Vendetta, a directorial debut I would go so far as to call a masterpiece of cinema (it is my favorite film, after all), his latest effort (which is his second credited as director, though was hired to direct some additional scenes for the 2007 remake of The Invasion when the studio was unsatisfied with the original cut [according to IMDb]) is all the more disappointing. However, his visual flair (which took flight with V for Vendetta) is unique and promising - he just needs to focus on having it grounded in more solid narratives.
Basically, Ninja Assassin is little more than a flashy action film that substitutes a gripping, coherent narrative for an overly violent, lush and exquisitely exaggerated style. This is not particularly a problem, though, if one has the right expectations. After all, the movie is titled "Ninja Assassin." Keeping that fact alone in mind, McTeigue delivers what one should anticipate in such a film, and nothing more.
Though preposterous, Raizou's godlike abilities do make for one hell of a fun time. McTeigue maintains control throughout each fight sequences, meticulously blending fluid choreography and CGI effects (specifically blood - of which there is an ample amount) to create visually appealing (if not occasionally disgusting) scenarios that are truly a spectacle to behold - especially in the final scenes of the film. The final battle between Raizou and his former master stands out among the rest, as McTeigue beautifully renders the action inside a burning temple, capturing an immensely entertaining duel that unfolds amid flames, cinders, and ashes that majestically share the frame with the two combatants. This climactic bout provides as much closure as the narrative requires in its extremely limited scope, and leaves the viewer with something bordering on breathtaking, if only for the pleasure it brings to the eyes.
So, is Ninja Assassin a good film? Hardly. It is merely an acceptable offering aimed at those thirsting for action, which has been provided in copious amounts all throughout the summer by a tidal wave of blockbusters - most of which ranged from mediocre to downright awful. This film finds its place somewhere in between. Given that McTeigue was the director of V for Vendetta, a directorial debut I would go so far as to call a masterpiece of cinema (it is my favorite film, after all), his latest effort (which is his second credited as director, though was hired to direct some additional scenes for the 2007 remake of The Invasion when the studio was unsatisfied with the original cut [according to IMDb]) is all the more disappointing. However, his visual flair (which took flight with V for Vendetta) is unique and promising - he just needs to focus on having it grounded in more solid narratives.
Basically, Ninja Assassin is little more than a flashy action film that substitutes a gripping, coherent narrative for an overly violent, lush and exquisitely exaggerated style. This is not particularly a problem, though, if one has the right expectations. After all, the movie is titled "Ninja Assassin." Keeping that fact alone in mind, McTeigue delivers what one should anticipate in such a film, and nothing more.
Friday, November 13, 2009
This is It (Kenny Ortega, 2009)
Like so many others around the world, I have always been a fan of Michael Jackson. Despite the controversy surrounding him for more than a decade prior to his untimely death, I have always enjoyed his music, and will continue to do so for many years to come. I suppose you would say that my adoration of the "King of Pop" led to my curiosity regarding This is It. I am not one who particularly enjoys watching music documentaries, if you could actually label this film as such - there's hardly any "documentary" worth noting within it. Rather, it is an intimate portrait of an entertainer preparing his final (and possibly his greatest) show.
Essentially, the film consists of behind-the-scenes footage recorded during rehearsals for Michael's sold-out final tour. The viewer witnesses each number in the performance during rehearsals, allowing for a rough glimpse at what this final show might have been like. However, being that it is a rehearsal, there are moments in which the music stops due to some minor problem or another and we see Michael interacting with the men and women he is working with. While some might find this tedious or annoying, it actually gives the viewer a glimpse of Michael's gentle nature; that he is truly a compassionate individual devoted to his art, those working with him, and his fans.
Worth noting, too, is the music. Almost every song is redone is some imaginative way, adding a unique flare to it visually, audibly, or both. Several moments stick out in my mind, including the incredible video that all of the back-up dancers helped create for Thriller, which involved all of them being subjected to severe latex, make-up, and intricate costumes (of the Halloween-variety). Billie Jean, Smooth Criminal, Wanna Be Startin' Somethin', The Way You Make Me Feel, and They Don't Care About Us stand out as being awe-inspiring to some degree; to simply see Michael pouring everything he had into his music is truly a spectacle worth witnessing. Especially during I Can't Stop Loving You, the passion he dedicates to the song is almost enough to bring one to tears (which actually did happen to me late in the film, during a speech Michael gives to his crew before the final number is shown - which is Man in the Mirror). Beat It is another song worth paying extra attention to, as one of the guitarists who was set to perform alongside Michael, Orianthi, delivers an astounding solo that sent my jaw to the floor. Upon doing a little research, I discovered that she actually has a solo album, which is quite impressive in its own right.
