Frank Miller, the lord of graphic comic novels, has been given his just due in a sumptuously stylized film version of his Sin City. Lovingly brought to the screen by Robert Rodriguez with an assist by buddy Quentin Tarantino, this tale of vengeance and lust in a dark metropolis is unlike any movie in recent years in terms of consistent technique and visuals serving a group of interconnected stories in which the outcasts of civilization engage in urban survival while attempting to maintain a sense of honor and love. It is also an extremely violent film.
On a dark, rainy night, three major stories parallel each other. The first story has Detective John Hartigan (Bruce Willis) search for a missing girl before a serial killer strikes again. With his unsavory partner, Bob (Michael Madsen), he finally tracks down the killer in a bang-up finish, or is it? A separate story has a brutish exconvict, Marv (Mickey Rourke), who seeks revenge for the murder of a hooker. He is befriended by a parole officer, Lucille (Carla Gugino), a waitress, Shellie (Britanny Murphy), a stripper, Nancy (Jessica Alba), and a hooker, Gail (Rosario Dawson). His search for the killer pulls him into a grisly world of murder led by psychopaths, dirty cops, and corrupt, political leaders. Another story has a loner, Dwight (Clive Owen), protect his waitress girlfriend from a gang led by Jack (Benicio Del Toro) and a mob boss, Manute (Michael Clark Duncan). Things come full circle once events unfold, and surprises are unveiled with seemingly unrelated events and characters linked together.
To say more would spoil a smorgasbord of film noir and stylized action. There are some clever plot twists and surprises along the way. People’s loyalties are constantly in question, and the three male leads are surrogate avengers for justice, redemption and salvation. The film’s structure is reminiscent of Tarantino’s own Pulp Fiction and even P. T. Anderson’s Magnolia where various people meet in a series of vignettes and affect others who are seemingly unconnected. There are moments that seem influenced by past films. Certainly Sam Raimi’s (Spiderman) earlier Darkman was a direct precursor to Sin City. There is a scene with Clive Owen driving with a corpse that is a sort of homage to the 1945 horror classic The Body Snatchers. Rutger Hauer plays a religious leader in a scene not unlike the scene in Blade Runner where ironically Hauer reversed roles as an assassin in that film. A marvelous action piece with a female samurai warrior has all the earmarks of Tarantino who picks up where Kill Bill left off.
It is fascinating to watch what is essentially a pre-storyboarded film with the graphic novel serving as a blueprint for the film. ‘Shot and cut’ by Rodriguez himself, the film feels very consistent with a true auteur’s vision. Frank Miller imagined it, and Rodriguez made it happen. This is Rodriguez’ most assured film thus far, and it is a living, breathing comic book in the best sense. Despite the wide commercial appeal of successful comic adaptations of Spiderman and X-Men, Sin City is perhaps the most authentic and uncompromising transfer of such material. Much of what is depicted onscreen is predominantly a fabrication of computer generated special effects and trendsetting photography within which the actors interact. The black and white photography is at times gorgeous and downright nightmarish with the strategically accented color schemes similar to the best shots in Pleasantville and Schindler’s List. There is no doubt that the visuals of this film have been achieved with painstaking detail and success.
A dream cast features a wealth of actors and actresses, any two of whom could have front lined separate features on their own. Willis and Owen are quite effective as heroic, yet flawed personas, but it is Mickey Rourke who is a standout in what amounts to a comeback film. Even under his Frankenstein-like makeup, his humanity and toughness shine through. He makes the most of a potentially ridiculous role. In addition, while the males are mostly rugged, disheveled hulks, the females are beautiful and extremely sexy (sleazy?) to say the least. Jessica Alba, Brittany Murphy, Rosario Dawson, and Carla Gugino, (sorely missed from her brief Karen Sisko tv series) sizzle on the screen as they crossover different storylines. The performances are all fairly convincing once you excuse the occasional, awkward voice over narration.
Some things are left hanging plot wise. Many characters are almost caricatures; we have to accept them at face value without much depth. We never fully understand the psychopathic monster that is played by Elijah Wood. Where did he come from and why is he purely evil? Likewise, a partnership, betrayal, and reconciliation at the beginning of the film are never fully explored. The dialogue is a bit Jekyll and Hyde with some hokey lines followed by a series of sharp, humorous ones.
This is a film superficially filled with nudity, explicit language, taboo subject matter, and buckets of bloody violence. This is going to be offensive to many people who are put off by intense scenes of mayhem, but to those who thrive on the film noir of adult comic books, it is a dream come true.
If this adaptation is a one shot deal, the filmmakers gave it their best efforts. It is entirely plausible to have a sequel with an entirely different cast (even though a number of the principles survive this entry.) This movie is a splendid exercise in look and mood with emotional substance, no mean feat. It is definitely not for the faint of heart, but for those who are game, just hang on and enjoy the ride. Ironically, although Sin City is a graphic film in every sense of the word, this tale of haunted characters in an amoral world is ultimately a moral film.
