WDD Reviews

A History of Violence (2005)

One of Cronenberg's Best

[9/10 · 27 September 2005]

POTENTIAL SPOILERS:

I'll admit it, I'm a sucker for two things -David Cronenberg movies and story lines that revolve around the idea that all is not what it appears to be... Since A History of Violence makes good on these, it's a definite recommend.

Cronenberg's direction is as such that when the moments of violence do occur, they're all the more effective for it. There is no excessive slow motion and hyper stylized camera and sound work (think Washowski's, Tarantino, Rodriquez, etc) but instead a documentary-like commitment to presenting the event as immediate and honest as possible.

As a result, I found myself ingesting these moments for quite sometime after the film. His direction is so self assured that it's actually refreshing. I am sick and tired of violence being portrayed as pop video in modern cinema. All of those exhausting camera angles and obnoxious music in lesser films serve to insult and patronize me... The opening sequence of this film alone stands as an antidote to all of the aforementioned offenders.

In terms of the performances, particular mention must go to Maria Bello. I could really feel her pride, lust, balls out fear, sickening sense of dread fused with an attraction and self-loathing once she learns she may have married a murderer.... Hers was a pitch perfect performance and I'd like to see her nominated for this. I was sincerely moved by this character.

And of course, there is Viggo -although I am sure a lot of people will be writing about his performance most of all, I will say this,whether he is chastising his son about the rejection of violence as a way of dealing with matters (only to then strike him) or casually picking up empty soda cans and smiling at strangers before aggressively detaching two evil men from their time on earth -there is always a duality threatening to burst.... Viggo is walking a line here and it's a pleasure for me, as a cinemagoer, to watch that tension display itself on the screen. And, during one of many climactic moments, when Viggo utters the line "I should've killed you back in Philly" to Ed Harris, he's confirming something we'd already grown to suspect, he is both a midwestern family man and a cold blooded killer. It's a brilliant moment and a shining confirmation of why I still go to the cinema.

Blade: Trinity (2004)

Flat and Laughable... What happened to this film?

[10 December 2004]

What a mess.... A real director was sadly needly for this entrant in the Blade franchise. I was one minute away from leaving due to the excessive expositional dialogue, wooden acting, tasteless product placement, ill-conceived (and worst of all, BORING) action sequences, and the lamest of one liners (although I must admit the bit where Reynolds refers to Posey as a 'c$%k juggling thunder c**nt' was so ridiculous, it was almost humorous).

This film is proof positive that a decent writer does not automatically make for a decent director. There was absolutely no sense of tone, pace, and charisma to this film. It was just one empty moment after another. Gone is the sense of wonder and just plain fun that would typify the Blade films -where was the meat packing rave or the house of pain styled set piece? And what is with the "Matrix' styled green cinematography? I wanted those deep shadows and rich blacks in the colour schemes ala the first two films.

Others have spent considerable effort into detailing just why you shouldn't see this entrant but I realize that, like myself, you'll still have to experience it for yourself. You've been warned.

Garden State (2004)

What film was I watching? (Some Spoilers)

[27 August 2004]

Having been prompted to see this film by the multitude of gushing reviews on this very website by fellow users, I figured I was in for something of a treat. Like most of my twenty and thirty-something peers, I've been typically underwhelmed with this summer's palette of cinematic offerings -mostly monster and lame action flicks -none of which offered up anything remotely interesting, stimulating, or entertaining.

How sad then that "Garden State' should also fall into this category.

I went to this film expecting a strong independent vision with a fresh perspective and captivating characters and storyline. What I received was the most clichéd of clichéd plot lines (dude's mom dies, has to return home to make good with estranged daddy and meets fab chick along the way), an unintentionally arrogant character stance in Zach (this guy annoyed the heck out of me with his pompous dialogue and solipsistic mannerisms), dialog that sounds like it was lifted from first year philosophy class (and NOT a single line rang true for me, even from my buddies who took philosophy), and the lamest visual sight gags to establish how quirky and unique this film's world is -such as the humping dog, dead hamster, old motorcycle with sidecar, Vietnamese restaurant with face paint, houseboat in a canyon, etc... etc ... etc

What an immense letdown. I couldn't help wondering if it was just me? I mean, this film has received unilateral praise everywhere and I'm a fan of intelligent and captivating cinema. But this film not only left me cold but I actively disliked it. It p***ed me off and frankly, I'd like my money back. Check out Napoleon Dynamite which is a much more entertaining and solidly constructed piece of work than this pretentious piece of wonder fluff.

I don't care what everyone is saying. This movie SUCKED!

Halloween (1978)

Still Carpenter's Finest...

[16 August 2004]

Although John Carpenter was doubtless in his prime during this era (from Assault on Precinct 13 to The Fog to The Thing to Escape New York), it is still this film, Halloween, which is his strongest effort.

Working from a narrative standpoint of minimalism (in story, atmosphere, performance and perhaps most effectively, the music), Carpenter creates a feeling of dread and foreboding that perfectly encapsulates the theme of Halloween. Check out those beautiful long and languid steadicam takes while the simplest of melodic motifs plays in the background. The opening act whereby Myers (as a boy) murders his older sister is all shot in one seamless take. It's beautiful and a classic example of why this movie is a product of a bygone era. The modern take on Hollywood horror would never stand for this. We would've been subjected to a thousand edits, loud alternative rock music and whatever passes for the latest in big-boobed talent these days... What a shame...

Anyway, having originally seen this film in about 1980 on television when I was nine, this film short-circuited my mind in much the same manner that it still does today. No small feat considering it's about twenty-five years later and I've catalogued countless movies since that fateful eve.

I applaud John Carpenter for his superb efforts here. If you are in the mood for a ghost story wrapped around a slasher theme then Halloween is the film. A definite classic.

Rating: Thumbs Up

The Driver (1978)

A Fine Study In Cool

[16 August 2004]

I looked long and hard for this film and finally found it online... About a year ago I found the novelization at a local used bookshop and was enthralled. Then I shook loose a repressed memory of a scene from the Driver -well more like an image. That of Ryan O'Neal behind the wheel -shades in place, a study in cool.

Well I was obsessed and had to find the film. Once I did, it was like some sort of archaeological find. I popped it in the vcr (old school all the way) and sat back ready to be taken into a dangerous world of ruthless and amoral characters who live by some sort of twisted samurai code and law of thieves.

In a nutshell, this film delivered in spades. If you can find a copy of it, buy it or rent it. The car chases are extraordinary. The performances and cinematography are gloriously minimal and committed to the aesthetic of 'cool'.

It's a shame that junk like "The Transporter" and "Gone In Sixty Seconds" have come to embody the modern day equivalent of the existential bad guy and wheelman. Those films aren't fit to shine the chrome of this one.

One of Walter Hill's Best.

Thumbs Up.