If you are a fan of Michael, do yourself a favor and see this film while it is still in theaters. The DVD will be out in time for Christmas, but I do not believe the experience will be quite the same, as the theatrical setting allows the viewer to truly see the incredible amount of work that everyone involved poured into this performance. Far more than a mere cash-in on the legendary performer's death, this film shows Michael at his best. While the world will forever be without that final curtain call, This is It is more than an admirable effort at demonstrating the magic Michael had in store for all of his fans.
Alas, I do not believe I have truly done this film enough justice with my brief review. Therefore, I suggest you take the time to check out Roger Ebert's review HERE.
Essentially, the film consists of behind-the-scenes footage recorded during rehearsals for Michael's sold-out final tour. The viewer witnesses each number in the performance during rehearsals, allowing for a rough glimpse at what this final show might have been like. However, being that it is a rehearsal, there are moments in which the music stops due to some minor problem or another and we see Michael interacting with the men and women he is working with. While some might find this tedious or annoying, it actually gives the viewer a glimpse of Michael's gentle nature; that he is truly a compassionate individual devoted to his art, those working with him, and his fans.
Worth noting, too, is the music. Almost every song is redone is some imaginative way, adding a unique flare to it visually, audibly, or both. Several moments stick out in my mind, including the incredible video that all of the back-up dancers helped create for Thriller, which involved all of them being subjected to severe latex, make-up, and intricate costumes (of the Halloween-variety). Billie Jean, Smooth Criminal, Wanna Be Startin' Somethin', The Way You Make Me Feel, and They Don't Care About Us stand out as being awe-inspiring to some degree; to simply see Michael pouring everything he had into his music is truly a spectacle worth witnessing. Especially during I Can't Stop Loving You, the passion he dedicates to the song is almost enough to bring one to tears (which actually did happen to me late in the film, during a speech Michael gives to his crew before the final number is shown - which is Man in the Mirror). Beat It is another song worth paying extra attention to, as one of the guitarists who was set to perform alongside Michael, Orianthi, delivers an astounding solo that sent my jaw to the floor. Upon doing a little research, I discovered that she actually has a solo album, which is quite impressive in its own right.
If you are a fan of Michael, do yourself a favor and see this film while it is still in theaters. The DVD will be out in time for Christmas, but I do not believe the experience will be quite the same, as the theatrical setting allows the viewer to truly see the incredible amount of work that everyone involved poured into this performance. Far more than a mere cash-in on the legendary performer's death, this film shows Michael at his best. While the world will forever be without that final curtain call, This is It is more than an admirable effort at demonstrating the magic Michael had in store for all of his fans.
Alas, I do not believe I have truly done this film enough justice with my brief review. Therefore, I suggest you take the time to check out Roger Ebert's review HERE.
Monday, November 2, 2009
Road to Perdition (Sam Mendes, 2002)
Road to Perdition is a film that I viewed with a certain set of expectations. You have a main cast comprised of four wonderful, well-known and well-respected actors: Tom Hanks, Daniel Craig, Jude Law, and Paul Newman (in his last major role; after this film he merely made a few appearances on television and played the voice of Doc Hudson in Cars). Jennifer Jason Leigh, Dylan Baker, and Stanley Tucci maintain minor supporting roles, while the relatively unknown Tyler Hoechlin stars as the elder of Tom Hanks’ two sons. You have Sam Mendes directing his second major film – still hot off the resounding success that was American Beauty – and returning with him is cinematographer Conrad L. Hall (who won the only Oscar for this film - Best Cinematography, of course - though it was posthumous as he passed away eleven weeks prior to the event).
Set around 1931, the film is about a man named Mike Sullivan (Hanks) who works for John Rooney (Newman) as an enforcer in the Rock Island branch of the Chicago mob. After Sullivan’s elder son (Hoechlin) witnesses a killing that he is a part of, a chain of events initiated by Rooney’s malicious son, Connor (Craig), leads to him being on the run – predominately from the seemingly psychotic hit man Harlen Maguire (Law) – in an effort to both save his son and seek revenge on the men who have taken so much away from him. With all of the aforementioned elements in play combined with this premise, I expected to thoroughly enjoy this film, and I was not let down in the slightest. Hall’s cinematography is incessantly beautiful throughout the film, as one would expect. One shot in particular I find notable is near the end of the film, when Sullivan is returning to his son after leaving him in a hotel room. It is set up to so that the viewer can simultaneously see Sullivan’s son sitting on a bed in the hotel room and Sullivan as he walks down the hall leading to the room – both of which take up a fairly equal half of the frame. The suspense seems to build with every step Sullivan takes in anticipation of something and/or someone to hinder the reunion with his son.