***1/2 out of **** stars mainly for action comic fans
Vertigo
Vertigo
Thursday, March 31, 2005
Sunday, March 27, 2005
Millions is a film of value
A small, lonely boy’s world is turned upside down in Millions, the latest from director Danny Boyle, whose striking visual style is not unlike his contemporaries, Tim Burton and Steven Soderbegh. While he has had his share of misses like The Beach, he has also struck gold with definitive genre films like Trainspotting and 28 Days Later. Here, he continues his success with this family oriented gem based on a fine screenplay by Frank Cottrell Boyce (Hilary and Jackie).
After the death of his mother, Damian and his family move to a new English suburb. There, he and older brother, Anthony, go to school and begin a new life with their father, Ronnie. As Damian struggles to fit into this new existence, he is also fascinated by historic saints. One day as he plays by the railroad tracks in his cardboard box of a playhouse, he is visited by a saint who foreshadows a gift. Suddenly a bag comes tumbling down and destroys his paper home. Within the bag is a very, very large sum of money. What to do with this windfall from the heavens? Damian begins to do the right thing, namely to help the poor as he is counseled by numerous saints while his brother is more interested in using the money to buy things and better his life. Damian’s charity giving begins to attract unwanted attention when he makes a rather hefty donation to a school sponsored charity event. The charity’s female representative, Dorothy, takes a liking to Damian and his father who takes a romantic interest in her. Meanwhile, a mysterious stranger appears by the railroad tracks looking for the money. It turns out that the money may not have been from the heavens but from a more, shall we say, illicit venture. The stranger becomes a viable threat as soon Ronnie and Dorothy learn of the boys’ loot. All of this occurs as England is ready to convert to the Euro dollar which means the money will become useless unless it circulates or gets exchanged. As the family decides how to properly dispense or dispose of the money, the stranger is ready to collect. Such is the stuff of good storytelling with a moral bent.
Alexander Nathan Etel is quite a find as Damian with his portrayal of the pure soul of a young boy who not only misses his mother, but wants to help the world. Lewis Owen McGibbon is equally good as the older but not necessarily wiser brother. A good supporting cast lends credence to the unusual proceedings. The various saints are all well depicted without seeming to be silly.
The film feels almost like a fairy tale with touches of fantasy and longing. It is intimately told from a child’s point of view. It is intriguing how the story could easily have focused on different threads such as the female charity rep who becomes involved with the father. But because this is Damian’s story, the film wisely stays on course. The saints who chat with Damien throughout the story serve as his advisers, mentors, and even protectors. Are they real or a figment of his imagination? It really doesn’t matter as the story does indeed move forward and the sense of urgency is never lost. There is an elaborate action scene told in flashback which could have been a film unto itself, but Boyle uses it as exposition without losing sight of his protagonists. In fact, the story never loses sight about the importance of love and family.
One sore point for American moviegoers will be trying to understand the dialogue. Once you get acclimated to the thick British accents, you can enjoy the film in earnest. The depiction and use of saints as part of the storytelling may draw some to accuse the film of a deliberate religious slant, but it really is a kind of fairy godmother or angel multiplied into several sainthoods. There is nary a preaching of theology or church when you come down to it. Although a child’s tale at its core, there is a threatening presence (by PG standards) from the stranger who lends a dark mood once he appears half way through the film.
Although it contains its share of drama and sentiment, it also has some genuinely funny moments without being cheap. There is also a climactic moment of connection and resolution that will resound in every viewer’s heart. It is interesting to note that Boyle’s thinly disguised altruism and politics are on display with his subplot on providing water relief for an African village. But that does not take away from the innocence and purity of a boy’s vision. This is a film that, despite its family themes, does not fall for easy sentiment. It earns its feelings and emotions. This special little film about a small boy and simple themes has a very large heart.
***1/2 of **** stars
After the death of his mother, Damian and his family move to a new English suburb. There, he and older brother, Anthony, go to school and begin a new life with their father, Ronnie. As Damian struggles to fit into this new existence, he is also fascinated by historic saints. One day as he plays by the railroad tracks in his cardboard box of a playhouse, he is visited by a saint who foreshadows a gift. Suddenly a bag comes tumbling down and destroys his paper home. Within the bag is a very, very large sum of money. What to do with this windfall from the heavens? Damian begins to do the right thing, namely to help the poor as he is counseled by numerous saints while his brother is more interested in using the money to buy things and better his life. Damian’s charity giving begins to attract unwanted attention when he makes a rather hefty donation to a school sponsored charity event. The charity’s female representative, Dorothy, takes a liking to Damian and his father who takes a romantic interest in her. Meanwhile, a mysterious stranger appears by the railroad tracks looking for the money. It turns out that the money may not have been from the heavens but from a more, shall we say, illicit venture. The stranger becomes a viable threat as soon Ronnie and Dorothy learn of the boys’ loot. All of this occurs as England is ready to convert to the Euro dollar which means the money will become useless unless it circulates or gets exchanged. As the family decides how to properly dispense or dispose of the money, the stranger is ready to collect. Such is the stuff of good storytelling with a moral bent.
