Category Archives: 2.5

2.5, Europe, United States/Canada

Stardust

2007 / Matthew Vaughn > On the back of the success of Layer Cake, Vaughn’s decision to take upon a tale of such fantastic proportions is both admirable and a little suspect. Gone are the calculated plotlines that made his previous venture such a joy to watch, and in their place is a messy, underachieving fantasy that’s all gloss.

The film starts strong by setting up a potentially epic story of lost love and the search for the rightful ruler of a mystical kingdom, but then succumbs halfway to a mildly droning last hour where it becomes predictable and often just downright silly. In fact, most of De Niro’s character is a distraction and seems as if he’s given more screentime because of his big name. Claire Daines is lifeless as usual—hasn’t anyone figured out that the reason she was so good in My So-Called Life was because her character was supposed to be lifeless? Throw in another pointless cameo by Ricky Gervais, and we have the recipe for a bloated project that nearly crumbles on its own weight. There was enough here to enjoy (especially some of the campy jokes), but what could have been a memorable experience instead remains something momentary.

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2.5, United States/Canada

No Reservations

2007 / Scott Hicks > Due to its bleaker foundation, No Reservations is calmer and more contemplative than most romantic comedies. It tries for poignancy without ever being able to achieve the emotions it wishes for. Thankfully, the cast and music (done aptly by Philip Glass) carries it past its testing and often predictable story. I doubt memories of the film will linger for long, but the feeling is nice while it lasts.

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2.5, United States/Canada

Planet Terror

2007 / Robert Rodriguez > Planet Terror dangerously treads the middle ground between being a genre film and a mainstream movie. In doing so, it fails to gain proper traction to exploit either end of the spectrum and fully realize its potential. While Tarantino’s Death Proof has higher highs and lower lows, Rodriguez’s constant barrage of zombie action never really gathers enough steam to hold one’s attention. Without many surprises—unless you count Rose McGowan’s M41A assault rifle for a leg, the highlight of the show that comes arguably too late—Planet Terror is ultimately too indulgent to be successful.

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2.5, United States/Canada

Death Proof

2007 / Quentin Tarantino > In Pulp Fiction, Tarantino’s dialogue was fresh and exciting, but more importantly, it led to some level of character development that helped us understand the chaotic world within. In Death Proof, however, he engorges himself in dialogue that does little but waste time. Some may find it clever, but mostly it comes off pretentious and unnecessary. Thankfully, his skill in creating suspenseful action comes through gloriously in a couple of sequences that essentially justify the whole film. It’s no wonder that this was cut and packaged together with Planet Terror in North American theatres: The meat here, while thin, is still quite juicy.

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2.5, Korea

Secret Sunshine

2007 / Lee Chang-dong > Not sure if being Korea’s Minister of Culture and Tourism has somehow taken the edge off of Lee, but Secret Sunshine is a meandering disappointment that fails to take advantage of Jeon Do-yeon’s Best Actress-winning performance at Cannes. It is, in many ways, the kind of film that I absolutely abhor: One that presents problems but doesn’t offer many plausible solutions.

Human perseverance is always a fantastic topic (as we’ve seen Frank Darabont make a career out of it), but here the theme is stretched thin with hope nowhere in sight. In Oasis and Peppermint Candy, there was a certain logic to the pain that kept our attention afloat, our minds open and our hearts beating—and then we were rewarded with brave stories of the human condition. But Secret Sunshine lacks such humanity for us to care. Even with Lee’s objective incorporation of Christianity as a method of redemption, the protagonist’s inherent weakness makes her continuously unlikable, unbearable and, subsequently, leaves the film (and the viewer) without a point to rally around.

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2.5, United States/Canada

Black Snake Moan

2007 / Craig Brewer > The “Black Snake Moan” scene is one of the most memorable this year, but aside from that, the film is a hard nut to crack. Brewer deserves notice for trying something different, but it may just be that he’s wrapped this up in something fancy as to hide the fact that there’s nothing inside at all. Surely, the story seems to unwrap that way, where by the end, nothing much has happened, but there is something almost taunting about the film that keeps you from turning away at times. Ricci is as strong as ever, Jackson is, well, himself and Timberlake, unfortunately, really drops the ball and makes me want to erase him off his scenes. Still, with Hustle & Flow and this under his belt, Brewer might be credited with a little more praise than he deserves, but thankfully his vision remains fresh and undiluted.

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2.5, Japan

Sakuran

2007 / Mika Ninagawa > Having been unable to watch more than 10 minutes of Memoirs of a Geisha, I delved into Sakuran with a level of skepticism. But Ninagawa’s depiction of oiran lifestyle is a drastic difference in mood, style and enjoyment. (Of note is that oiran are high-class courtesans while geisha are usually considered entertainers. As it turns out, the rise of geisha led to the eventual decline of oiran culture.) Taking a cue from Marie Antoinette, the film’s best attribute may be its successful mixing in of contemporary pop music within an Edo period setting. Otherwise, the pacing isn’t half-bad, and there’s something magnetic about Anna Tsuchiya’s portrayal of Kiyoha that finds one glued to the screen. The story itself isn’t particularly novel, but as it stands, it’s a fine romantic drama on its own right.

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2.5, Korea

The Old Garden

2007 / Im Sang-soo > It’s tough judging a new film by a director who you admire and have the highest expectations for. In that regard, The Old Garden is an undeniable disappointment, as Im lets go of his skillful satire and realism for the typical melodrama that drives most Korean films about relationships. Interesting here is the fact that this relationship is surrounded by history (more specifically, the Gwangju Massacre of 1980), and thus provides a backdrop that is less fluff and more grounded. The central theme rings true (that things change, that you must not put yourself and your sense of duty above those you love), but the full execution comes off rather flat and forced.

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2.5, Europe

Cashback

2007 / Sean Ellis > I wanted to like this more than I did. It’s got quite a few things going for it: An imaginative central character, heartbreak and attractive women (with insomnia thrown in for added flavor). But so much of the world that surrounds this central character lacks depth, enough so that it feels like plodding through a lot of mud to get to its basic foundation. Unfortunately, these basics, in the end, are a little too ideal and simple to be effective and memorable.

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2.5, Southeast Asia

4:30

2006 / Royston Tan > Similar to short film director Tan’s first feature film 15, I found myself hoping that 4:30 was at least half the timespan of its final cut. The meat here is spread quite thin, with a few poignant moments that may linger long after. The story of a boy’s loneliness in the absence of a father (or in the presence of a stranger) is a worthy one, and this is one hell of a try at it. Unfortunately, attention spans are tested, and it almost seems like Tan wants us to do a considerable amount of the legwork to make it happen. And while I’m not always against doing that legwork, it would be nicer if its length was fitting.

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