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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Besides slaving away tirelessly on this blog, I do actually write for other websites. My latest endeavor landed me a guest poster position on CliqueClack.com. If you get a chance, please give it a look. CliqueClack is a cool site dealing with all things Television. So help a blogger out and read my stuff. Did that sound desperate enough?

The Movie Loner

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The heist movie. It’s been a staple in cinema since British Director Frank S. Mottershaw’s A Daring Daylight Burglary in 1903. An innovative revelation, Mottershaw employed groundbreaking techniques such as cross-cutting, composite editing and location shooting. The five minute short heavily influenced American Edwin S. Porter to direct the famous The Great Train Robbery. Porter would advance the filmmaking process by experimenting with double exposures and camera movement to enhance the drama. Modern day heist films still borrow from these early models, however, it is legendary French Writer/Director Jean-Pierre Melville’s crime masterpiece Le Cercle Rouge that has impacted filmmakers young and old. Be it Tarantino’s Reservoir Dogs or Michael Mann’s Heat, many a movie has drawn inspiration from this classic caper.

Upon his release from prison a suave thief named Corey receives a tip about a potential high-dollar score. On the same day of Corey’s discharge a career criminal named Vogel escapes custody of veteran Detective Mattei by jumping from a moving train. A happenstance meeting between Corey and Vogel leads to them partnering up to rob a jewelry store. In need of a sharpshooter to round out the crew, Vogel leads Corey to Jansen, an alcoholic ex-cop with nothing to lose. Together the three men go about the meticulous planning to bypass a sophisticated security system and walk away with a trove of loot. Meanwhile, a determined Detective Mattei edges closer to an underworld informant who has information regarding Vogel’s whereabouts. Can the three thieves avoid the trap that is unknowingly about to be sprung?

Le Cercle Rouge is truly a movie of its time. Subtlety drives the plot forward. The detailed, methodical pace employed by Melville is from a bygone era. Today this film would be riddled with quick cuts, flashy transitions, elaborate action sequences and a booming soundtrack. Melville practices targeted minimalism, focusing on the cerebral rather than the visceral. The elements of crime are mapped out like a scientific formula. The strict professionalism and discipline displayed by Corey, Vogel and Jansen is to be admired, as is their loyalty to one another. Each is given a role and each accepts that role with no hint of jealousy or malice. These are men of action not words. Melville’s script features sparse dialogue, preferring to let a look or expression reveal character. Criminals have much to hide so the choice of limiting chit-chat is both logical and refreshing. A soundtrack of ambient sound instead of music adds to the film’s authentic feel.

Guilt and whether it exists in the soul of every man is a running theme in Le Cercle Rouge. Mattei’s cynical boss repeatedly reminds his detective that all men are capable of wrongdoing and to think otherwise is foolish. Mattei, a circumspect loner whose only friends are three cats, has yet to grow numb to the evils of the world. He believes man is inherently good despite the fact his profession precludes him from observing such virtue. Representing the innate darkside of humanity are the three criminals. Corey, a cool as ice tough guy with smarts to match, exudes a contagious calm that masks a boiling rage. His past is ripe with betrayal, hindering his capacity to love. Vogel is a sheer brute constructed of fists and attitude; he lacks compassion for anything except his own satisfaction. Finally there is Jansen, a sad mystery man who grew tired of the corrupt bureaucracy that once employed him. He seeks redemption not profit. In the end, each man will succumb to his own guilty tendencies not because he wants to, but because it’s in his nature to do so.

The film’s dramatic heist scene is one of great ones ever put to film and also one of the most duplicated. Notably so in Entrapment, although I’m certain I’m missing countless others. Melville depicts every step from beginning to fruition, electing not to distract with cutaways. It provides a thrilling second act conclusion thus propelling the film into its final act which focuses exclusively on the aftermath. The aforementioned Heat brilliantly utilized a similar tactic in its story structure. Some heavy hitters in the French acting community go head to head. Alain Delon’s unflappable Corey is reminiscent of James Dean and Steve McQueen. And the legendary Yves Montand brings an endearing quality to the troubled Jansen. It should come as little surprise that the film is currently being remade by Hong Kong action director Johnny To. It is rumored Alain Delon has a part. Remakes used to bother me but as long as the original exists I could care less how much they butcher a retread. Le Cercle Rouge is an exceptional crime drama and a must-see for those who appreciate film history.

The trailer for Le Cercle Rouge:

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I have some leftovers from Shocktober. Although, Blood and Chocolate is not what I would consider horror. I lump it into the same grouping as An American Werewolf in London, which mixes dark comedy, romance and horror. Now American Werewolf also had its share of gore but the central theme had more to do with David’s transformation from boy to man, than man to wolf. But I digress. Blood and Chocolate combines young love with fantasy and comes away looking more like an extended episode of Buffy the Vampire Slayer (the TV show) than a straightforward werewolf flick. With that in mind, it still possesses enough elements to qualify entry into the scare genre.