Alexander Nathan Etel is quite a find as Damian with his portrayal of the pure soul of a young boy who not only misses his mother, but wants to help the world. Lewis Owen McGibbon is equally good as the older but not necessarily wiser brother. A good supporting cast lends credence to the unusual proceedings. The various saints are all well depicted without seeming to be silly.
The film feels almost like a fairy tale with touches of fantasy and longing. It is intimately told from a child’s point of view. It is intriguing how the story could easily have focused on different threads such as the female charity rep who becomes involved with the father. But because this is Damian’s story, the film wisely stays on course. The saints who chat with Damien throughout the story serve as his advisers, mentors, and even protectors. Are they real or a figment of his imagination? It really doesn’t matter as the story does indeed move forward and the sense of urgency is never lost. There is an elaborate action scene told in flashback which could have been a film unto itself, but Boyle uses it as exposition without losing sight of his protagonists. In fact, the story never loses sight about the importance of love and family.
One sore point for American moviegoers will be trying to understand the dialogue. Once you get acclimated to the thick British accents, you can enjoy the film in earnest. The depiction and use of saints as part of the storytelling may draw some to accuse the film of a deliberate religious slant, but it really is a kind of fairy godmother or angel multiplied into several sainthoods. There is nary a preaching of theology or church when you come down to it. Although a child’s tale at its core, there is a threatening presence (by PG standards) from the stranger who lends a dark mood once he appears half way through the film.
Although it contains its share of drama and sentiment, it also has some genuinely funny moments without being cheap. There is also a climactic moment of connection and resolution that will resound in every viewer’s heart. It is interesting to note that Boyle’s thinly disguised altruism and politics are on display with his subplot on providing water relief for an African village. But that does not take away from the innocence and purity of a boy’s vision. This is a film that, despite its family themes, does not fall for easy sentiment. It earns its feelings and emotions. This special little film about a small boy and simple themes has a very large heart.
***1/2 of **** stars
Thursday, March 03, 2005
Be Cool is groovy, sort of
Elmore Leonard has been the source of Hollywood films for decades, but not until recently have filmmakers translated his prose into true success. With the triumvirate of Out of Sight, Jackie Brown, and Get Shorty, Leonard’s characters have had a new lease on life. The latter was particularly adept at mixing interesting people in a clever plot with just the right dash of humor and edginess. How to follow up that one? Take the star, John Travolta, from that film and remix with a new, supporting cast behind and in front of the camera. What you get is Be Cool, a spry, ‘wannabe’ sequel that has its moments but doesn’t feel quite as fresh as Get Shorty.
Chili Palmer (Travolta) is still out of the rackets and getting bored with the movie business. When a music producer buddy is murdered by Russian mobsters, Chili decides to take matters in his own hands and teams with widowed producer Edie Athens (Uma Thurman). His first project is Linda Moon, a talented singer wasting away in a retro club. Unfortunately Moon is under contract to sleazy producer Nick Carr (Harvey Keitel) whose right hand man Raji (Vince Vaughn) and bodyguard Elliot (The Rock) are trying to kill Chili. Add to this mix an angry rap producer (Cedric the Entertainer) with his gang of thugs and police detectives on surveillance, and you get a story that’s a might convoluted. Pretty soon double crosses abound as everyone begins to point fingers at one another in a way that reminds one of …..Oh yeah, Get Shorty. You just know that Chili will somehow find a way to save the day in an ingenious manner, and that justice will be meted out. How he gets to that point is the half the fun.
John Travolta is getting a tad old for his role (which along with Pulp Fiction rejuvenated his career), but he succeeds in rekindling that suave, ultra confident Chili. Uma Thurman is light years from her Kill Bill success and really has an uninteresting character here. Each supporting actor is given his or her chance to shine, and for the most part they do just that and perhaps go over the top. Cedric the Entertainer is effective as a sophisticated rap producer whose entourage of ‘gangstas’ are out for blood. Harvey Keitel (whose amusing cameo concluded Get Shorty) gets a meaty role as the unscrupulous producer. Robert Pastorelli passed away last year, but his turn as a hitman is a brief reminder of his versatility. Vince Vaughn is a hoot as Raji, who acts like he can walk the walk and talk the talk of a rapper. But it is The Rock (in a mere supporting part no less) who steals the film as the insecure bodyguard who yearns to be an actor performer. Just as Get Shorty boasted an assortment of cameos by movie industry stars, this film reveals the occasional cameo of musical names as well. Furthermore, featured player Danny DeVito (who also produced) has nothing more than what amounts to be a cameo and doesn’t figure in the major plot thread.
