Movie Loner

When you think of Asian cinema the first countries that pop in your mind are usually Japan and Hong Kong/China. While these countries have produced more than their share of memorable films, Korea has begun to make a credible name for themselves since the year 2000. Movies like Spring, Summer, Autumn, Winter… and Spring, a caustic meditation about the dangers of lust, and Oldboy, a mesmerizing vengeance tale, have opened the eyes of critics and cineastes alike that Korean filmmakers are carving an impressive niche in the realm of international film. One of the best examples of this is Writer/Director Ji-woon Kim’s A Bittersweet Life, a visceral examination of loyalty set in the urban underworld of crime syndicates.

Sun-woo is a soft-spoken mob enforcer who lets his hands and feet speak for him. His boss, Mr. Kang, is one of the city’s most notorious gangsters. Sun-woo’s latest assignment is too watch Kang’s young girlfriend Hee-soo, whom Kang believes is having an affair. With Kang away on business, Sun-woo pays the young woman a visit and is immediately transfixed by her innocent beauty. A single smile is all it takes for Sun-woo to fall hard, but the revelation that she is guilty of infidelity leaves Sun-woo having to choose between his obligations to Kang and his feelings for Hee-soo. His decision unleashes a brutal string of violence that will pit himself versus Kang and the rest of the city’s kingpins.

A Bittersweet Life is an existential study about man’s choices and how they significantly impact his role in society. Sun-woo lives his life as if he were free of complications. Alone with no friends, he says and does what he likes and has the physical tenacity and skill level to defend himself from objectors. But his life is not his own. He belongs to Kang and Kang’s traditional, albeit warped, sense of honor. Sun-woo’s naivete concerning the consequences of his well-intended actions is what leads to his undoing. The final act confrontation between teacher and pupil is both sad and disheartening. Sun-woo’s failure to comprehend Kang’s vicious retribution causes the vengeful warrior to weep bitter tears, as is he were a little boy crying over a father’s strict punishment.

“A life too harsh…” Sun-woo’s final words serve as a painful reminder that life is a privilege not a promise. Early on, Sun-woo is presented as a ruthless robot with an empty soul committed to duty and nothing else. But he is a man, and therefore vulnerable to the weaknesses of man. A sweet glance from a beautiful woman is all it takes to fill his cold, vacant heart with warmth. The image of a playful, child-like Sun-woo boxing his own reflection while overlooking the cityscape at night deftly juxtaposes his inner battle. Sun-woo isn’t just fighting himself, he’s fighting the entire outside world. He fights for something better. He fights to find a place where he fits.

Ji-woon Kim is first and foremost an action filmmaker. The hand-to-hand combat and shootout sequences are well-executed and intense. The film’s action centerpiece, an escape from a heavily guarded compound, is choreographed in breathtaking detail and stands alone as a stunning achievement in the martial-arts genre. Byung-hun Lee’s icy portrayal of Sun-woo is a wonder to witness; his ability to juggle heartless and sensitive is impressive and utterly believable. A Bittersweet Life combines western elements with a touch of romanticism resulting in a masterful work from one of Korea’s up-and-coming Writer/Directors. It’s a movie definitely worth your time.

The trailer for A Bittersweet Life:

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Writer/Director Brad Anderson is one of the more unheralded filmmakers working today. Most movie fans, not cinephiles like me, have probably never heard of him. They may have seen his movies but the name didn’t register. Maybe it’s because it’s ‘Brad Anderson’ and not say Quentin Tarantino or Darren Aronofsky. His name may be bland, but his films definitely are not. Next Stop Wonderland, Happy Accidents and Session 9 are all quality stories that explore the disparate genres of romantic comedy, science fiction and horror. Anderson’s latest, Transsiberian, treads into the compelling territory of the crime thriller.

After finishing some charity work in Beijing, do-gooder hardware store owner Roy (Woody Harrelson) and his on-the-wagon bad girl wife Jessie (Emily Mortimer) hop the Trans-Siberian railway headed for Moscow. Roy, guided by a naive sense of wonder, soaks up the experience as well as the native Russian culture. A more reserved Jessie prefers to hide behind her camera snapping photos at every opportunity. Things take an interesting turn when young couple Abby and Carlos join Roy and Jessie in their cramped compartment. Carlos, a smooth-talking Spaniard, takes an immediate liking to Jessie. Spurning Carlos’ advances, Jessie elects to get closer to a quiet Abby.

