1950 / Akira Kurosawa > No doubt that it’s quite sad when such a revolutionary film does not age well: Rashomon’s contrasting viewpoints and inquiries into the nature of truth was of great importance when the film had its initial release. But while it’s important to respect the film for its place in the annals of history, it’s bound to underwhelm the majority of viewers who’ve seen the same techniques further refined in a barrage of films over the past decade or two. Thus, it’s important to not ask, “Is The Usual Suspects better?” but rather to focus on how it has improved upon the foundation originally laid by Kurosawa.
Category Archives: 3.5
Y Tu Mama Tambien
2001 / Alfonso Cuaron > Y Tu Mama Tambien is the sort of sexual exploration film that validates the genre itself. It takes a while to peel off its layers, from an adolescent idyll to sexual discovery to a certain realization that the harder you press against another, the quicker you become repelled. Certain lessons hidden inside the film are harsher than one would expect (and hope for), however the beauty of the film may lie in the fact that it will mean something different for everyone.
Ripely timed, the sexual sequences are enthralling and necessary. As a road movie, it depicts the countryside of Mexico through the eyes of two metropolitan Mexicans and a Spaniard. This causes a bit of annoyance at times when the narrator takes on a considerably more socio-political tone. Thankfully, it doesn’t overshadow the relationships between those in focus. Now, who could have guessed that Cuaron’s follow-up to this would be Harry Potter and the Prisoner of Azkaban?
Fat Girl
2001 / Catherine Breillat > This is a flawed film, but one could argue that it is so by its own accord. Fat Girl is a frank dissection of adolescence, mental isolation and sex, a combination that puts the viewer in an awkward, even shameful position. The first third of the film does a tremendous job in setting up a girl’s first encounter with a sheep in wolves’ clothing where the dialogue, above all, is spot on. The middle third goes limp, and is driven simply by its predictability.
However, the finale remains the hotly debated topic, one that has made or broken the film for many. Typical of the French-speaking region, tension is built-up with an underlying sense that something will go wrong. And it is understandable that we believe in the world of circumstance, but circumstance is often an excuse for a cop-out. Was this a cop-out by Breillat? Unlike most films, here the answer doesn’t matter. The ending is poignant, unforgettable and leaves you amazed at your own capacity to find warmth in such an absurd situation.
Fear and Trembling
2003 / Alain Corneau > Set in the Tokyo of 1990, it’s hard to grasp exactly how accurately Fear and Trembling represents the typical Japanese office atmosphere. One can argue, however, if that’s even the point of the film: Maybe we shouldn’t notice the relative stereotypes presented here in this story about a Japan-born Belgian woman who comes back to her birthland to work in a conglomerate.
Her experiences are comic and tragic, and her pitfalls in misunderstanding the way to climb up the social ladder keeps us interested. Minus the somewhat illogical lull that occurs in the middle, much of the storyline is entertaining and curiously thought provoking. It might be harder to digest at face value (especially when we have companies like Sony being headed by a British-American), but with a grain of salt, one can find definite enjoyment in this little gem.
Talladega Nights: The Ballad of Ricky Bobby
2006 / Adam McKay > There are a lot of jokes in Talladega Nights—in fact, almost as many as there are product endorsements—but thankfully, the success ratio is high enough that it’s hard to stop laughing for much of the film. Moreover, the surrounding cast in John C. Reilly, Gary Cole, Sacha Baron Cohen and a surprisingly stunning Lesbie Bibb gives the film a balance usually found tipped in other Ferrell films. It’s tongue-and-cheek, silly, self-deprecating, but thankfully knows exactly what it is (as witnessed by the outtakes during the end credits). And it’s probably the best Hollywood film this summer so far.
Sweet Sixteen
2002 / Ken Loach > Winner of Best Screenplay at Cannes in 2002, Sweet Sixteen is short on style and all about substance. Set in the town of Grenock, Scotland, it primarily follows the path of Liam, a 15-year old played impeccably by local Martin Compston, as he tries to put together a future for his mum and sister.