The script is wonderfully written, so as characters do not speak too often (in fact, much of the story information comes from scenes where there is little-to-no dialogue whatsoever), but when they do it is at the same time clever and wholly believable. Even Ciarán Hinds – whom you may recognize from Munich, his bit role in There Will Be Blood or, perhaps more notably, the HBO series Rome (in which he played Julius Caesar) – delivers a fantastic and emotionally-charged speech in one of the opening scenes. All around, the rest of the performances live up to what one would expect from Oscar-winning talent – especially Paul Newman (who received a nomination for Best Supporting Actor). Throughout the film, I found myself sympathizing not only with Sullivan, but with Rooney as well – who is torn between his love for Sullivan (whom he views as a son) and his actual son, Connor. He wants as few people to suffer as humanly possible, but realizes – as the viewer does – that the fates of all the characters are unalterable and will end ultimately in tragedy. As he tells Sullivan in a gripping scene near the end of the film: "This is the life we chose, the life we lead. And there is only one guarantee: none of us will see heaven."
Set around 1931, the film is about a man named Mike Sullivan (Hanks) who works for John Rooney (Newman) as an enforcer in the Rock Island branch of the Chicago mob. After Sullivan’s elder son (Hoechlin) witnesses a killing that he is a part of, a chain of events initiated by Rooney’s malicious son, Connor (Craig), leads to him being on the run – predominately from the seemingly psychotic hit man Harlen Maguire (Law) – in an effort to both save his son and seek revenge on the men who have taken so much away from him. With all of the aforementioned elements in play combined with this premise, I expected to thoroughly enjoy this film, and I was not let down in the slightest. Hall’s cinematography is incessantly beautiful throughout the film, as one would expect. One shot in particular I find notable is near the end of the film, when Sullivan is returning to his son after leaving him in a hotel room. It is set up to so that the viewer can simultaneously see Sullivan’s son sitting on a bed in the hotel room and Sullivan as he walks down the hall leading to the room – both of which take up a fairly equal half of the frame. The suspense seems to build with every step Sullivan takes in anticipation of something and/or someone to hinder the reunion with his son.
The script is wonderfully written, so as characters do not speak too often (in fact, much of the story information comes from scenes where there is little-to-no dialogue whatsoever), but when they do it is at the same time clever and wholly believable. Even Ciarán Hinds – whom you may recognize from Munich, his bit role in There Will Be Blood or, perhaps more notably, the HBO series Rome (in which he played Julius Caesar) – delivers a fantastic and emotionally-charged speech in one of the opening scenes. All around, the rest of the performances live up to what one would expect from Oscar-winning talent – especially Paul Newman (who received a nomination for Best Supporting Actor). Throughout the film, I found myself sympathizing not only with Sullivan, but with Rooney as well – who is torn between his love for Sullivan (whom he views as a son) and his actual son, Connor. He wants as few people to suffer as humanly possible, but realizes – as the viewer does – that the fates of all the characters are unalterable and will end ultimately in tragedy. As he tells Sullivan in a gripping scene near the end of the film: "This is the life we chose, the life we lead. And there is only one guarantee: none of us will see heaven."
Sunday, October 25, 2009
Paranormal Activity (Oren Peli, 2007)
WARNING: The following contains slight spoilers for Paranormal Activity.
In lieu of the massive hype this film has established in its limited theatrical release - mostly due to word of mouth, though it is garnering praise from critics across the nation as well - I decided that I might provide my thoughts on it. Having seen the film twice, I do believe that modern American horror cinema has finally received a faint glimmer of hope in the form of Paranormal Activity.
Back in 1999, The Blair Witch Project was released utilizing documentary-style film-making in a fictional narrative setting. While this trait was not wholly new or unique, as films have possessed this quality in the past, the phenomenon surrounding the film's release marked it as a horror film that stood out in the genre. The story, while fictional, is presented in such a way that the uninformed viewer assumed what was happening was real - and that is what made the film stand out: what happened was very realistic and could very well happen. Combine a group of young adults making a documentary about a local horror story with getting lost in the woods and you have the makings of a very chilling film. Now, present the story through the eyes of the protagonist's camera as opposed to various shots that leave the camera observing from an omniscient standpoint, and the experience becomes even more personal.