At one of the routine railway stops Roy gets separated from Jessie and misses the train. Jessie, joined by Abby and Carlos, get off in the next town to wait for Roy. To pass the day, Carlos and Jessie embark on a sightseeing excursion to a timeworn Russian church located in a remote forest. An incident sends a panicked Jessie running for the hills. Upon returning to town, she rendezvous’s with Roy to resume their trip. An uneasy Jessie is hiding something. Soon an ice-cold detective named Grinko (Ben Kingsley) begins to suspect Jessie. Complications arise involving a drug-smuggling ring, the Russian mafia, and a missing Carlos. A leisurely cross-country journey becomes a dangerous fight for survival for Roy and Jessie.

“Better to live in darkness or die in the light?” An offhand remark by Grinko carries a deeper meaning as the plot progresses. Roy and Jessie find themselves enveloped by darkness without a light. Secrets and lies launch them into a downward spiral of torture and violence. Anderson spins an uncomfortable web for his characters to dwell. Desolate, wide-open spaces contrast with tight, claustrophobic rooms. Whether a snow-covered clearing or a cramped train cabin, Jessie and Roy are either draped in solitude or smothered by congestion. Trouble lingers around every corner. Anderson strips away any sense of safety early on, purposely hinting that things will not go well for his protagonists.

There seems to be a cinema backlash against Americans traveling abroad in recent years. The Hostel movies and Turistas are brutal examples of the perils that can befall those brave enough to venture into the unknown. Perhaps it’s an indictment on the United States’ less than stellar reputation around the world. Or it could be a statement against trying to impose one’s will or ideals on a foreign country. Anderson seems to chastise Jessie for her irresponsible actions; she knows better but temptation seduces her. As much as she’s attempting to reform her wayward ways, she is reluctant: “Kill off all my demons, Roy, and my angels might die, too.” These foreboding words reveal a skewed, arrogant logic that ultimately haunts Jessie.

Emily Mortimer is superb as Jessie. She brings fragile toughness to a character with more questions than answers. This is Mortimer’s film and she adeptly carries it from start to finish. Woody Harrelson doesn’t get to do much until the final act, but his wide-eyed Roy is both endearing and comical. Rounding out the cast is Ben Kingsley, who provides a creepy likability to the stone-faced Detective Grinko. A harmless exterior conceals a vicious interior. Transsiberian played at Sundance back in January but received only a limited release over the summer. It’s a good little film that showcases Brad Anderson’s ability to jump genres without skipping a beat.

The trailer for Transsiberian:

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In 1974 author Robert Cormier changed the face of teen literature with the publication of his controversial and groundbreaking novel The Chocolate War. Up until that point, books aimed at young adults were of the light, milquetoast variety complete with upbeat, optimistic endings. Cormier’s treatise on power run amok inside a Catholic boys high school still occupies a place on the American Library Association’s list of most banned books. In 1988, Writer/Director Keith Gordon chose to adapt Cormier’s novel for his directorial debut. If ever a book was perfect for treatment on film it’s The Chocolate War. Gordon’s vision stands as one of the greatest high school examinations ever produced.

Jerry Renault (Ilan Mitchell Smith) is starting his freshman year at Trinity Catholic School for Boys. Renault, quiet and circumspect, is just looking to fit in. A complex hierarchy exists at Trinity. At the top is Brother Leon (John Glover), a strict educator who rules with a wooden pointer. Below Brother Leon are the actual rulers of the school, a not so secret society called the Vigils. The Vigils are composed of select upperclassmen who maintain control and order through creative methods of intimidation. Acting as chief intimidator is Archie, a smooth Svengali responsible for doling out “assignments” to underclassmen. Defying the Vigils’ directives is forbidden. To do so would result in exile.

It’s that time of year again at Trinity. Time for the annual chocolate sale. Brother Leon, searching for a financial windfall, has increased the sales goal from 15,000 boxes to 20,000. Every boy must sell 50 boxes each. Guileful Archie decides to rock the boat and assigns Renault to not sell his chocolates for ten days. Renault accepts, but once the ten days are up, continues his refusal thus disobeying the Vigils. Renault fails to buckle under increased pressure, making him a pariah amongst the student body as well as a target for a Vigils-led smear campaign. His righteous decision also threatens the chocolate sale. A panicked Brother Leon is forced to turn to the Vigils to ensure the sale succeeds. Dealing with the Vigils is dealing with the devil. Renault soon discovers he must defeat the Vigils at their own game. However, to win means losing himself. To win means becoming one of them.

