|Page 1 of 3:||  |
|Index||21 reviews in total|
"I Come With The Rain," is a film that is hard to define. In some ways
it is a redemption story, in other ways it is a reinterpretation of
Christian mythology, and in yet further ways it is a study of evil. If
anything, the film is ambitious in the themes that it tries to explore.
As with most ambition, a degree of prudence is often needed for
reaching higher quality. For example, one may wish to change the world
for the better. However, trying to affect a whole planet is beyond the
capabilities of most. The prudence enters in defining one's world more
strictly. The wish to change the world changes into a wish and drive to
change one's immediate world or community. The ambition becomes
tempered by practical and manageable constraints. Unfortunately, ICWTR
attempts more than it is capable of handling well. The film touches on
the three interconnected themes mentioned above in a less than coherent
way. By the end of the movie, one is left with the sense that valuable
ideas have been brought to the table but never developed into anything
that can be useful or fulfilling to the audience.
The premise of a damaged detective searching for a messianic figure amidst the corruption and evils of modern life is promising. The film falters by attempting to create three interconnected and artfully ambiguous tales about the detective, messiah figure, and the personification of modern corruption and evil. One of the hallmarks of parables is that they are rather simple. The parable usually develops a story around a single moral or epistemological rule. ICWTR attempts to tell three parables in tandem. The result is not a smooth synthesis commenting on the complexities of the human condition. Rather, the film comes of as confused and lacking in relevant concrete development. To be clear, the film itself is not overly difficult to understand; the attempts of the film to convey deeper meaning are muddled and shallow. In fairness, the raising of interesting questions may have been the goal of the film. The problem is that the film does not arm the audience with any tools to continue the discussion later on. As an example, how would you respond to the following question if asked by a random stranger: "Is 'good' tainted when it is saved by 'evil?'" Hopefully this is a jarring question and one that defies immediate answer. In one sense, the question is interesting and plumbs the depths of moral/ethical thinking. In another sense, the question is too brash and off putting. Such a question almost begs for some sort of established framework to deal with it. In essence, the above question comes later in the discussion after some context and philosophical norms are established. ICWTR asks questions like this without giving the audience any real framework to deal with said questions. The film methodically, and beautifully I might add, simply presents scenarios that lead to these questions. The result is a confusing and somewhat disjointed experience. As a viewer, I know I am supposed to have been exposed to some deeply meaningful symbols and questions; yet I do not really know what to do with these symbols or where to go with these questions. In the end, one really wants to find deeper meaning in this film and unfortunately cannot.
While the above may seem a harsh review, the film does offer a great many good points. The cinematography is beautiful. The scenes vary from lush tropical forests to oppressive and over developed cityscapes. The actors assembled are an international powerhouse. While Hartnett may be less than A status in America, Kimura and Lee are considered first rate stars in Asia. In this sense, the film is an international blockbuster. The acting by these stars is somewhat uneven. Of the three, Lee is the most consistent, turning in a nuanced performance that aptly captures the variegated emotions connected with his personification of modern corruption and evil. The editing and pacing are very well done and match the attempted themes. The Radiohead soundtrack adds a pleasant ethereal touch which aids in setting a more contemplative tone. In essence, the film is extremely well made, it just attempts too many messages within the story.
On a personal note, I really wanted to like this film and was somewhat saddened that I was underwhelmed. I enjoy having my knowledge and interpretations of symbolism expanded. Unfortunately, this film merely referenced a great many known symbols without expanding or deepening their meaning. For this and the above reasons, I will probably not recommend this film to many. I tend to see this as a film that attempted something artistic and philosophically profound. No doubt, many people will agree and furthermore extract something from the film. Sadly, I was not able to pull any greater meaning from this movie. 6.7 stars of 10.
OK, I've been wanting to watch this for soooo long and finally I made it! First of all forget the adverts, they completely betray the movie. I was expecting a real good HK gangster movie with a western edge but what I got was much slower, more serious and very edgy. Josh Hartnett was great, possibly the best I've ever seen him and to be honest I usually can't stand him. Well, changed my mind! Unfortunately there were parts of the movie where the dialog was difficult to understand, and this was down down to the Asian actors.....BUT.... It wasn't impossible, and overall the acting in the movie was great. The thing that struck me most about the film was the cinematography which had that real Asian edge, think of any modern Korean movie, it:s beautiful! And the speed of the movie which was sloooow but perfect! I loved it, and I think if you have ever been into Asian cinema or any other for that fact you will too. I:m not going to tell you anything about the story, just watch it......