This, in essence, is what filmmakers have sought to replicate and/or expand upon over the years. Cloverfield was a highly popular effort that presented a Godzilla-esque attack on New York City, as documented by one individual as he and his friends struggle to both discover what is happening and make it out alive. In Spain, [REC] follows a reporter and her cameraman who, while documenting a local fire station, wind up in the midst of a zombie outbreak. This film was later remade in the United States as Quarantine. And now we have Paranormal Activity. However, there is certainly something about this latest effort that sets it apart from the rest.
In Paranormal Activity, Micah and Katie (which happen to be the real names of the actors) have just moved in together after dating for three years. After Katie confides in Micah that she has been experiencing strange phenomena since her childhood (believing that she is being haunted by a ghost of some kind), he goes and purchases a rather nice video camera in hopes of documenting any strange occurrences. The couple consults a ghost expert, who believes that what Katie describes sounds more like a demon than a ghost, and thus with that knowledge in our minds, we are prepared for what follows. Suspense is built incredibly slowly. Micah sets up the camera in front of the bed to record the couple while they sleep at night, and at first nothing much happens. A faint noise can be heard in the audio track of the recorded footage and Katie's keys are on the kitchen floor when she wakes up - but these can be easily attributed to explanations that are far from supernatural. Then, on one night, the bedroom door moves slightly - no big deal, also easily explainable. However, moments later, it moves back to where it was. From here on out, it becomes very clear that something peculiar is going on.
The ghost expert mentioned that demons feed off of negative energy, of which there is plenty as Micah and Katie find themselves arguing frequently, and Micah openly provokes the invisible demon in hopes of something happening. This turns out to tragically only make matters much, much worse. What occurs at night becomes more and more bizarre and unsettling, until it carries over into the daytime hours as well. It is in this area that the film excels. The tension that is built with each passing night in front of the camera is pitch-perfect, culminating in what may well be some of the most disturbing final moments in recent cinema. The entire film is building up to a grand finale that, while somewhat expected, still manages to shock, unnerve, and leave the viewer in disbelief.
Part of the reason that the documentary-style technique works so well in Paranormal Activity is that, unlike most other films shot this way, fear is not created specifically out of what you do not see - the tension is built by what is in plain sight to the viewer. This is perhaps what makes the final moments of the film all the more terrifying, as this intimacy is suddenly stripped away and the viewer is not allowed to see all that transpires. I suppose, in some ways, that this fact would make Paranormal Activity sound very similar to films like Cloverfield and The Blair Witch Project, but I assure you it is not. Certainly aiding the effect is the fact that, if one indulges in belief of supernatural phenomena, such events could actually happen - and especially given that most of the eerie occurrences happen while the couple is sleeping, a new layer of fear is mixed in.
In short, Paranormal Activity is a film that builds tension at an extraordinarily effective pace, utilizing documentary-style film-making reminiscent of The Blair Witch Project, though in contrast it creates tension explicitly through what the viewer sees, as opposed to what is not seen. This results in an incredibly effective finale that strips the viewer from the know-all-see-all perspective that they have become so accustomed to and, through leaving a few major details up the imagination, breathes much-needed life into the stagnant genre that is American horror cinema. Do yourself a favor: grab a friend or two and seek this film out; see it in a theatrical setting, and brace yourself for an unsettling yet insanely gratifying experience.
In lieu of the massive hype this film has established in its limited theatrical release - mostly due to word of mouth, though it is garnering praise from critics across the nation as well - I decided that I might provide my thoughts on it. Having seen the film twice, I do believe that modern American horror cinema has finally received a faint glimmer of hope in the form of Paranormal Activity.
Back in 1999, The Blair Witch Project was released utilizing documentary-style film-making in a fictional narrative setting. While this trait was not wholly new or unique, as films have possessed this quality in the past, the phenomenon surrounding the film's release marked it as a horror film that stood out in the genre. The story, while fictional, is presented in such a way that the uninformed viewer assumed what was happening was real - and that is what made the film stand out: what happened was very realistic and could very well happen. Combine a group of young adults making a documentary about a local horror story with getting lost in the woods and you have the makings of a very chilling film. Now, present the story through the eyes of the protagonist's camera as opposed to various shots that leave the camera observing from an omniscient standpoint, and the experience becomes even more personal.