“Be true to yourself.” Brother Leon extols the virtues of self-reliance early in The Chocolate War by praising a student for not succumbing to the rule of authority. The irony of his words echo throughout the remainder of the film. Leon, like everyone else, is at the mercy of the system. A system, as Archie so profoundly explains, built on greed and cruelty. The individual has no place inside the system. He cannot function alone because he is beholden to its inner-workings. Those who buck the system are destined to be sucked inside. Leon, Renault and Archie all attempt to break free from the power structure and all three are punished for their malfeasance. No one part is ever bigger than the sum. It is a sad but true reality. Not just in The Chocolate War, but in life.

Keith Gordon has directed some excellent films (Waking the Dead, A Midnight Clear) but none on the level of The Chocolate War. He paints a surreal canvas with light and shadow. The stark contrast of blacks and whites utilized by he and Cinematographer Tom Richmond deftly illustrate the thematic battle between good and evil. Characters expose their false selves in light, while concealing their true nature in darkness. Gordon traps them in confined spaces, walling them inside classrooms, bedrooms and boxing rings. His frame disallows escape because escape is impossible. An excellent soundtrack featuring songs by Peter Gabriel and Kate Bush complements the film’s mood perfectly.

Ilan Mitchell Smith supplies a naive bravado to Renault, a troubled youth still haunted by memories of his deceased mother. John Glover (52 Pick-Up) delivers another noteworthy performance playing Leon, a sad man desperate to maintain his place in the world. But the real star is Wallace Langham who portrays Archie, an unctuous bully too clever for his own good. In a story filled with victims, Archie may be the biggest victim of all. The Chocolate War is a thought-provoking masterpiece about adolescent alienation that shouldn’t be missed.

The trailer for The Chocolate War:

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Philosophical debates among intellectuals are often pedantic and elitist. Listening to brilliant minds spout abstract theories and deconstruct worldwide problems, albeit informative, can become quite tedious. While appropriate material for Charlie Rose or a BBC round-table, putting this sort of cerebral subject matter on film is a tricky process. Movies like Louis Malle’s My Dinner with Andre and Richard Linklater’s Slacker are successful examples of dialogue-heavy projects that carefully tread into the realm of higher thinking without insulting their audiences’ intelligence. Add Mindwalk to that list; a passionate film of ideas written by renowned physicist Fritjof Capra.

Burned-out politician Jack Edwards (Sam Waterston) needs a break from the D.C. grind. A trip to France to visit his poet friend Thomas (John Heard) is the perfect remedy. Once there Jack and Thomas take a drive to the medieval islet of Mont-Saint-Michel to spend the day. What begins as an ordinary touristic excursion takes an interesting turn after meeting Sonia (Liv Ullmann), a disenchanted physicist on a lengthy sabbatical. It doesn’t take long before three disparate minds engage in an intelligent, heated discourse. Socially relevant topics include the mechanization of humans, global warming, voter apathy, the consequences of scientific advancement, and the meaning of life. While differing on many issues all three are respectful of the others opinion. A fascinating walk ensues as each submits their own distinct vision of a planet in turmoil.

Director Bernt Amadeus Capra, brother of Fritjof Capra, creates a meandering story void of plot or device. It unfolds as a filmed stage play composed of several monologues. The camera acts as a casual observer: it’s not meant to distract but rather simply document. Dazzling architecture and gorgeous scenery of Mont-Saint-Michel provide a stark contrast to the depressing cynicism uttered by the characters. The systematic destruction of the environment is a prescient subject for 1990, long before Al Gore’s vocal crusade entered the mainstream. Also deliberated is the abuse of science by world goverments. Instead of using scientific betterment to solve society’s problems bureaucratic institutions often choose to improve military infrastructures. Capra paints a bleak picture of society’s ills, but also offers a glimmer of hope. Jack, Thomas and Sonia do more than just speak to each other, they listen. If humans, particularly those in positions of power, listen to differing viewpoints perhaps the world would be a better place.