Of course you can’t have a Travolta film without a featured dance number which, in this case reunites him with Thurman in a cute but unimaginative number that won’t make you forget the rug-cutting moments in Saturday Night Fever, Urban Cowboy or Pulp Fiction. The soundtrack is thoroughly laced with a mixture of 1970’s pop tunes and current rap. Closing credits have an amusing sequence of the principals strutting their stuff to rap music.
There was always going to be a little breath holding to see if a new director (F. Gary Gray) and new screenwriter (Peter Steinfeld) could duplicate Get Shorty’s success by Barry Sonnenfeld and Scott Frank respectively. In fact, Be Cool was held back from release in summer, 2004, which is often an ominous sign. The film is hit and miss especially in the first half. The musical performances go on much too long including the Aerosmith concert. A little trimming here and there would have been in order. When it finally hits its stride in the last portion, it coasts to a cute ending. At times the dialogue is downright clever and the plot does become intriguing. The film is reasonably successful in its own right but suffers from the high expectations of the previous film. In fact, when the story is over, it is not too far fetched to imagine Chili and gang making a nostalgic return when he is ready to conquer another phase of entertainment business like sports perhaps? Although Be Cool is a harmless bit of fun, it makes you respect the charms of its predecessor even more.
**1/2 of **** stars mostly for The Rock
Chili Palmer (Travolta) is still out of the rackets and getting bored with the movie business. When a music producer buddy is murdered by Russian mobsters, Chili decides to take matters in his own hands and teams with widowed producer Edie Athens (Uma Thurman). His first project is Linda Moon, a talented singer wasting away in a retro club. Unfortunately Moon is under contract to sleazy producer Nick Carr (Harvey Keitel) whose right hand man Raji (Vince Vaughn) and bodyguard Elliot (The Rock) are trying to kill Chili. Add to this mix an angry rap producer (Cedric the Entertainer) with his gang of thugs and police detectives on surveillance, and you get a story that’s a might convoluted. Pretty soon double crosses abound as everyone begins to point fingers at one another in a way that reminds one of …..Oh yeah, Get Shorty. You just know that Chili will somehow find a way to save the day in an ingenious manner, and that justice will be meted out. How he gets to that point is the half the fun.
John Travolta is getting a tad old for his role (which along with Pulp Fiction rejuvenated his career), but he succeeds in rekindling that suave, ultra confident Chili. Uma Thurman is light years from her Kill Bill success and really has an uninteresting character here. Each supporting actor is given his or her chance to shine, and for the most part they do just that and perhaps go over the top. Cedric the Entertainer is effective as a sophisticated rap producer whose entourage of ‘gangstas’ are out for blood. Harvey Keitel (whose amusing cameo concluded Get Shorty) gets a meaty role as the unscrupulous producer. Robert Pastorelli passed away last year, but his turn as a hitman is a brief reminder of his versatility. Vince Vaughn is a hoot as Raji, who acts like he can walk the walk and talk the talk of a rapper. But it is The Rock (in a mere supporting part no less) who steals the film as the insecure bodyguard who yearns to be an actor performer. Just as Get Shorty boasted an assortment of cameos by movie industry stars, this film reveals the occasional cameo of musical names as well. Furthermore, featured player Danny DeVito (who also produced) has nothing more than what amounts to be a cameo and doesn’t figure in the major plot thread.
Of course you can’t have a Travolta film without a featured dance number which, in this case reunites him with Thurman in a cute but unimaginative number that won’t make you forget the rug-cutting moments in Saturday Night Fever, Urban Cowboy or Pulp Fiction. The soundtrack is thoroughly laced with a mixture of 1970’s pop tunes and current rap. Closing credits have an amusing sequence of the principals strutting their stuff to rap music.
There was always going to be a little breath holding to see if a new director (F. Gary Gray) and new screenwriter (Peter Steinfeld) could duplicate Get Shorty’s success by Barry Sonnenfeld and Scott Frank respectively. In fact, Be Cool was held back from release in summer, 2004, which is often an ominous sign. The film is hit and miss especially in the first half. The musical performances go on much too long including the Aerosmith concert. A little trimming here and there would have been in order. When it finally hits its stride in the last portion, it coasts to a cute ending. At times the dialogue is downright clever and the plot does become intriguing. The film is reasonably successful in its own right but suffers from the high expectations of the previous film. In fact, when the story is over, it is not too far fetched to imagine Chili and gang making a nostalgic return when he is ready to conquer another phase of entertainment business like sports perhaps? Although Be Cool is a harmless bit of fun, it makes you respect the charms of its predecessor even more.
**1/2 of **** stars mostly for The Rock
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