This, in essence, is what filmmakers have sought to replicate and/or expand upon over the years. Cloverfield was a highly popular effort that presented a Godzilla-esque attack on New York City, as documented by one individual as he and his friends struggle to both discover what is happening and make it out alive. In Spain, [REC] follows a reporter and her cameraman who, while documenting a local fire station, wind up in the midst of a zombie outbreak. This film was later remade in the United States as Quarantine. And now we have Paranormal Activity. However, there is certainly something about this latest effort that sets it apart from the rest.
In Paranormal Activity, Micah and Katie (which happen to be the real names of the actors) have just moved in together after dating for three years. After Katie confides in Micah that she has been experiencing strange phenomena since her childhood (believing that she is being haunted by a ghost of some kind), he goes and purchases a rather nice video camera in hopes of documenting any strange occurrences. The couple consults a ghost expert, who believes that what Katie describes sounds more like a demon than a ghost, and thus with that knowledge in our minds, we are prepared for what follows. Suspense is built incredibly slowly. Micah sets up the camera in front of the bed to record the couple while they sleep at night, and at first nothing much happens. A faint noise can be heard in the audio track of the recorded footage and Katie's keys are on the kitchen floor when she wakes up - but these can be easily attributed to explanations that are far from supernatural. Then, on one night, the bedroom door moves slightly - no big deal, also easily explainable. However, moments later, it moves back to where it was. From here on out, it becomes very clear that something peculiar is going on.
The ghost expert mentioned that demons feed off of negative energy, of which there is plenty as Micah and Katie find themselves arguing frequently, and Micah openly provokes the invisible demon in hopes of something happening. This turns out to tragically only make matters much, much worse. What occurs at night becomes more and more bizarre and unsettling, until it carries over into the daytime hours as well. It is in this area that the film excels. The tension that is built with each passing night in front of the camera is pitch-perfect, culminating in what may well be some of the most disturbing final moments in recent cinema. The entire film is building up to a grand finale that, while somewhat expected, still manages to shock, unnerve, and leave the viewer in disbelief.
Part of the reason that the documentary-style technique works so well in Paranormal Activity is that, unlike most other films shot this way, fear is not created specifically out of what you do not see - the tension is built by what is in plain sight to the viewer. This is perhaps what makes the final moments of the film all the more terrifying, as this intimacy is suddenly stripped away and the viewer is not allowed to see all that transpires. I suppose, in some ways, that this fact would make Paranormal Activity sound very similar to films like Cloverfield and The Blair Witch Project, but I assure you it is not. Certainly aiding the effect is the fact that, if one indulges in belief of supernatural phenomena, such events could actually happen - and especially given that most of the eerie occurrences happen while the couple is sleeping, a new layer of fear is mixed in.
In short, Paranormal Activity is a film that builds tension at an extraordinarily effective pace, utilizing documentary-style film-making reminiscent of The Blair Witch Project, though in contrast it creates tension explicitly through what the viewer sees, as opposed to what is not seen. This results in an incredibly effective finale that strips the viewer from the know-all-see-all perspective that they have become so accustomed to and, through leaving a few major details up the imagination, breathes much-needed life into the stagnant genre that is American horror cinema. Do yourself a favor: grab a friend or two and seek this film out; see it in a theatrical setting, and brace yourself for an unsettling yet insanely gratifying experience.
Monday, October 19, 2009
Vengeance Trilogy Boxed Set - November 24th
Most people who know me are aware of my obsession with Park Chan-wook's Oldboy - one of my absolute favorites. However, I also enjoy (though admittedly to a lesser extent) the other two films (Sympathy for Mr. Vengeance and Lady Vengeance) from the director that comprise what has come to be known as "The Vengeance Trilogy." So, needless to say, I was ecstatic when I stumbled across the news that the trilogy was finally getting a comprehensive R1 (U.S./Canada) release. Sure, the films have been released individually (and Oldboy has had an outstanding re-release) here in the States, but what is coming in just over a month is a boxed set that boasts more features that any other release of these films anywhere in the world - even the Korean versions.
To give myself - and others - an idea of what is coming in this set, I took to comparing the listed features with the releases I currently have. Here is what I found:
SYMPATHY FOR MR. VENGEANCE
-All features from the original release are included.
-"The Process of Mr. Vengeance," which would appear to be a documentary on the production of the film.
-"My Boksu Story." Not quite sure what this is, but it is new to the release.
-"Jonathan Ross on Park Chan-wook," which should provide a great deal of insight on the director.