Mindwalk features three unique performances from its actors. Sam Waterston portrays frustrated ex presidential candidate Jack Edwards as an idealist who still believes change is possible. Politicians talking about change. Sound familiar? Edwards isn’t angry, he’s lost. John Heard’s struggling poet Thomas checked-out years before, unable to cope with the system. He plays mediator to Jack and Sonia, chiming in with a quip or a quote, but it’s his final act recital that resonates. Rounding out the cast is the iconic Liv Ullmann who carries the film playing Sonia, a perceptive scientist hiding from a world she no longer recognizes. Ullmann’s role is filled with weighty dialogue, but she delivers without missing a beat. Mindwalk won’t be to everyone’s liking. Non-stop talk and confusing concepts can be turnoffs. With that in mind, if you enjoy challenging films it is well worth your time.

A scene from Mindwalk:

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I’ve been called a cynic, insensitive, and on occasion, uncaring. I’ll admit to all of these claims, but there are still things I find disturbing. In terms of films, there aren’t many that have unnerved me in my life. Off the top of my head, Gasper Noe’s brutal Irreversible and Alain Resnais’ stirring documentary Night and Fog are a couple that have stuck with me. I don’t hide from the cruelties perpetrated in the world, so there isn’t much I find shocking or perverse. I just finished covering horror movies for October. Although it isn’t classified under horror, Gus Van Sant’s Elephant is one of the most frightening movies I’ve seen in recent memory.

It’s a gray autumn day at an ordinary bucolic high school. Students meander hallways, mingle with friends, and make plans for the future. The typical clicks are introduced: jocks, nerds, geeks and loners all go about their daily routines. Everything appears normal but an ominous aura hangs over the school. No amount of gossip or giggling can crack the eerie quiet that grips the halls. Through a series of flashbacks we meet Alex, a shy outcast who has become a target for spitball hurling bullies. Alex and best bud Eric hang together in a basement, play video games and wait for a deadly package to arrive in the mail.

Back to the seemingly normal fall day. Alex and Eric converge on the school, dressed in fatigues, armed with machine guns and bombs. Frustrated by alienation, the two teens unleash a plot to attack the school and murder as many students as possible. They maneuver through the building with extreme prejudice, shooting anyone who comes into their sights. Panicked students attempt to hide as the harsh sound of gunfire echoes in the distance. The motivation for Alex and Eric’s actions is unclear, but the barbarism they inflict is cold and calculated. The matter-of-fact manner in which they unfold their vengeful plan is as upsetting as the images of bullet-riddled bodies left to die.

Several social issues are contrasted in Elephant. Gun control is clearly at the center. The ease at which Alex and Eric are able to secure weapons, via the internet, brings into question the validity of our checks and balances when it comes to acquiring guns. Also at play is the absent or neglectful parental figure. The only adult, besides teachers, we see is a character’s drunken father who is so inebriated he’s unable to drive his son to school. Bad parents aren’t solely to blame for teens embarking on a rampage, however a lack of guidance and discipline is certainly a contributing factor. Finally, there is the stunted growth and social ineptitude of both Alex and Eric. Everyone gets ridiculed in high school. It’s a minority that resorts to violence as a method of retribution. Not all outcasts dwell in a cloud of perpetual darkness. What transformed Alex and Eric into ruthless killing machines? Violent video games or repeated harassment are not adequate explanations. Van Sant doesn’t pretend to have the answers. He seems as perplexed as society.

Van Sant creates a surreal nightmare that purposely mirrors the inhuman Columbine massacre of 1999. He rejects artifice in favor of a more naturalistic style, concentrating on long takes and simple transitions. No flashy effects or quick-cutting to romanticize the action. He utilizes sound to perfection. The chilling dullness of a shotgun blast. A shrill scream from a weeping girl. These audible assaults define terror on a whole new level. Van Sant employs a cast of non-actors to portray the student body. The raw realism of the victims and the stunning apathy displayed by Alex and Eric are proof that acting classes are a waste of time. Elephant is 80 minutes of unforgettable horror. It’s difficult to watch but if you appreciate honest cinema do yourself a favor and see this excellent film.