*** This review may contain spoilers ***
Kilne is a former detective, 'contaminated' from his investigation of a
serial killer with a penchant for sculpture using human flesh. He turns
private eye and goes in search of Shitao, the missing son of a Howard
Hughes-style millionaire recluse, his journey taking him from The
Philippines to the homeless ramshackle dwellings of Hong Kong's
underbelly. Reliable reports say Shitao was gunned down and left for
dead, but he seems to move ghost-like in the shadows and crevices of
the city. And crucifix-like graffiti and barking prophets seems to
carry a message connected to Shitao
Somebody had the idea to take a festival darling of a director, connects him with two of the biggest stars in the East Asian market, throw in a young Hollywood heartthrob to keep the dialogue in English for the all-important US market, all to a soundtrack by Radiohead how can it lose? By a complete lack of a semi-coherent script, that's how. Rarely does a film fail so completely to display any shred of plot or coherence. There is some waffle about the beauty of human suffering, a bit of scripture misquoted here and there, but it resonates to absolutely nothing. Depressingly, it is a certainty some people will make great claims for this, condescendingly pontificating that if you didn't 'get' it you don't know your religious history, iconography, semiotics, blah blah blah Nonsense. This film is an insult to the intelligence, pure and simple.
The only multi-dimensional character is Harnett's Kline, and his arc is all in flashback to the guy you start the film with, he never grows during the course of the film. Shitao has an American father (actually, less Howard Hughes and more Charlie of the Angels fame) but hardly speaks English. This is obvious from the few lines of dialogue given to Kimura, who gets to grunt a lot clearly because he can hardly manage basic English. Every line he has punctures the suspension of disbelief.
The saving grace for this film is the acting, with Harnett especially powerful when we see his moment of contamination, and Byung-hun Lee effective in his vulnerable moments, few and far between as his day-job is psychotic gangster. Elias Koteas, one of the most reliable character actors around, is under-used, managing to charm and repel in the manner of Lecter, despite having the most giggle-inducing junk to say as dialogue.
Kimura, unfortunately, lets the side down badly. Apparently Byung-hun Lee prepared and rehearsed his scenes meticulously, while Kimura would turn up and ask "What do I have to do?" The Japanese star looks out of his depth beside the Korean. Far and away the most charismatic member of the boy band that spawned him here in Japan, Kimura has coasted through his acting career, looking like he could put in a shift if asked to rise to the challenge. He came close in Wong Kar Wai's 2046. I Come With the Rain asks him to step up to the plate, and he is found badly wanting. The charisma is all surface pouts; when asked to come up with something more nuanced, he simply doesn't have it. I for one thought he had, and to see him crash and burn like this is extremely unpleasant. I should have been feeling pity for the character, not the actor.
Apart from that, there is little to praise. The direction never gets out of third gear, while the editing looks like a work-in-progress. Continuity seems to have been sinful. Clearly the filmmakers think this film will travel on the elements alone, and spent little to no time developing the script. They may be right; the female fans of the male triumvirate pouting on the posters may just be young and naïve enough to think this is art. If they are wrong, they have the consolation of knowing Antichrist will keep them company this year in the category of misjudged art-house projects with messianic connections.
*** This review may contain spoilers ***
This film tries to hard to mix both art-house and religion . It FAILS . The pace of the film is so slow i felt as though i,d fallen asleep and had to skip back a few minutes just to make sure i hadn't .The cinematography although good dose very little to enhance the viewing pleasure and the rehashed Asian version of the resurrection is utterly ridiculous . Josh Hartnett gives a decent performance but is let down by the really poor story . The Asian cast at times are very hard to understand but i think that might have something to do with the sound track running into the dialogue continuously . The long lingering moody stares by all the characters in the movie get a bit tedious after a while and probably account for fifteen to twenty minutes of movie time or to put it another way MY TIME WASTED.
I do love IMDb. Look up a movie...any movie...and you'll find at least
one moron crying about how it's the worst thing they've ever seen. Fair
enough, but if you can point to just one movie and tell me it's the
worst thing ever then you obviously have not watched enough crap. Just
glancing at the board section below reveals two people who share this
sentiment without even going past one page. This movie is strange, a
little disjointed, and it certainly has it's flaws...but the worst
movie ever? Please.
If I had to sum up Josh Hartnett's career in a word it would be "odd". It's kind of like he went from being fodder for women's fantasies and decided "screw this...let's get weird". That really worked with Lucky Number Slevin, but not so much here. The story follows Hartnett as an investigator hunting down some rich guy's son. That sounds like something you've seen a million times, but that's just the start. It's full of poorly timed flashbacks, mismatched edits, and stuff that just plain doesn't make any sense. I'm probably missing something since I did catch a few religious undertones, but I was too busy trying to piece together what the hell was going on to pay much more attention to it. Other than that the films comes across very well in an almost dark, mildly unsettling way. The story has a lot of substance to it, but maybe a bit too much at times when it seems like too much is going on. All in all though it's really not that bad.