-Storyboards
-Soundtrack
OLDBOY
-All features from the 3-disc re-release are included.
LADY VENGEANCE
-All features from the original release are included.
-"Fade to White" version of the film. This is an alternate cut that has not been released in the States.
-Introduction to "Fade to White" version from director Park Chan-wook.
-3 separate commentary tracks for the "Fade to White" version. Though the 3 commentary tracks feature the same individuals as the 3 commentary tracks from the original version, I assume that they will be different in their content.
-"Style of Lady Vengeance," which is essentially a behind-the-scenes feature.
-Deleted scenes with commentary.
-"Director's Choice," which is a short recommended by director Park Chan-wook.
-Character interviews.
-"Lady Vengeance in Venice" featurette.
-Park Chan-wook, "Mr. Vengeance" featurette.
Also, a 32-page full-color booklet is included that contains photos and essays on each of the three films. One of the essays is written by Eli Roth (director of Cabin Fever and the Hostel films).
8-disc set for the MSRP of $49.99 (it will likely be $5-$10 cheaper, though). Though Oldboy is not receiving anything in the way of new features, I am still sold for the extensive features added to Lady Vengeance (my second favorite of the trilogy) and the 32-page booklet. The only thing missing is the first volume of the Oldboy manga and film cell insert that was included in the 3-disc release of Oldboy, which I would gladly surrender in exchange for this set (besides, who said I would not be keeping the versions I already have?).
Still, it gets even better. On November 17th, just one week prior to this release, Park Chan-wook's new film, Thirst, will be released on DVD.
To give myself - and others - an idea of what is coming in this set, I took to comparing the listed features with the releases I currently have. Here is what I found:
SYMPATHY FOR MR. VENGEANCE
-All features from the original release are included.
-"The Process of Mr. Vengeance," which would appear to be a documentary on the production of the film.
-"My Boksu Story." Not quite sure what this is, but it is new to the release.
-"Jonathan Ross on Park Chan-wook," which should provide a great deal of insight on the director.
-Storyboards
-Soundtrack
OLDBOY
-All features from the 3-disc re-release are included.
LADY VENGEANCE
-All features from the original release are included.
-"Fade to White" version of the film. This is an alternate cut that has not been released in the States.
-Introduction to "Fade to White" version from director Park Chan-wook.
-3 separate commentary tracks for the "Fade to White" version. Though the 3 commentary tracks feature the same individuals as the 3 commentary tracks from the original version, I assume that they will be different in their content.
-"Style of Lady Vengeance," which is essentially a behind-the-scenes feature.
-Deleted scenes with commentary.
-"Director's Choice," which is a short recommended by director Park Chan-wook.
-Character interviews.
-"Lady Vengeance in Venice" featurette.
-Park Chan-wook, "Mr. Vengeance" featurette.
Also, a 32-page full-color booklet is included that contains photos and essays on each of the three films. One of the essays is written by Eli Roth (director of Cabin Fever and the Hostel films).
8-disc set for the MSRP of $49.99 (it will likely be $5-$10 cheaper, though). Though Oldboy is not receiving anything in the way of new features, I am still sold for the extensive features added to Lady Vengeance (my second favorite of the trilogy) and the 32-page booklet. The only thing missing is the first volume of the Oldboy manga and film cell insert that was included in the 3-disc release of Oldboy, which I would gladly surrender in exchange for this set (besides, who said I would not be keeping the versions I already have?).
Still, it gets even better. On November 17th, just one week prior to this release, Park Chan-wook's new film, Thirst, will be released on DVD.
A Venture to MovieStop and Initial Impressions of Martyrs
So, let us begin with a short story concerning how I stumbled across this particular film. Here in Wilmington, it would seem that decent DVD selections are available at only two places, one being Barnes & Noble and the other being MovieStop. Generally speaking, I frequent the former to purchase films from the Criterion Collection, browse sections containing DVDs that are $14.99 and under, and to use the occasional coupon that nets me an extra 15% off of an item (which is in addition to a 10% discount thanks to a $25 annual membership). I visit the latter to kill lots of time, pick up new releases that a more mainstream store such as Best Buy does not carry, and to scrutinize the "Foreign Film" section in hopes of finding something new, interesting, or both.
