Movie Loner

I haven’t done this in a while. Rather than fully expound on one film in particular, I thought I’d recommend a few films quick-hitter style. Here are five quality titles deserving of finding a larger audience.

Appaloosa (2008) – This underrated western directed by and starring Ed Harris slipped through the cracks last year. Gritty and well-acted, it tells the story of two hired guns’ attempt to rescue a small New Mexico town from the grips of a murderous rancher. It’s a terrific film about loyalty, friendship and jealousy co-starring Viggo Mortensen, Jeremy Irons and Renee Zellweger.

Reprise (2006) – A nuanced character study about two life-long friends who go their separate ways after becoming published writers. One is a lovelorn genius battling depression. The other a timid nice guy who struggles to step out from his friend’s shadow. This beautifully photographed meditation on the madness of love and the pitfalls of success reflects well on Danish cinema.

Humboldt County (2008) – An appropriate movie to discuss on 4/20. Nebbish med student Peter Hadley checks out of his life for a while and lands smack dab in the middle of marijuana country. The counterculture clashes with the suit and tie crowd in this offbeat comedy. A stand out performance by Brad Dourif as an ex-professor turned pot dealer highlights this below the radar gem.

The Host (2006) – This South Korean horror flick about a mutant creature terrorizing the residents dwelling on the River Han generated some buzz a couple years ago. The Host is more about a distant family coming together than a giant man-eating lizard, which separates itself from most movies in the genre. Credible special effects keep this one from treading into the land of the silly.

The New Guy (2002) – It’s not just another slapstick high school comedy about a nerd becoming popular. Well, maybe it is, but it’s still entertaining. DJ Qualls does his best Patrick Dempsey impression from 1987’s Can’t Buy Me Love and carries the movie on his narrow back. Look for guest apperances from Lyle Lovett, Tony Hawk, Gene Simmons, Tommy Lee, Henry Rollins, David Hasselhoff and Vanilla Ice. Now that’s casting, folks!

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Whatever happened to the good old fashioned mystery? It’s a genre that has been severely lacking in recent years. Movies like Eagle Eye and Deja Vu masquerade as mysteries, but ultimately they fail to achieve the standards of a true whodunit. I guess they deserve credit for trying, although being loud and intense can’t substitute for a well-written script and clever plotting. When I think of quality mysteries, films like All the President’s Men and The Conversation come to mind. It seems no one is willing or capable of producing intelligent, high quality stories on the same level as those seminal masterpieces. Well, at least not in Hollywood. The best mystery I’ve seen in years comes from France. It’s called Tell No One and it takes you on one helluva ride.

Eight years ago, Alexandre Beck’s wife Margot was murdered near a lake in the woods. Alexandre has never fully recovered from the tragedy, so when he receives an anonymous email from who be believes is Margot, his suspicions are raised. The discovery of two bodies buried near where Margot was found dead further enhances Alexandre’s assertion Margot may still be alive. The police re-open the case, but just like eight years before, their leading suspect is Alexandre. While attempting to clear his name and uncover the truth, Alexandre is framed for murder and pursued by an unknown group who have a keen interest in whether or not Margot is in fact dead. What follows is a complex game of cat and mouse that will open a vault filled with secrets, lies and betrayal.

Writer/Director Guillaume Canet unravels a detailed plot that will keep you guessing throughout. He puts the audience directly in the shoes of Alexandre. We know what he knows. There is no spoon-feeding of clues or misplaced hints along the way. Alexandre must learn to adapt on the fly and improvise during several perilous situations. The mild-mannered pediatrician is forced to get his hands dirty in order to save himself. His actions may seem unrealistic at points, but they are completely justifiable when the magnitude of the conspiracy is taken into account. The survival instinct takes control when backed into a corner. Canet gives his protagonist an appropriate amount of leeway to find the answers he seeks. This vivid exploration into man’s capabilities when properly pushed is what makes the film resonate.

