December 2006

A Film for True Sci-fi Fans

  • Title: The Fountain
  • IMDB: link

“Finish it.”
“But I don’t know how it ends.”

The Fountain is hard to understand, difficult to discuss, and almost impossible to explain, but I’ll do my best to review the latest from writer/director Darren Aronofsky (Pi, Requiem for a Dream).  In a year almost devoid of science fiction, here late in the year we get something dazzling.

The film takes place in three time periods.  Two of the time periods are fictional, the Aztec jungles in 1500 involving a Conquistador (Hugh Jackman) and his search for the Tree of Life, and the floating space bubble in 2500 involving a bald monk (Jackman) nursing a dying tree as it floats into a dying star surrounded by a nebula.

The third of the story is in the present, or near future, as a doctor (Jackman) experiments on apes in a desperate obsession to save the life of his wife Izzi (Rachel Weisz) who is slowly dying from a brain tumor.  Though the two other tales fit together more easily, it is this tale which is the heart and soul of the film.

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Eh Very Niiice

I don’t think there’s any possible way I could prepare you for the hard-edged, offensive humor that isn’t just utilised in Borat, it’s abused and raped to the point that you don’t think a more offensive film is possible.  It’s also easily one of the funniest films in a good year for comedy.

Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan
4 Stars

There are a lot of things that are wrong in this world.  There Racists who dismiss people by the color of their skin, CEOs who care more about their bank accounts than their employees and they even cancelled Arrested Development.  But none of that, not even Arrested being cancelled, comes close to being as wrong as Borat.  You start wondering at some point if Sasha Baron Cohen created a movie with the sole intention of offending every minority on the planet.  But whatever the intent, Borat is a so foully funny it’s almost revolutionary.

Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan centers on Cohen playing a character named Borat Sagdiyev that he showcased in his Da Ali G Show.  The film works as a fake documentary, it’s supposedly the documnetary film of Borat traveling to the States to discover how it works.  The ultimate goal is that he will come home with ideas to rejeuvinate his home country of Kazakhstan.

Let’s just get this out of the way: If you don’t like mean humor, you can stop reading this review now.  If you feel like those punks who write South Park deserve a good talking-to every time you see a commercial for their show, then you should probably just head to The Santa Clause 3: The Escape Clause this weekend and forget you ever heard of this movie, because it’s offensive enough to make South Park: Bigger, Longer & Uncut look like the Passover special of Rugrats.  No hard feelings, but you should just stop reading the review and go to MySpace to contemplate who you want in your “Top Friends.”

Okay, now that they’re gone, let’s get down to the good stuff, because Borat has a lot of it.

Where do you start?  Greeting his friendly neighborhood rapist, making fun of his mentally-handicapped brother or going to bed afraid the Jews are going to take him in his sleep, Cohen is clearly a master of pushing buttons.  He takes stark offenses against society so far that you might expect the Government to issue a warning against letting your children go to the movie.  How the film ever got past the MPAA with a mere R is a paradox that will likely go unsolved until the next Einstein is born to answer the question.

If pushing stereotypes past the line of decency isn’t your bag, perhaps pushing gross-out humor past the line of decency is.  Only, Borat doesn’t just pass the line, it keeps going until it crosses several State Lines.  One sequence – of which I will only say involves two men – is so atrociously out of bounds that it may even make slasher movie buffs feel queasy.  I know I did.

But the most insane aspect of the movie is its reality.  We know that Cohen is acting throughout the movie, along with a few other players; but outside of four actors everyone in this movie is a real person, someone who thinks they’re a part of a documentary about a man named Borat learning about America.  You’ll get authentic Americans authentically reacting to a man who asks what to do with a Ziploc full of his own feces.  It’s a great idea that, thanks in great deal to the fake documentary style, sets this comedy apart from anything else put out in recent memory.

The only reasonable complaint is with the story.  Evident from even the commercials, the film serves as nothing but an excuse for Cohen to put together hilariously wrong sketches; but to create a competint film you need to connect all the sketches together with a story to keep the viewer’s attention.  Borat is able to do this well enough, but the scenes still feel too loose and apart to make the entire film feel united.

But it doesn’t matter.  People shouldn’t won’t see the film for its story, they’ll see Borat because it’s a politcally incorrect film that somehow works.  By being so unbelievably and morally wrong, they’ve made one of the more innovative comedies in the past decade, and if Borat is wrong, I don’t want to be right.

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End of Innocence

  • Title: Bobby
  • IMDb: link

In the style of Grand Hotel, Emilio Estevez (who wrote and directed) brings us a look at the Ambassador Hotel and the people who work and stay there.  It’s not just any day however, it’s June 6, 1968 and Bobby Kennedy is coming to give his last speech before tragedy would strike, and one of the last remaining beacons of hope in his time was extinguished by hatred and violence.

The film follows the guests and staff of the Ambassador Hotel over the period of a day as they work, play, and ready for an appearance, by who many believe will become the next President of the United States.

The characters include the manager of the hotel (William H. Macy), his wife (Sharon Stone) who works as the beauty parlor, and his mistress (Heather Graham) who works the phone bank with her friend (Joy Bryant)  There’s also a Mexican kitchen worker (Freddy Rodriguez) dealing with a racist boss (Christian Slater), and a bride (Lindsay Lohan) who is marrying a friend from high school (Elijah Wood) to stop him being sent to Vietnam.

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Obsession

  • Title: The Prestige
  • IMDb: link

“Every great magic trick consists of three acts.  The first act is called ‘The Pledge.’  The magician shows you something ordinary, but of course it probably isn’t.  The second act is called ‘The Turn.’  The magician makes his ordinary something do something extraordinary.  Now, if you’re looking for the secret you won’t find it, that’s why there’s a third act called ‘The Prestige.’  This is the part with the twists and turns, where lives hang in the balance, and you see something shocking you’ve never seen before.”
 

The PrestigeThe film opens with Alfred Borden (Christian Bale) on trial for the murder of Robert Angier (Hugh Jackman), who was killed during his final performance.  The magician who gave both men their start (Michael Caine) is present, as witness, to tell the tale.

The film goes back in time, to tell the story of how the two got their start, their tragic marriages (with Piper Perabo, and Rebecca Hall), their competing affection for a magician’s assistant (Scarlett Johansson), and the event which caused the hatred and rivalry between them.

Director Christopher Nolan (Memento, Batman Begins) weaves a marvelous tale of illusion, half-truths, buried secrets, murder, and most of all obsession.  Like this year’s earlier entry The Illusionist the film involves the secrets of an illusion, and plot twists.  The Prestige succeeds where the other failed in that it doesn’t make the twists and secrets the whole story, instead it’s the obsession between the two men, not their secrets, which takes center stage.

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A Picture is Worth a Thousand Words

  • Title: Flags of Our Fathers
  • IMDB: link

flags-of-our-fathers-posterOne picture can define everything.  Flags of Our Fathers, the latest from director Clint Eastwood and writer Paul Haggis, looks at how a single photograph changed the war in the Pacific during WWII.  Though it does include some huge battle scenes, it’s more focused on the later years, how the photograph, and the U.S. Government’s use of it, changed the lives of three soldiers forever.

Clint Eastwood is the man, and he has earned the right to make whatever film he wants.  Here the director takes a look at the flag raising at Iwo Jima, and how that one photograph changed the lives of three men and the course of the war in the Pacific.

The film follows the heroes of the Battle of Iwo Gima, John “Doc” Bradley (Ryan Phillippe), Rene Gagon (Jesse Bradford), and Ira Hayes (Adam Beach) from their landing on Iwo Jima to the years after their heroic tour.

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