Since I did not have a nifty extra-15%-off coupon for Barnes & Noble, the next Criterion I plan to purchase is not due out until November 3rd (which is Wim Wenders' masterpiece: Wings of Desire), and MovieStop is less than half a mile from my apartment, I decided to browse there. Right away, I snatched up a copy of iMurders and the new 2-disc edition of Taskahi Miike's Audition (mostly for the insert containing a brief article by Tom Mes). Then, while browsing the "Foreign Film" section in hopes of finding Election, Triad Election, and/or Exiled (all films by Johnnie To), I came across a film called Martyrs that caught my eye. After my hopes of an evening filled with Johnnie To were shot to hell (thanks to only Triad Election being in stock, which is the sequel to Election), I decided to go with this bizarre-yet-intriguing French film.
The following will contain spoilers for the film, but most of the details spoiled have very little to do with the overall plot, and the few details that do are not necessarily significant.
The film begins simple enough, with the viewer being filled in on the story of a young girl named Lucie who it is revealed has been subjected to rather sadistic torture, but ultimately escaped her captors. There are a few scenes that follow this revelation in which Lucie is shown befriending another little girl, Anna. Finally, a rather unsettling scene in which Lucie is attacked by some deranged-looking girl results in a fade-to-black and a transition to "15 years later."
Here is where things start getting even more bizarre. My initial assumption was that the little girl, Lucie, was killed. Thus, I was pondering where the hell this film might be going now. A family is introduced consisting of a mother, father, and two children (a boy and a girl) who appear to be roughly the same age. While quarreling over breakfast, someone arrives at the door. Little does one expect that this individual is wielding a shotgun, which is put to violent use as the entire family is slaughtered. It is revealed that the bringer of death is none other than Lucie, who is seeking vengeance on the people she believes held her captive (the mother and the father). After dispatching of the family, the deranged-looking girl from her childhood pops up again and tries to kill her. Have I stopped making sense yet?
After eluding the deranged-looking girl (who, though it is not explicitly revealed until much later, is obviously a hallucination), Lucie makes a call to Anna, who has been patiently waiting in a vehicle by a pay phone. Anna, who thinks Lucie might have killed the wrong people, rushes to the scene. The film progresses with Lucie freaking out about the creepy girl who is trying to kill her and Anna trying to dispose of the bodies. While carrying out this task, Anna discovers that the mother of the family is actually still alive. Anna tries to save her, still convinced that Lucie has killed the wrong people, but Lucie intervenes and brutally finishes the job. Lucie then goes on a tirade, smashing things throughout the house, leaving Anna cowering in a corner. Then, Lucie slits her own wrists and bangs her head against a wall (which is being done, in her mind, by the deranged-looking girl; the reason Lucie is experiencing this hallucination is revealed here).
Okay, now Lucie is dead. Anna covers Lucie's body and then gets some much-needed rest. Shortly after waking, she discovers that there is a secret basement in the house and ventures down into it. As it turns out, Lucie certainly killed the right people. While in the basement, Anna discovers someone is actually alive down there - the deranged-looking girl! Except, this time, she is not a hallucination. Anna frees her and tries to help her for a while. The girl eventually winds up freaking out and trying to slice the skin off her arm and scratch her face on a wall (because she believed she has cockroaches crawling all over her body - a tidbit that is revealed a little later). Her scratching is interrupted, however, by a bullet through the head. A group dressed in black storms the scene and takes hold of Anna, dragging her down the basement and chaining her up just as Lucie had been in the beginning of the film. I know what you are thinking: "What. The. Hell." So was I.
Now we finally discover what exactly is going on. As it turns out, Lucie was being tortured in order to become a "Martyr" or "Witness." The cult behind this operation is trying to discover whether or not there is an afterlife, which they are convinced can be revealed by basically whittling the mind of an individual down to practically nothing. Thus, Anna is now subjected to this torture in hopes that she will become a "Martyr" and be able to tell the leader of the cult (known only as Mademoiselle) what the afterlife - if there is one - is like . I will disclose no more and end my summary of the plot here, so as not to completely ruin the film (besides, I seriously doubt this is making much sense).
I have to be honest: this film baffled me. It is ridiculously violent (most certainly not for the faint of heart), and the narrative can be hard to makes sense of and/or follow. However, it was exceptionally well-conceived. The acting is superb, it is shot beautifully, and the underlying theme concerning the existence/details of an afterlife is something truly intriguing. More than just mindless "torture porn," this is a film that is aimed to make you think (and believe me, you will). If you are able to make it through the grotesque violence to the provocation of thought that comes at the end, then I believe there is something truly worthwhile to see.