The pacing resembles The Fugitive. Canet accelerates the action with a heart-pounding foot chase sequence that rivals those from The Firm and Casino Royale. The violence is sharp and brutal but isn’t glorified or celebrated. Canet’s camera is a steady observer; it has a story to tell, but only through the eyes of Alexandre. It captures the bucolic countryside and congested streets from a distance, never venturing too close, reminding us their is something hidden we cannot yet see. Be it an empty wooden dock or a crowded public park, the feeling that someone else is watching is impossible to shake. It adds discomfort to an already unnerving film.

Music proves integral as well. U2’s “With or Without You” serves as a critical plot device, and a beautiful montage set to Jeff Buckley’s haunting cover of “Lilac Wine” provides a glimpse into Alexandre’s tortured soul. An excellent cast is anchored by Francois Cluzet and Kristen Scott Thomas. Cluzet plays Alexandre as angry and confused; it’s difficult not to root for a character who must endure such feats. Scott Thomas is stalwart as usual as Helene, Alexandre’s sole friend and confidante. My only quibble with Tell No One is the lengthy end scene that explains all. It came off as slightly pedantic and too convenient for such an enigmatic story. However, it’s nowhere near enough to spoil a truly great mystery. I suggest you tell everyone about Tell No One.

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I love a good journey movie. You know, the kind that spans the globe and concludes with a satisfying payoff. It doesn’t have to feature exotic locales, but it helps the narrative if it does. That’s probably why I dig Bond movies so much; hopping from one cool place to another keeps things interesting. However, more important than location is the story. Enduring hardships, overcoming adversity and reaching a goal can make for a powerful film if executed correctly. The Pirates of the Caribbean is an example of a good journey movie. Another would be Vanishing Point. Each are very different but both deal with an attempt by a person or persons to achieve a goal. Like the old adage says, it’s not the destination that matters, it’s the journey. The Beautiful Country takes us on a long, heartfelt trip from Vietnam to Sweetwater, Texas.

Binh is a “bui doi,” which is the not-so-flattering term given to Vietnamese children with American fathers. It means less than dust, and Binh’s awful treatment in his homeland has labeled him an outcast. There is no longer a place for Binh in his village, so he sets off for Saigon to reunite with his long-lost mother. He finds her working as a maid and along with his younger half-brother Tam, the three attempt to make a home together. However, an unexpected tragedy forces Binh and Tam to flee Saigon for America in search of the father he’s never known.

Their travels land them in an Indonesian refugee camp where they meet Ling, a damaged young prostitute. Binh falls for Ling, but she sees him more as a friend. Wanting to see Binh and Tam get to America, Ling pays their way onto a freighter headed for the states. The ship’s captain is a human trafficker and grants Binh passage only if he agrees to work when he arrives in America. More heartache ensues, but Binh finally reaches New York City. His adventure is far from over. Emboldened by the taste of freedom, he heads to the desolate plains of Texas to find his father.

Director Hans Petter Moland and writer Sabina Murray craft three movies into one narrative. Binh’s life in Vietnam, his perilous ocean journey, and his time in America are all woven together seamlessly. The innate beauty of Vietnam contrasts wonderfully against the cramped, dingy bowels of a rusty freighter and the hustle and bustle of big city USA. Moland unfolds an epic story that defines the dangers of immigrating to a foreign country. Scared and virtually alone, Binh must fight every step of the way to stay alive and protect those he loves. His quest is sad, but also inspirational and admirable.

Damien Nguyen shines in his debut big-screen performance as Binh. Nguyen tackles a difficult role fearlessly; he hurdles a range of emotions from sad and lonely to courageous and determined. Asking an inexperienced actor to carry a film of this magnitude is risky, but Nguyen delivers at every turn. Binh constantly being referred to as “ugly” does nothing to lessen his internal kindness. All he wants is to locate his place in the world, to gain acceptance into a family and to establish his own identity. Bai Ling, Tim Roth and Nick Nolte provide solid support. Roth, in particular, is quite convincing as the hardened Captain Oh. Movies like The Beautiful Country can easily slip into the overblown melodrama category, but this one steers clear thanks to great direction and outstanding performances. It’s a journey movie worth your time.

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