Welcome to Bucharest, Romania. Home of the famous Cismigiu Gardens, the Arcul de Triumf, and the Loup-Garoux. Beautiful gardens, a giant arch and a pack of ancient werewolves. Also calling this historic city home is Vivian (Agnes Bruckner), a reserved teen betrothed to the leader of the Loup-Garoux, Gabriel (Olivier Martinez). Torn by her innate affliction, Vivian is not particularly fond of her ancestors’ bloodthirst. Her misgivings attract the suspicious eye of her cousin Rafe, a loose-cannon wolf boy who is heir to the Loup-Garoux throne. Complicating matters further for Vivian is her budding relationship with only-human writer Aiden (Hugh Dancy). Vivian and Aiden are breaking werewolf law, much to the chagrin of Gabriel, who views all non-shape-shifters as the enemy. Unwilling to halt their dangerous liaison, the young lovers find themselves at war with the Loup-Garoux, who will fight to the death to preserve their primeval legacy.

Werewolves, MTV style. That’s basically what we got here. Lots of attractive, nubile bodies writhing shirtless in the woods. How can you find fault in that? Director Katja von Garnier adds another chapter to her female empowerment series: femme fatale criminals in Bandits, women’s suffrage in Iron Jawed Angels, and now lady lycanthropes in Blood and Chocolate. Vivian plays the typical adolescent girl defying her family’s wishes in an effort to live her own life on her own terms. Her defiance of the dominant male archetypes emboldens her role as feminist warrior. However, she is far from a hardened woman; It is a naive passion and love for a man that drives her to reject familial tradition. She isn’t guided by bitterness or retribution but rather hope in the future, a future filled with possibility and devoid of brutality.

The choice by screenwriters Ehren Kruger and Christopher B. Landon (also author Annette Curtis Klause) not to make Vivian some sort of superwoman is essential. Her and Aiden formulate a modernistic partnership where both strive for equal footing. Aiden is no push-over. His ability to adequately defend himself against other-worldly creatures makes him a worthy match for Vivian. Kindness, creativity, and undying loyalty are the traits that attract Vivian. For all her strength, loneliness and a sense of not belonging, make her a vulnerable character in need of support. Aiden is more than capable of providing a proverbial rock to lean on.

Stunning Bucharest architecture combined with dark untamed forests contribute an ideal backdrop for this moody story. Katja von Garnier astutely maneuvers her camera through age-old streets and inside archaic churches, not wasting any chance to show-off one of Europe’s pristine cities. The plot is a little thin, and watching the “pack” hungrily stalk its prey is silly, but the film is nevertheless entertaining. Bruckner is credible playing Vivian; she is meant to be quiet, but her face seems too vacant at times. Olivier Martinez once again butchers English, making me wish he’d just been subtitled. Although he does portray Gabriel in an appropriately menacing fashion. I wouldn’t call Blood and Chocolate a guilty pleasure but I was surprised I enjoyed it as much as I did. Not deep or revealing, it will keep your attention and in 2008 that’s a pretty high complement.

The trailer for Blood and Chocolate:

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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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John Travolta is one of those movie stars who every once in a while will surprise you with not only his choice of roles, but also his performance. It’s amazing the same guy who starred in drivel like Shout, The Experts, Battlefield Earth, and Swordfish has been involved with such seminal films as Carrie, Saturday Night Fever, Grease and Pulp Fiction. It has been a feast or famine career for Johnny, that’s for certain. But it’s his smaller projects, the ones that go relatively unseen, that have always peaked my interest. One such title is A Love Song for Bobby Long, a thoughtful drama set in the majestic city of New Orleans.

After the death of her estranged mother, independent teen Purcy Will (Scarlett Johannson) returns to her childhood home in New Orleans. Upon arriving at her mother’s ramshackle house, Purcy finds two squatters have taken up residence. One is ex literature professor Bobby Long (Travolta), a curmudgeonly drunk with a smooth southern drawl. The other is Bobby’s protege, Lawson Pines, a brooding writer who prefers a bottle over a typewriter. With no place to go, Purcy moves in, much to the chagrin of a stubborn Bobby. Despite differences, the three make a home together. As Purcy, Bobby and Lawson draw closer to one another, long kept secrets are revealed. Three intertwined lives reach a crossroads. Each must leave behind a tragic past and allow old wounds to heal in order to begin anew.

Director/screenwriter Shainee Gabel crafts a multi-layered story about three lost souls haunted by the ghosts of past mistakes. The crumbling house serves as a metaphor for the broken characters. By fixing the house together, Purcy, Bobby and Lawson are in reality fixing themselves. However, a fresh coat of paint is a cosmetic repair; it can cover-up the outside but can’t mend the inside. To free themselves from self-imposed prisons they must learn to accept, forgive and love. Fear prevents them from advancing: fear of failure, fear of success, fear of the unknown. Pastel images of a serene pre-Katrina gulf coast provide a welcome respite from the drama. In addition, a toe-tapping soundtrack consisting of blues and jazz enhances the Big Easy atmosphere.