The trailer for Elephant:

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Unfortunately, action movies have become a dime a dozen. Originality and creativity have disappeared in this tried and true genre. With one exception, what I call the “deadline plot”. Guy Ritchie discovery Jason Statham has popularized this type of adrenaline-laced cinema with The Transporter and Crank movies. Basically, the hero is given a set amount of time to complete a perilous mission. Deliver a package, find a poison’s antidote, or defuse an explosive device. What hopefully follows is a non-stop thrill-ride culminating in an intense climax. I’ve seen a lot of these films in recent years but the best one so far is the French produced District B13, an impressive ballet of martial-arts fueled action that leaves you wanting more.

In 2010 Paris, the city’s most crime infested ghetto, District B13, has been walled off by government decree. Behind these walls normal citizens coexist with ruthless criminals. Waging war against the drug lords is a nimble Robin Hood named Leito (David Belle). Leito leads a one man crusade to stop the local kingpin, Taha, from destroying the neighborhood he calls home. After Leito steals a case of heroin from Taha the crime boss retaliates by kidnapping Leito’s sister, Lola. Leito breaks into Taha’s compound, rescues Lola, and snatches Taha for collateral. Once he delivers Taha to the police he is double-crossed. The cops free Taha and hand Lola over to him. An enraged Leito is sent to jail.

Six months later a government truck carrying a high-tech bomb is raided by Taha’s thugs. Upon opening the bomb’s case, the bomb is armed. Taha orders his men to discard it immediately. At police headquarters, top-cop Capt. Damien Tomaso (Cyril Raffaelli) is recruited to enter District B13 to disarm the bomb. To ensure passage through the deadly district he joins forces with Leito. Reluctant partners, Leito agrees so he can save Lola, while Damien is determined to complete his mission. Together, the two utilize their martial arts training and traceur skills to navigate the dangerous pitfalls of District B13. Will they reach the bomb in time to prevent it from annihilating an entire section of Paris? Or are they victims of a cruel betrayal?

Borrowing liberally from John Carpenter’s classic Escape from New York, District B13 debates the solutions for a city infested with crime. The government’s answer is simple yet cold: box in the animals and let them kill each other. This archaic line of thinking eschews all compassion for innocent citizens trapped within the district who have no way out. In fact, the government views everyone behind the wall, including Leito and Damien, as expendable. The duo merely represents a means to an end. They serve as pawns on a chessboard controlled by sinister agents who believe the best strategy to achieve check mate is mass destruction. This prevailing attitude is sadly shared by governments across the globe. However, more often than not the easiest solution to a problem is the one most damaging.

The dynamic opening foot chase had me absolutely hooked. The action sequences are incredible. If you’re not familiar with “traceur”, it’s an extreme sport that combines running, jumping and gymnastics and was developed by David Belle. He and Cyril Raffaelli are two of the world’s best practitioners. It’s difficult to describe, you kinda have to see it for yourself. Safe to say it requires balance and concentration. Anyway, watching Belle and Raffaelli strut their stuff is eye-opening. District B13 could have been another run-of-the-mill borefest posing as action, but instead it’s an amazing display of edgy stuntwork and gunplay. Credit Director Pierre Morel for keeping the story simple and allowing his two stars to take over. A sequel is filming now and is expected to be released sometime next year. If you’ve been hankering for a new breed of action flick check out District B13.

The trailer for District B13:

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Do you like scary movies? If so, here’s what you do. Rent a cabin or cottage in the woods with your significant other. Once your settled, wait until dark. Get comfortable in front of the television. Load Them into the DVD player. Kick back and enjoy, remembering it’s only a movie. I’m nothing if not responsible so I feel it appropriate to inform you it’s a movie based on actual events. That’s right, the events depicted happened for real. I’m not prone to hyperbole, so when I say this is one of the more disturbing films I’ve seen in years, I mean it.

Late one night a mini-van runs off a remote country road leaving a mother and daughter stranded. Something or someone is waiting in the nearby woods. The mother soon vanishes. The daughter leaves the van to search. A voice from the trees sends her running back to the van. In a panic, she locks herself inside. She is not alone.

The next day a teacher named Clementine drives the same country road returning to her massive estate house located in the dense forest where she lives with her boyfriend Lucas. Clem and Lucas talk about their days, eat dinner, watch television, then retire to bed. Clem, an insomniac, returns to the living room to do some work. The phone rings. She answers but hears only odd static. She hangs up and decides to go back to bed.