Since I did not have a nifty extra-15%-off coupon for Barnes & Noble, the next Criterion I plan to purchase is not due out until November 3rd (which is Wim Wenders' masterpiece: Wings of Desire), and MovieStop is less than half a mile from my apartment, I decided to browse there. Right away, I snatched up a copy of iMurders and the new 2-disc edition of Taskahi Miike's Audition (mostly for the insert containing a brief article by Tom Mes). Then, while browsing the "Foreign Film" section in hopes of finding Election, Triad Election, and/or Exiled (all films by Johnnie To), I came across a film called Martyrs that caught my eye. After my hopes of an evening filled with Johnnie To were shot to hell (thanks to only Triad Election being in stock, which is the sequel to Election), I decided to go with this bizarre-yet-intriguing French film.
The following will contain spoilers for the film, but most of the details spoiled have very little to do with the overall plot, and the few details that do are not necessarily significant.
The film begins simple enough, with the viewer being filled in on the story of a young girl named Lucie who it is revealed has been subjected to rather sadistic torture, but ultimately escaped her captors. There are a few scenes that follow this revelation in which Lucie is shown befriending another little girl, Anna. Finally, a rather unsettling scene in which Lucie is attacked by some deranged-looking girl results in a fade-to-black and a transition to "15 years later."
Here is where things start getting even more bizarre. My initial assumption was that the little girl, Lucie, was killed. Thus, I was pondering where the hell this film might be going now. A family is introduced consisting of a mother, father, and two children (a boy and a girl) who appear to be roughly the same age. While quarreling over breakfast, someone arrives at the door. Little does one expect that this individual is wielding a shotgun, which is put to violent use as the entire family is slaughtered. It is revealed that the bringer of death is none other than Lucie, who is seeking vengeance on the people she believes held her captive (the mother and the father). After dispatching of the family, the deranged-looking girl from her childhood pops up again and tries to kill her. Have I stopped making sense yet?
After eluding the deranged-looking girl (who, though it is not explicitly revealed until much later, is obviously a hallucination), Lucie makes a call to Anna, who has been patiently waiting in a vehicle by a pay phone. Anna, who thinks Lucie might have killed the wrong people, rushes to the scene. The film progresses with Lucie freaking out about the creepy girl who is trying to kill her and Anna trying to dispose of the bodies. While carrying out this task, Anna discovers that the mother of the family is actually still alive. Anna tries to save her, still convinced that Lucie has killed the wrong people, but Lucie intervenes and brutally finishes the job. Lucie then goes on a tirade, smashing things throughout the house, leaving Anna cowering in a corner. Then, Lucie slits her own wrists and bangs her head against a wall (which is being done, in her mind, by the deranged-looking girl; the reason Lucie is experiencing this hallucination is revealed here).
Okay, now Lucie is dead. Anna covers Lucie's body and then gets some much-needed rest. Shortly after waking, she discovers that there is a secret basement in the house and ventures down into it. As it turns out, Lucie certainly killed the right people. While in the basement, Anna discovers someone is actually alive down there - the deranged-looking girl! Except, this time, she is not a hallucination. Anna frees her and tries to help her for a while. The girl eventually winds up freaking out and trying to slice the skin off her arm and scratch her face on a wall (because she believed she has cockroaches crawling all over her body - a tidbit that is revealed a little later). Her scratching is interrupted, however, by a bullet through the head. A group dressed in black storms the scene and takes hold of Anna, dragging her down the basement and chaining her up just as Lucie had been in the beginning of the film. I know what you are thinking: "What. The. Hell." So was I.
Now we finally discover what exactly is going on. As it turns out, Lucie was being tortured in order to become a "Martyr" or "Witness." The cult behind this operation is trying to discover whether or not there is an afterlife, which they are convinced can be revealed by basically whittling the mind of an individual down to practically nothing. Thus, Anna is now subjected to this torture in hopes that she will become a "Martyr" and be able to tell the leader of the cult (known only as Mademoiselle) what the afterlife - if there is one - is like . I will disclose no more and end my summary of the plot here, so as not to completely ruin the film (besides, I seriously doubt this is making much sense).
I have to be honest: this film baffled me. It is ridiculously violent (most certainly not for the faint of heart), and the narrative can be hard to makes sense of and/or follow. However, it was exceptionally well-conceived. The acting is superb, it is shot beautifully, and the underlying theme concerning the existence/details of an afterlife is something truly intriguing. More than just mindless "torture porn," this is a film that is aimed to make you think (and believe me, you will). If you are able to make it through the grotesque violence to the provocation of thought that comes at the end, then I believe there is something truly worthwhile to see.
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