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Reviews
Nothing But the Truth (2008)
Manipulative Garbage...
After reading Roger Ebert's review of this film I am surprised at how disappointed I am. The film relies in several scenes on children to evoke an emotional response from the audience. There is nothing new about this and it is easy and it is lazy. 'Nothing But The Truth' is filled with redundant scenes of brutal life in prison, nothing we haven't seen a thousand times before. Every character is subjected to worst-case scenario repercussions from the choice Beckinsale's character has made not to give up her source. By about half-way through nearly every scene is clearly calculated to evoke a very specific response. One that I happen to agree with. Actually, I was initially quite impressed with how clearly articulated the argument against imprisoning journalists was made. But about three-quarters of the way through I was reminded of a book I once read and how it became apparent that the author had a page requirement and was simply stalling till the end. I had the same feeling here.
[Rec] (2007)
Ho Hum...
'Rec' is a film that very much wanted to scare me. It tried very hard. Certain sequences were executed well but in the end it was just a big mess held together with loose string. At several points the plot was moved forward by one or another character doing something stupid and illogical. I realize we're supposed to assume that in a survival situation people will act foolishly but by the end of the movie I was laughing out loud at all the silliness. I find a horror movie far more compelling when the characters work together toward a common goal of survival. For example (and I realize this film has many faults but merely as an example) 'Vacancy' was a horror film in which two characters were placed in an extreme survival situation and thought through their predicament to come up with solutions-and this is a terrific way to simultaneously produce character development and push the story forward. It also has the added effect of not letting the writers get away with simplistic solutions to complex plot developments. Other examples that come to mind: 'John Carpenter's The Thing,' and 'Alien.'
This was essentially 75 minutes of people screaming and biting each other-not compelling.
The Golden Compass (2007)
Much Better Than I Expected...
Let's remember that a film critic's job is to rate the quality of a film as a film, often weighed against film history as a whole. To that end, "The Golden Compass" is certainly not perfect. Furthermore, anyone entering a cinema with the attitude that a movie MUST MUST MUST be entirely faithful to the book on which it was based is doomed to disappointment-movies are not books, and they never will be. One simply must acknowledge that nuance will be lost (actually I find it odd that so many loyal readers of Pullman's novels prefer to view the movie in the black and white terms of 'perfect' or 'terrible', seeing as the books are about rejecting black and white ideologies).
That said, I arrived at my own cinema with reservations. I adore the books and I was afraid of another atrocity on the order of "The Chronicles of Narnia" (didn't like it much). But to my surprise I rather loved it. The changes made in the narrative seemed to make sense for a transfer to film medium (as in LoTR) and frankly I think it deserves some sort of prize for running under two hours long. The effects were, for the most part, dazzling, but the saving grace of the film was the cast. Young Dakota Blue Richards is quite a find, and slipped into the role of Lyra Belacqua easily if occasionally a bit limited. But Sam Elliott, Sir Ian McKellen, Ian McShane, and Eva Green really brought their characters to life. It's so rare to see such perfect casting.
Admittedly, the movie is a bit clunky but I think that's to be expected. Certainly I would have liked it if the script had remained true to the anti-religious subtext of the book, but I felt that it was present, even if it was coded.
In the end, if you're looking for an exciting winter diversion "The Golden Compass" is perfect.
Further Highlights: - the very impressive fight between Iorek and Ragnar - seeing the daemons of the dead evaporate in an explosion of golden light - the subtle (and not-so-subtle) differences in Lyra's world from our own - children running in a mad pack, their daemons as animals flying or running beside them
Threshold (2005)
Surprisingly Enjoyable...
I'm a fan of Star Trek: TNG so it's great to see Brent Spiner on television again. I am also a fan of Charles S. Dutton, but beyond that I wasn't expecting much from the first episode when it re-aired a few weeks back on Sci-Fi. I was surprised to be looking forward to the next episode the following week but was disappointed when it wasn't aired. Thankfully I have just read that Sci-Fi will be re-airing the entire first season. This show is authentically creepy and I enjoyed the various attempts by the characters at understanding what they were dealing with. Threshold may be no The X-Files or Battlestar Galactica but I am looking forward to the rest of the season.
Battlestar Galactica (2004)
The Most Enjoyable Sci-Fi (or Drama) In Years...
As with many viewers I began watching this series with great reservation. I have always enjoyed 'discovering' a new show but sci-fi has not interested me since Star Trek: TNG and The X-Files. When I heard that Mary McDonnell and Edward James Olmos were starring I had to check it out. Thankfully, I have not been disappointed.
I was never a fan of the original BG (I was born the year it came out) so I have no problems with the dramatic changes that have been made. From what I have seen the changes have all been for the best; what started out as a hokey, all-male geek-fest has been successfully transformed into a sleek, stylish, smart, sophisticated, Peabody Award winning new drama. Seriously though, I realize that the new series bears little resemblance to the original, and that the audience share isn't worth comparing. However, I think it's best to think of the show as a re-imagining of the original, rather than a simple remake. I have never been one for holding on to the past and I think comparisons really can't be made here since the differences are so many. It has, after all, been nearly thirty years since the original. And let's not forget that Battlestar Galactica was created to capitalize on the popularity of Star Wars. Everything comes from something. As for the audience share, there have been very few shows that can pull in the kind of numbers seen before the cable explosion. And let's face it, 3 million viewers is AMAZING for a network like Sci-Fi.