Liam’s character development is the strongest aspect, and it’s easy to find ourselves anxious and cheering for him as he matures into a man. His psychological awareness and inadequacies are key, as there’s always something flaky in his understanding of his relationship with his mum. This represents an Achilles’ heal of an otherwise incredible teenager and is the motivation behind much of Liam’s actions. It is a study, in the end, of what kind of will love gives and takes away.
One thing that definitely stands out is Loach’s choice of music: Often contemporary and poppy, it gives the film—as well as the viewer—a foundation of exhuberant hope even in the bleakest of scenarios.
Daisy
2006 / Andrew Lau > What do you get when you combine Infernal Affairs director Andrew Lau with the writer/director Kwak Jae-young of My Sassy Girl? Apparently a love triangle between Jun Ji-hyun, a cop and a contract killer. Having watched the 124 minute director’s cut, it’s pretty understandable why the Korean audiences didn’t initially take on this film: The theatrical cut had much of the initial storyline development shortened into one, tight package that skews the objectivity and thoughtfulness present in the longer version.
The film itself is somewhat slowly paced, but absolutely beautiful (as one should expect). Jun, for once, plays a girl of calm demeanor, which befits her considerably more than the loud, obnoxious teens she’s portrayed in films such as My Sassy Girl and Windstruck. Kwak’s strength is generally exposition, and in Daisy, his skillful storytelling is highlighted well. It’s important to weigh the background plot a little less than the love story itself (which the film does successfully), but inevitably the weakest point of the film is Kwak’s inability to avoid a barrage of melodrama in the finale. He’s done this before, so it shouldn’t be surprising by any means. Taking into effect the flock of unnecessary flashback sequences later in the film, Daisy fails to reach a higher ground—A disappointment, considering how strong a start it had.
Clerks 2
2006 / Kevin Smith > While not a big Kevin Smith fan, I do respect him for essentially making films for himself, which is a rather beautiful thing. And it just so happens that Clerks 2 feels intensely personal, which for once is an outright positive than a notable negative. Bringing closure to the Askewniverse, Smith presents us with a ridiculous combination of obscenity, hilarity and heart-warming moments that, for better or worse, keep us entertained throughout the film. Of special note was Rosario Dawson: Her character seemed to be the natural embodiment of her own self, and that shone through the screen without reservations.
Running Scared
2006 / Wayne Kramer > This film is absolutely ridiculous—and that’s exactly why it works. Every style point you can think of in an action flick, whether from Guy Ritchie, Quentin Tarantino, David Fincher or Tony Scott, it’s all here. In fact, throw Paul Haggis into the mix, because the manipulation that goes into the plot is just short of the “genius” behind Crash. Thankfully (or I’m giving it too much credit), the film knows what it is and abuses it it. It doesn’t try to be more than that.
Kramer should essentially be credited for two things: First, utilizing eye candy in a functional manner, as many of the sequences actually had some rhyme and reason. And second, creating a movie for guys. In some ways, this DVD ought to complement Wedding Crashers in every frat house in the country.
Tristram Shandy: A Cock and Bull Story
2006 / Michael Winterbottom > A film within a film based on an unfilmable novel: Thankfully, it’s nowhere near as complicated as it sounds. The man of a thousand faces, Winterbottom has once again changed genres and done something rather spectacular in how he structures Tristram Shandy. The narrative is quite regressive, mimicking the nature in which the original novel—The Life and Opinions of Tristram Shandy, Esq. by Laurence Sterne—was written. Steve Coogan plays the lead as well as himself (as the lead) quite well, blending reality and fiction seamlessly. And the general crop of characters remain of interest throughout the film.
The idea, however, that a film requires prerequisite knowledge for complete enjoyment is one that generally turns me off. And while foundational knowledge is necessary for Tristram Shandy, Winterbottom’s direction is generally spot on as to help the viewer get through without too much trouble. Still, it’s probably worth reading up on the history of the novel, as that should improve the level of satisfaction one would yield from the film.