2006 / Stephen Frears > In listing the most impressive components of The Queen, Helen Mirren’s inevitable Oscar-winning performance comes in third. Instead, it’s Michael Sheen’s Tony Blair that compels you to keep watching while arguably the year’s best script puts on its own show. (Personally, I would hope that Sheen gets the supporting actor nod that the Golden Globes snubbed him on.) By default, I didn’t think the saga surrounding the death of Princess Diana would have kept my attention. However, Peter Morgan’s screenplay put to rest any such concerns with its wit and bite. With this, Frears may have further perfected his craft and one only can imagine how much better it will get.
Category Archives: 3.5
Apocalypto
2006 / Mel Gibson > It’s not nearly as profound as it would like to be, but Apocalypto is nonetheless a small triumph in filmmaking. On the surface, its entertainment value is immense, with heart-wrenching moments that gnaws past one’s level of indifference. For over two hours, Gibson succeeds in keeping our attention and making us wonder what will become of our protagonist. It’s finely crafted, with enough attention to detail to stave off everyone but the best of historians. If one can get over the small awning of preachiness, the film rewards the viewer with a surprisingly believable thrill ride.
Exiled
2006 / Johnnie To > A calculated work of art, Exiled is a treat to those who enjoyed The Mission by To. With the same actors in tow, the film features several classic Hong Kong-style shootouts as its main entree while serving up themes of loyalty, debt and brotherhood as its appetizers. What’s for dessert, then? How about a sweet soundtrack accompanied by beautiful, angular shots that make this a memorable viewing, even if the underlying plot is superficial at best.
Borat: Cultural Learnings of America for Make Benefit Glorious
2006 / Larry Charles > So highly anticipated that it barely met expectations—which, in this case, is a very good thing. It’s hard to judge the film on its artistic merits as it’s essentially a broad practical joke on the uninformed American public (or at least those who don’t fancy a premium subscription to HBO). What sets Borat apart from its spiritual brethren Jackass is an attempt at a storyline, one that the film reasonably succeeds at. Sacha Baron Cohen has done better skits than what is presented here, but this seemingly fluid compilation of punchlines (and a few scenes that tug the heart and soul) works as the clincher. This is hands down one of the best comedies of 2006, but it remains to be seen how it stands up to the test of time.
No Mercy for the Rude
2006 / Park Cheol-hie > Shin Ha-kyun once again takes the role of a deaf-mute (last seen in Sympathy for Mr. Vengeance), only this time he’s a contract killer earning money for himself. Under first-time director Park’s instruction, the story evolves as a black comedy while not sparing the blood. The action is swift and not the focus, which instead falls on the killer’s battle with a speech disability and a woman, played wonderfully by Yun Ji-hye, who somehow becomes a part of his life. Breaking genres, the plot development is a little slow but works effectively leading to an engrossing climax. No Mercy for the Rude is a fresh surprise in what’s been a fairly weak and underwhelming year for Korean cinema, and now that The Weinstein Company has picked up the North American distribution rights to the film, it should get the exposure it deserves.
12 Angry Men
1957 / Sidney Lumet > An incredible cast led by the late Henry Fonda is undoubtedly the best reason to watch the original 12 Angry Men, a film that may feel outdated on the basis of its arguments. Similar to Rififi, it’s interesting to see screenwriter Reginald Rose’s systematic dissection of a jury’s decision-making process in the days before television shows like CSI and Law & Order. The point is not the final answer, but rather how things come to be. But for 12 Angry Men, it just feels a little too easy. It’s almost successful, conversely, as a tightly packed social commentary under the veil of a drama, but feels like it misses its target due to a storyline that seems contrived for the protagonist’s obvious benefit.
Thank You For Smoking
2006 / Jason Reitman > Even though his father hasn’t done anything respectable in a decade, Jason Reitman certainly has—on his first try, no less. Reitman’s sobering yet insanely objective view of a tobacco lobbyist (played superbly by Aaron Eckhart) is a much needed breath of fresh air from Hollywood. Recently, there’s been a barrage of weak, simply blasphemous liberal propaganda films that preach in a contrived, heavy-handed way (and while some of you may not include Crash in this, I certainly do). Thank You For Smoking takes a step back and billows out a smokescreen through which we identify with the human side of the tobacco industry while being repulsed at the same time.
In the Bedroom
2001 / Todd Field > In his debut, Field crafts a quiet work that lingers at the edge of one’s bones. While not as polished or impeccable as The Sweet Hereafter, both films challenge the viewer to face a state of gloom with patience, courage and hope. Tenseness is everpresent, but rarely does it overdo its charm. And while there are small missteps here and there (notably part of the climax), incredible performances from Tom Wilkinson and Sissy Spacek ultimately glues the work to one’s mind.
The Power of Kangwon Province
1998 / Hong Sang-soo > It’s always a bit hard to talk about Hong’s films. His plots are so subtle and delicate that it’s almost impossible to say anything without giving away secrets. Moreover, the emotional resonance often comes days and weeks after the first viewing. The Power of Kangwon Province, Hong’s second feature film, is no different. While not as agreeable to my heart as Tale of Cinema, he once again dissects the thin border between man and woman, this time outlining a deep and brutal sense of loneliness. As with his other films, the lesson to be learned is a personal one, modified to each viewer’s own experiences.
L’enfant
2005 / Jean-Pierre & Luc Dardenne > The Brothers Dardenne were awarded with the Palme d’Or at the 2005 Cannes Film Festival for their frank and heartbreaking portrayal of a young couple with a newborn in the streets of Belgium. How much they deserved such recognition, however, is the burning question: Was L’Enfant really the tour de force of emotion that one feels at the closing shot? Or was that a neat and effective clean-up hit for an otherwise pedestrian film?
Undoubtedly, this film will bring forth combatants on both sides of the trench. I give the Dardennes credit for effectively reusing their claustrophobic, slice-of-life filmmaking style to give us a sense of realism far exceeding most commercial films. However, the characters are by default made not to like: Yes, they are good-natured and warm-hearted, but they are also irresponsible to a degree where it’s hard for us to empathize and hold back judgment. In The Son, the Dardennes showed that we are good by nature, with a level of depth far beyond what is present here. But while there are moments of absolute humanity present in the midst of this exercise, what is asked of us in the end of L’Enfant seems unfair and too simple, and for that it will be insoluble for many.