Everything about this movie screamed for me to despise it. Yet this
movie is like meeting a person whose appearance is ugly, yet whose
inner beauty is unseen unless given a chance to shine. Dark.... nasty
work with cuts of beauty. It just flows out in both directions, this
movie got a 9 out of 10 from me.
Basically an ex-cop (Josh H.)named Kline who has seen and been overtaken by evil( a serial killer drives him insane over his investigation into this 24 mutilation killings then tortures Kline during a meeting,) is given the task of finding a lost son of a billionaire who turns out to be a new Christ figure, a saint. Which of these two meetings will have the most impact on Kline? Deep, slow and gory but oh so beautiful in a very disturbing way.
*** This review may contain spoilers ***
Tran Anh Hung could have been proud of three extraordinarily poetic reflections of life in his native Vietnam ("The Scent of Green Papaya", "Cyclo" and "The Vertical Ray of the Sun") before he committed "I Come with the Rain" in English (followed by even worse "Norwegian Wood" in Japanese)- sickly romantic neodecadent fantasy nurtured by masochistic-messianic wet dreams with a crush on American/Korean gore. The story itself abounds in nonsense. While Byung Hun-lee is the right man for this picture, Josh Hartnett seems to have wandered into it from some teenage surfer romance. Imagery is as beautiful as it is hollow ; the sculptures might have been appreciated by the great Francis Bacon - if he could have got over Elias Koteas' meditations.
The main reason why I decided to see this is because it has Byung-hun
Lee in it although he isn't the main character in this. I wanted to see
more movies where he is in mainstream Hollywood movies. Besides him
being a top actor in Korea, I enjoyed few of the movies he was in and
few dramas as well. And thought the movie was at least going to be
interesting because of Lee's charisma and coolness he portrays on
screen. He just didn't stand out in this and his character is wasted,
plus the direction of it all made it a disaster. This is far from one
of the best thrillers I seen, but it's a explicit thriller with
violence and nudity. It's basically a thriller with shock value, but it
sort of lacks in that department to some degree as well. It isn't
really a clever thriller or anything like that although it has
symbolism, it just seemed a bit forced at times. It also isn't really
all that psychological either, even if it tries to be. While also
trying to get the female audiences attention by getting the main actors
to take off their shirts constantly, which might have worked. But it
takes away from the movie because it just seems like a they are at a
photo-shoot or shooting a commercial. After the first hour the movie
starts to really drag with nothing much happening and without the plot
progressing all that much. I also disliked the girl that played
Byung-hun Lee's character's lover in this, I didn't like her presence
in this movie and her acting was terrible. It would have been nice if
Thea Aquino got a bigger role in this although currently she is a
unknown actress, but her presence in this seemed much better and it's
not only because she takes her clothes off. I know it's trying to go
for the artsy approach but it fails in that level, it just didn't seem
all that artistic. The second half of the movie just didn't feel the
same as the first half and not in a good way either. When I first saw
the trailer to this I thought it was going to be at least a decent
movie, but was left disappointed. It just tries too hard to be
something it's not. It should have just went with the direction of the
first half without the crap that is thrown in for the second half.
one of the best things about deploying (besides defending freedom, liberating a people) is buying gems like these from the locals, years before its marketed to you Philistines in the states. If your like me you've seen every movie that features a cop recovering from a tragedy in his past. And the guy either breaks down while guzzling whiskey or it appears in flash-backs. Well you've never scene it like this before. The first scene puts everything in perspective so concise, sexy, and brilliantly. Then the second scene (which stands alone from the first scene) even nails it home even harder. I was like hey take your foot off the gas, I get it already he's messed up in the head, damage goods. Interesting characters, interesting dialog, and real and bizarre scenarios.
This is one of the best film I have watched. In fact, I watched it twice, and the second time on, I gave it a standing ovation. This film is a piece of art, just like a canvas to Tran Anh Hung ready to paint his imagination for the world to see. It may leave audience baffled after watching it, but you need to watch the details to know the story. This movie is Tran Anh Hung's interpretation of the Life of Christ, it is a fusion of mafia, rock, detective all roll into one. You can call it a misinterpretation of the Bible, but hey, this is art, he has the freedom to express himself. To me, this rocks more than The Passion of Christ, because it got substance.
|Page 1 of 3:||  |
|Plot summary||Plot synopsis||Ratings|
|External reviews||Parents Guide||Official site|
|Plot keywords||Main details||Your user reviews|
|Your vote history|