In the middle of the night, she awakens. Loud music can be heard outside. She revives a sleeping Lucas. Together they stumble downstairs to investigate. Lucas ventures out the front door. Someone is stealing Clem’s car. An angry Lucas gives chase but the car drives off. Clem and Lucas go back inside to call the police. The lights go out and the phone goes dead. Panicked, the couple lock themselves in their bedroom. Strange noises filter from downstairs. Lucas and Clem are trapped. They have invaded. They won’t leave. But who or what are ‘They’? Strap in for a terrifying game of hide-n-seek that will stick with you long after the end credits roll.

Them dispels the myth of domestic security. A beautiful house in the country, away from the dangers of the city, the dream of every young couple. This dream, and its implied safety, is shattered by the most egregious of personal attacks: Home invasion. Lucas and Clem’s bucolic lifestyle offers a promise of happiness. The grim actions perpetrated on their ideal existence serves as a brutal reminder that the evils of the world can befall anyone, anyplace, anytime.

The most shocking element is the identity of these purveyors of savagery. Without giving away anything, the revelation makes a chilling statement on the spread of societal violence. In the film’s coda, one of the guilty provides a sadistic explanation for the acts committed: “They wouldn’t play with us.” These ominous words should be a warning to every man, woman and parent who falsely believes in the guarantee of protection.

73 minutes. That’s all it took to tell this harrowing tale. Not a second of film is wasted by Writers/Directors David Moreau and Xavier Palud. They allow no chance to catch your breath once the plot gets going. Sound sells the terror. Hurried footsteps, plastic sheets flapping in the wind, a tree trunk cracking, the unnerving screech of a noise-maker. Them is pure horror through and through. Olivia Bonmay and Michael Cohen are phenomenal playing terrorized couple Clem and Lucas. Flawless nighttime cinematography by Axel Cosnefroy adds tone to the frightening atmosphere. Normally, I would include a trailer but to do so would ruin the film. If you’re a horror fan, see Them. I promise you won’t be disappointed.

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Twist movies are risky. If they work they can be amazing. The Usual Suspects and The Sixth Sense utilized twist endings to their benefit and went on to become modern-day classics. When a twist fails it can bring a movie to its knees. A disaster like What Lies Beneath is evidence of when filmmakers attempt to be too clever. A twist has to fit into the context of the story and ultimately be believable, surprising and not absurd. The Life Before Her Eyes is a twist movie that works. Maybe you’ll see it coming, maybe you won’t. Either way it proves to be an intriguing journey.

Diana McFee (Uma Thurman) lives a seemingly ideal life in a quiet, small town. She has a professor husband named Paul and a ten-year-old daughter Emma. It’s the 15th anniversary of a tragic school shooting that claimed the life of Diana’s best friend, Maureen. Diana is struggling with bitter emotions and through a series of flashbacks her life as a teenager and her relationship with Maureen unfolds. Diana and Maureen were complete opposites: Maureen was a good, church-going girl eager to go on a first-date; Diana was a trouble-maker who smoked pot and slept with older guys. Despite their differences, they were attached at the hip and would often talk about how their future lives might turn out.

Diana’s daughter Emma is a mirror-image of her mother. Emma’s rebellious ways cause much despair for Diana and conjure more bad memories from her teen years. Paranoia consumes Diana’s present life while she deals with her terrible past. As her sanity erodes, choppy images of that fateful day 15 years earlier take center stage. The strained friendship between Diana and Maureen during the days prior to the shooting still haunts the elder Diana. Their final moments together are painful to watch, but they are crucial in unlocking the mysteries of Diana’s past, present and future.

Director Vadim Perleman (The House of Sand and Fog) deals heavily in atmosphere. He creates an unsettling, yet fascinating environment. Everything appears straight-forward at first but as the plot evolves an uneasy almost eerie tone takes hold. The aforementioned twist fits, although you may have to re-watch the ending to fully grasp the impact. Uma Thurman is convincing as the older Diana, however, Evan Rachel Wood, who plays the younger Diana, steals the film with her dead-on portrayal of a frightened teen hiding behind a gruff exterior. I’m a big fan of movies that make you use that thing between your ears. The Life Before Her Eyes is a twist movie that definitely requires close attention be paid at every turn.

The trailer for The Life Before Her Eyes:

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