Travolta delivers one of his finest performances playing the charming, tortured Bobby Long. He spins boyhood tales, quotes the great authors, and lives a life of whimsy, never allowing his personal demons to surface. I’ve never been a fan of Scarlet Johansson’s acting, but her transformation from headstrong little girl to responsible young woman is pleasing. The real find is Gabriel Macht as Lawson. If Bobby is the id, Purcy the ego, then Lawson is the superego. He is a leash to Bobby and a mediator between Bobby and Purcy. Lawson’s thick beard hides a bounty of hurt, but it’s his good-nature that attracts Purcy and keeps Bobby sane. Characters with depth and an intriguing script that avoids being overwrought makes A Love Song for Bobby Long a sleeper of a movie. See it if for no other reason than watching John Travolta be an actor instead of a movie star.

The trailer for A Love Song for Bobby Long:

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Here I go again writing about big-budget blockbusters. Well, too bad. I’m a movie nut, so forgive my indulgences. One thing all my dedicated readers (all ten of you) should know is I’m one of the biggest 007 fans alive. I’ve seen every Bond flick multiple times and have looked forward to every incarnation of the MI-6 super-spy since the days of Connery, Sean Connery.

Without question the best James Bond is the current James Bond — Daniel Craig. If you want to read my reasons why do a search on this blog for Casino Royale. It’s all there in black and white. He is the truest representation of Ian Fleming’s legendary literary character.

I just saw Quantum of Solace. First off, it’s not as good as Casino Royale, but that’s hardly an indictment. I happen to believe Casino Royale is easily the best Bond film ever produced. Better than From Russia with Love, Dr. No and For Your Eyes Only. So where does that place Quantum of Solace? Near the top in my book.

Rather than write a full review, I’m going to expound on three attributes that make the newest chapter in the Bond series worthwhile. First, it picks up literally after Casino Royale ended. Bond has kidnapped the mysterious Mr. White and taken him to M for questioning. Why is this important? Because unlike the twenty films prior to Craig’s involvement, an actual story thread is being weaved. Up until Casino Royale, Bond movies were stand alone features that whisked 007 to remote locales to foil some nefarious villain bent on world domination. Sure there was the S.P.E.C.T.R.E connection during Connery’s time but it didn’t represent an actual arc that bled from film to film.

What the current writers (Paul Haggis, Neal Purvis and Robert Wade) are successfully attempting to do is retell the Bond tale from its beginnings. How did he get his start? What drove him to become who he became? This narrative technique humanizes 007. He’s no longer a quipping cartoon character, but rather a man who feels life’s emotions: joy, love, fear.

Quantum of Solace represents the second-act in the evolution of James Bond. In Casino Royale, we saw a reckless yet vulnerable figure whose blood-thirst was quelled by the love of a woman. In Quantum, we see a single-minded killing machine fueled by vengeance and the pain of loss and betrayal. Despite his brutal actions, he seems almost more vulnerable, perhaps because he has crossed the line between personal and professional. He allows his emotions to consume him which clouds his judgment and threatens his 007 status.

Secondly, the film does a precise job of connecting the dots between villains. There is the archetypal bad guy, but he shares the antagonist label with numerous others. Government advisers, wealthy philanthropists, Central American despots, the CIA and MI-6 itself all take turns dancing on the dark side. We live in a transnational world with numerous hands reaching into the same cookie jar, eager to get theirs. Quantum of Solace correctly postulates that it takes many, not one, to exploit a third-world nation of its natural resources just as Casino Royale correctly presumed it takes many to fund international terrorism. The globe is shrinking, borders are disappearing, governments are picking sides. One day they may be fighting for right, the next day for wrong. Whichever side offers the sweeter deal is the one they’ll choose.

Finally, there is Daniel Craig. I lied. I am going to heap more praise on the sixth actor to carry a license to kill. In Casino Royale M refers to Bond as a “blunt instrument.” It’s meant as an insult, but the words imply more of a complement. He is cold and vicious and he needs to be in order to survive. Killing shouldn’t bother him in the least. As he tells Vesper, “I wouldn’t be very good at my job if it did.” Craig takes Bond’s bluntness to new heights in Quantum of Solace. He kills without remorse, guided by a steely glare. His eyes reveal indifference. After stabbing a “contact” in the neck, he holds the man down forcibly, waiting for the final breath to exit the man’s broken body. He seems frustrated that it takes so long for the man to die. This ruthless persona defines the 21st Century James Bond.

Craig exudes charm in his own way, but it’s the brutish kind, similar to that of Connery’s. This trait is befitting Bond who is first and foremost a man’s man. Pierce Brosnan and in particular Roger Moore were too proper for the role. Brosnan was suave and Moore humorous, but each failed to fully encapsulate Bond’s rogue nature and proclivity for inflicting violence. It is these qualities that make Craig such a strong 007. He operates in a world of secrets and lies, a world where trust is fleeting and treachery commonplace. To navigate and exist in this world James Bond must be willing to crawl in the dirt to achieve his objectives. At least he’ll look good doing it in his custom fit tuxedo.

Quantum of Solace continues the origin story of James Bond 007. But it is only the second act. What follows will almost certainly peel back another layer of the iconic MI-6 agent’s personality. I can’t wait to see what is underneath.

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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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