It may seem strange, given the many more valid issues critics of the series have expressed, but my largest concern was for the production values. I have to say that the Sci-Fi Channel, god bless it, is not known for stellar special effects or action sequences (or for a decent original series for that matter). That said, I was not long into the miniseries when a thought occurred to me, a question that tweaked out sci-fi action junkies have been screaming at the top of their lungs since the series aired (though never so well articulated): is the show relying on dramatic tension between characters in an effort to avoid costly action and effects sequences? As I continued watching and allowed myself to get emotionally involved with the characters' stories I realized the answer to that question: I don't care. If a show is good enough to captivate me through sheer storytelling the last thing I'm going to be worried about is how cool the next explosion will be. The casting, writing (my favorite part), character development, directing (I love the verite feel of the show) and acting are all terrific. And, not incidentally, the Emmy nominated visual effects team on BG have far surpassed my expectations.
However, the show is not without it's faults. Initially, the use of the 'expletive' "Frak" was obnoxious, but as the actors have become used the word I have noticed that it somehow blends in with the dialogue more convincingly. Also, some of the actions and decisions made by the characters have felt contrived, forced by the writers to achieve a predetermined outcome in a given episode (it is television after all). While the acting is for the most part remarkable (in no small thanks to McDonnell and Olmos and to the rest of the cast who have really grown into their characters) if I see Michael Hogan (aka Colonel Saul Tigh) grinding his jaw for dramatic effect one more time... Kudos to casting for getting Lucy Lawless, Michelle Forbes, and Dean Stockwell to guest star.
The Deep End (2001)
I Really Love This Movie...
It's disappointing to come across so many 'viewer comments' from people who don't have the patience or cinematic understanding to appreciate a true thriller such as "The Deep End". I'm just going to guess that these people see the word 'thriller' and expect sex, violence, and explosions a la "Cellular" or "The Fugitive". While there is a place for such films "The Deep End" is a perfect example of the kind of European-Hitchcock-noir-thriller that define the genre (though with an 'homme fatale' and blue instead of black as a color scheme, this film actually finds ways to subvert the genre while remaining faithful to its tenets).
I will, however, admit that on my first viewing I was unimpressed. But it haunted me and remained in the back of my head until I gave it another try. That was when I noticed the slow ratcheting up of tension and the complex relationship this lonely, isolated housewife (Margaret) gets drawn into with the sad, desperate, wannabe gangster (Alek). Perhaps those critics of the film are turned off by the normal, everydayness of Margaret's life, but I found that her domestic rituals (played to pitch-perfect perfection by Tilda Swinton) heightened the tension particularly in those scenes where she covers for what she thinks is her son's crime. Watching Margaret balance the demands of a blackmailer with those of a housewife is pure genius.
Furthermore, the way in which this film deals with the theme of homosexuality struck a note of truth for me. It perfectly captures the delicate awkwardness of coming out to a parent against one's will. Margaret loves her son but she has no language to express her feelings for what he is going through. She can't even say the word 'gay'. The tape of Darby and Beau only serves to further that awkwardness, highlighting the nature of people to focus on the 'sex' of homosexuality.
I could go on, but I recommend reading Roger Ebert's coherent and enlightening review at his website.
Recommended viewing: "Ripley's Game", "Spartan", and "Cache"
Haute tension (2003)
Could Have Been Great...
"Haute tension" (High Tension) is one of a new wave of main-stream horror flicks that frequently crosses the line into depraved, sadistic torture. The set-up is simple: Marie joins her college friend Alexia on a trip home in the country. Once there, Marie is introduced to the family and settles in for bed. At this point the film displays a disappointing similarity to Dean Koontz's novel "Intensity". A filthy, over-sized and super-human stranger arrives to kill the entire family and kidnap Alexia. Naturally, Marie survives unnoticed and spends the entire film chasing after her friend to save her.
"Haute Tension" has some amazing scenes, particularly a terrifying sequence in a gas station bathroom. It may have been clichéd but it really worked.
*Spoiler Warning* Unfortunately this film falls prey to the recent trend (ever since "The Sixth Sense") of surprise endings. Apparently, a terrifying build of suspense is no longer enough. It is revealed that Marie is really the killer, having broken with sanity over her sexual feelings for Alexia. Not only does this needless twist cheapen the entire set-up (particularly the effectively shocking scene with the truck-driver and a decapitated head) but I find it offensive as well. Am I supposed to believe that Marie is driven to murderous insanity by her jealous obsession for Alexia? Far be it for me to insinuate that this picture is trying to 'say' anything about homosexuality, but it's clear to me that Marie's lesbian love is meant to heighten the 'twistedness' of this twisted ending.
It is all the more tragic when I consider how much I was enjoying the film before the last 20 minutes. Great set-up, terrific build, self-imploding ending.
What a waste.