When I entered the theater and sat down in the darkened room, I had no idea what I was in for. I knew very little about the film, and had not seen a single frame. I knew that it was highly regarded, and that star Penelope Cruz was recently nominated for the Best Actress Oscar. On top of that, the only previous experience I had with the films of Pedro Almodovar was 2004's Bad Education, which I enjoyed. Anyway, I sat in the darkness and waited for the film to begin.
Volver opens with a right to left tracking shot, the pan takes you through a cemetery filled with women cleaning the graves of their deceased husbands. It is a comically morose scene that left a small smile on my face as tried to figure out what this was leading to. What I discovered at the end of the film is that it was leading everywhere and nowhere at the same time. It left me conflicted as to how much I liked it. I knew I liked it, and I am still completely convinced of that fact.There are a few interlocking plot threads that fit together not unlike a soap opera. There is a touch of the supernatural , absurdist comedy, and Hitchcockian style murder. There are enough emotional wounds torn open to last a full television series, the murder, and its results are the stuff to make a thrill seeker sit on the edge of his seat, and the appearance of a ghostly figure that has very close to the leads and is in possession of a dark secret that comes back to haunt them all.
All of the threads come together in somewhat meandering manner. The characters are drawn to there homes, to their loved ones, to their past, and to their future. The threads which do not seem to share much in common all have a profound effect on everyone involved.
Penelope Cruz stars as Raimunda, the central character in our drama. She left her childhood home of La Manche in an attempt to escape her childhood. She is now living with her bum of a husband, Paco, and her 14 year old daughter, Paola. She lives in a constant state of flux, seemingly on the verge of just breaking down and succombing to the events of her life, yet in her fragility lies the strength to overcome. And overcome she does, the troubles of her life her given her an indomitable spirit that refuses to give up. Throughout, Cruz delivers the finest performance I have ever seen from her. There is something about how she sinks into this character and becomes one with Raimunda, it is unlike any of her Hollywood roles where the studio sees her for her exotic beauty and less for the acting talent that she possesses.I mentioned earlier about how the film was leading everywhere and nowhere, this led to my confusion as to how much I enjoyed the film. There were elements of the story that I wanted to know more about, relationships that I wish had gone deeper, there are events that I wanted to know more about. On the side of that, the film was not so much about the events, so much as it was about the emptional change that they brought about. Volver is about the emotional journey that the events bring about.
Bottomline. For this viewer, the movie was simultaneously frustrating and satisfying. It is an odd feeling, one that I have not yet come to terms with. It is a movie that is well worth the trip, it will take you on an interesting journey into the relationships that live and die within the extended family unit. If for nothing else, you will witness the wonderful talent that is Penelope Cruz.
Recommended.
Lady Vengeance is the latest creation from director Chan-Wook Park. It is the final film in Park's revenge trilogy which began with Sympathy for Mr. Vengeance and continued with Oldboy. This film is a fine anchor for the films. Each one is a standalone film, and there is no need to see them in order or even see any of the others prior to spending some time with this one. However, if you do take the time to watch all of them, you will have seen a trio of excellent films from a great new mind, you will also see some common threads that are woven through the three.
The story centers on Geum-ja (Yeong-ae Lee). She was wrongly imprisoned for 13 years, upon her release, at the film's outset, her plan of vengeance and redemption is set into motion. Over her imprisonment she slowly plotted out just how her revenge would take place, ingratiating herself with her fellow inmates. The first portion of the film cuts between her gathering the necessary pieces and the time she spent on the inside.
Director Chan-Wook Park, who also co-wrote the screenplay. has such a wonderful visual style, and, with Director of Photography Jeong-hun Jeong, have made every frame interesting. Unique angles and camera moves that never distract from the story. This is, quie frankly, a beautifully shot film. As for the story, it may take awhile for the pieces to take shape, but it is well worth the effort.
This week brings seven more movies in on the wind. Among the seven, four are new releases and three are 2006 films that are expanding into my viewing radius. What this makes for is a a busy weekend for yours truly. Fortunately, I may have some free time next week to try and squeeze in all that I would like to. Between the new films and the expanding ones, there would appear to be a great disparity in quality. Taking those factors into consideration, this could be an interesting weekend with whatever I make it out to see.
Primeval plays between the fictional horror of the killer croc and the real horror of civil war in Africa, both are brutal, bloody, and unforgiving. I found it to have a similar structure to Edward Zwick's Blood Diamond. Both of these films have reporters in Africa seeking to uncover a dark secret (diamonds and crocs), and both lead to questions of how far to go and whether or not to keep a secret or expose the difficult truths. However, that is about where the similarities end.
Their journey takes them into dangerous territory, land controlled by a blood thirsty warlord who calls himself "Little Gustave." The name taken from the crocodile, itself, who the locals have dubbed Gustave. So begins the hunt for the croc, while they avoid having a run in with the machine gun toting thugs that patrol the land.
Remakes, remakes, remakes. Are you sick of them yet? I thought as much. It seems that the majority of horror films that hit the screens are remakes, sequels, or rip offs of what came before them. There isn't much in the way of original vision coming out of the Hollywood system. The Hitcher may not technically be a horror film, more of a thriller, but it is close enough for this. It is another in a long line of remakes that Hollywood hopes to make a quick buck off of before they fade into obscurity. Still, occasionally one becomes a legit hit, or actually offers a flash of genuine entertainment. For this viewer, The Hitcher fits the bill. It offers up some decent suspense, a dash of violence, and is genuinely entertaining for an hour and a half. A word of warning, don't take my entertainment factor as a statementof quality.
I came into the film without the baggage of the original film, which I do want to see. Although, I have seen the sequel, which is something I do not want to remember. That fact may have helped me in my enjoyment of this film, I did not have the original to compare to, allowing me to view unfettered from any preconceived notions of how well, or not so well, the remake would compare to the Rutger Hauer take.
The man is John Ryder (Sean Bean). He freely offers up the fact that he is not trustworthy. From this early moment, it is clear what is going to happen. The young couple are going to run and John Ryder is going to relentlessly pursue them, intent on separating them from their life. For what reason? This is not revealed. The thrill of the kill, the excitement of the chase, a biological need, or something even more sinister. Not knowing sort of makes it a touch more frightening, seeming randomness can be rather scary.
You may not believe this, you may not even agree with this, but The Last King of Scotland bears a striking commonality with Dreamgirls. Yes, you read that right. A movie about an idealistic doctor having an epiphany while serving as Idi Amin's personal physician and confidante and a movie about a young singer standing up for herself and retaining her integrity have a relationship in my mind. It has nothing to do with the story, it has nothing to do with the themes, what it does have to do with are two performances.
The Last King of Scotland centers on Nicholas Garrigan (James McAvoy). He is a recent med school graduate, and being a young doctor, he is idealistic and ready to change the world. Rather than go into practice with his father, he decides to change his fate and gamble on a globe. Watching the globe spin, and come to a stop on Uganda, he decides to go there and try to do what he can. He is soon knee deep in a village, helping people and doding bullets as Idi Amin is rising to power. Uganda is in the midst of a coup.
Nicholas Garrigan's eyes are slowly opened to the growing horror around him. He slowly realizes the atrocities being committed by the man he thought was his friend. The dynamic of their relationship changes and Garrigan will never be the same again.
Stomp the Yard clawed its way back to the top spot, narrowly fending of a play for a return to the top by the Ben Stiller monster, Night at the Museum. None of the other films even came close to taking the top two spots away from these two. Of couse, none of them really put up much of a fight. Overall, the week was distinctly to the lower end of the scale. It was one of the lowest grossing weeks in some time, and the lowest so far of the young year.
This week's release of choice is one that I have not seen, but heard about a while back and have been very interested in seeing. The film is the documentrary This Film is Not Yet Rated. It is said to be a humorous and insightful look into the MPAA and the battles that have been waged over the films they rate.
Guillermo del Toro for Pan's Labyrinth. One of the year's finest films, helmed by a director fulfilling his potential. I have always been a fan of his work, but often it has been at a level lower than what we have found here. His work has generally risen above similar works in the genre, always hinting at what he could do. This is a film that is magical, it is dark, it has hope, it has violence, and you are not safe. Amazing film from a director at the top of his game.
William Monahan for The Departed. Based on Siu Fai Mak's script, this one takes the cat and mouse thriller and elevates the comedy and blends in a stronger identity crisis. It is a wonderfully written script with fast paced dialogue that has a wonderful flow.
Emmanuel Lubezki for Children of Men. A bleak and fully realized world. For two hours you will be a part of this world, so carefully constructed that you will believe. For some truly amazing scenes, take a look at the battle at the refugee camp.
Clint Mansell for The Fountain. Hands down, my favorite score of the year. The film left me scratching my head, in a good way, but the music was beautiful and haunting. The music, performed by Mogwai and the Kronos Quartet provides a surreal soundscape for the film that is interested in pushing the boundaries and takes chances with the art form.
Industrial Light & Magic for Pirates of the Caribbean: Dead Man's Chest. The effect of Davy Jones alone is enough to secure this title. I was convinced that it was a combination of Bill Nighy in make up and CG, when I learned that it was full CG, I could not believe it. Truly a high water mark for effects creation.
Forest Whitaker for The Last King of Scotland. Sure, this is probably more of a supporting role, but Forest cast such a huge shadow over this film, and had such a wonderful performance that it is hard to ignore his importance to the film. His portrayal of Idi Amin is electric. He displays an incredible amount of charisma that it is hard not to be sucked in.
Helen Mirren for The Queen. Much like Forest Whitaker, Helen Mirren has turned in a great performance as a person from the real world. She brings a touch of emotion to a role that could just as easily been entirely cold and clinical.
Ben Affleck for Hollywoodland. This is quite possibly the best performance of his career. He perfectly captures the suave handsome Reeves, and the troubles that he experiences leading to his mysterious, and still unsolved, demise.
Jennifer Hudson for Dreamgirls. All I can say is "Wow." Her performance floored me. She carries the entire emotional weight of the film, it is much more than strength of her voice (which is considerable).