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Cinema Voyage - Akito Hirata, Filmhunter

 

The Killer Inside Me

August 15th 2010 14:12
Kate Hudson and Casey Affleck put on their film noir faces


There’s a strong and immediate temptation to point out the shocking violence in Michael Winterbottom’s latest offering, The Killer Inside Me. It features some sickeningly protracted scenes of bloody brutality that had grown men sitting beside me in the cinema squirming with queasiness.


Adapted from Jim Thompson’s 1952 classic of the same title, The Killer Inside Me is a disturbing and studied look at the psyche of serial killer Lou Ford. A trusty policeman in an early 50s small town in Texas, Lou (Casey Affleck) reveals complex psychological workings that remain incomprehensible even by the time the credits roll. Affleck certainly gives a solid performance. We’re forcibly aligned with him from the outset of the film to its final moments; he’s in every scene. It’s an uncommon device, one where we as the audience are afforded the opportunity to develop both an unwanted fascination for and also an intense disgust with his vile character. Yet he remains largely inaccessible. We see what he does, but never fully understand why.

It doesn't help either that, in every case, the violence is visited upon a woman. Lou’s love interests, Jessica Alba and Kate Hudson, come with us for the ride. Neither are particularly impressive. With the exception of Sin City, Alba’s usually declined prostitute roles, so when asked why she signed onto this project, she responded with a vague "I-don’t-really-know". Well, I don’t know either. Playing what is essentially a punching bag for Lou doesn’t do her any favours. Hudson is used in a similarly shocking fashion.


In the end, we are left wondering whether the violence is excessive, gratuitous or whether it is a justified way of telling the story. In addition, Winterbottom’s unpolished reimagining of the book means that the small town noir feel to the film is somehow lacking too. Although The Killer Inside Me brings to light some of the book’s qualities, it does not really enhance the reading experience and we are left with a hollow portrait of a superficially charming killer who executes his victims in horrific and detailed ways.

3 STARS
71
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Inception

July 21st 2010 06:07
"A single idea from the human mind can build cities. An idea can transform the world and rewrite all the rules. Which is why I have to steal it."


After first seeing The Matrix back in 1999, director Darren Aronofsky left asking “What kind of science fiction movie can people make now?” It was as if the sci-fi genre had reached its creative limitations, as though every one of its darkest, previously unexplored corners had been blown up with the daring suggestion that we might be living in a computer simulation. To quote Aronofsky again, “suddenly Philip K. Dick’s ideas no longer seemed that fresh.” And indeed, Aronofsky was not alone in expressing such concerns.

Yet, in the ten plus years that have now passed, we have seen sci-fi’s development and it thankfully renders Aronofsky’s remarks premature. Gems like Children of Men and Sunshine showcased new talent and Oscar winning potential for their respective creators Alfonso Cuaron and Danny Boyle. Then there are the more recent debuts of Duncan Jones’ Moon and Neill Blomkamp’s District 9, both stunning and original in their own rights. And, somehow, it doesn’t feel right without giving mention to Avatar. This year’s sterling addition to the canon of sci-fi is without question Christopher Nolan’s Inception, an ingenious actioner that blends exhilarating special effects with the same sort of conceit all great sci-fi possess, the paradoxical question and answer to What If?

In the film’s earliest and most visually gripping sequence, Leonardo DiCaprio insightfully observes “Dreams feel real while we’re in them. It’s only when we wake up that we realise something was actually strange.” Wise words for his listener, college student Ariadne, who is perfectly cast as Juno’s Ellen Page. She serves as the function of the audience as she is speedily swept into the dangerous machinations of Dom Cobb (DiCaprio) which force her further and further away from her reality. Cobb is called by himself and others the Extractor, a fitting euphemism for a criminal mastermind who steals from the dreams he unwelcomingly enters into.

The fiendishly intricate workings to seeing this dream-hacking method through run the risk of exhausting the audience’s intelligence. Put in the hands of a director less experienced and talented as Nolan, and the first half of Inception could be as uninspiring as your high school biology class on the structure of a plant cell. Nolan though has a knowing way of engaging our intrigue, in allegorising the labyrinth of the subconscious. And, in any case, this is of course all a brilliant plot device, a clever excuse, for some riveting and genuinely thrilling effects.

We are plunged into a time warp with Dom and his team, whose chief purpose by now is not to steal but rather to implant an idea in the mind of Mr Fischer (Cillian Murphy). With each layer of reality or unreality scraped away, temporal dislocation sets in and the stakes get higher with every passing second. Eternal entrapment disguises itself as a second chance for its most gullible leader and our tortured hero, Dom. The romantic subplot of his lost wife Mallorie (Marion Cotillard) evokes much pathos and forges for the audience an emotional connection to DiCaprio, who’s in top form to lead one of the slickest casts all year.

The film sources much of its originality from its dream-within-a-dream ploy. This is, as we know however, not something that Nolan first thought of. The scene in which Ariadne finds herself in a shared dream with Dom perhaps best invites comparison with The Matrix and its long line of imitators. Nevertheless, Inception works on many levels. It’s a vividly dream-like chess game which feels as though Asimov could have written it. And whilst this review has placed it squarely within the confines of sci-fi, knowing that the Godfathers of the genre would be proud, non-sci-fi fans will get a kick out of this too. After all, Nolan has made his name in large part due to his unfailing ability to hold our suspense.

Do yourself a massive favour, even if it’s only to say that you’ve seen a film this year that is not a sequel, remake or adaptation, and go watch Inception. The IMAX is heartily recommended.

5 STARS

Inception is released nationally tomorrow
79
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The Twilight Saga: Eclipse

July 11th 2010 10:02
R-Patz and Stewart frolic amongst the flowers


The marketing juggernaut for Eclipse takes great pains to remind viewers that in this episode of The Twilight Saga “one girl must discover her destiny”. That girl is Isabella Swan, and she’s been treading a well-worn romantic path now for an unnecessarily long time, implicating vampire Edward Cullen and werewolf Jacob Black in her constantly messy and unclever love triangle.

With David Slade at the helm of this instalment, Eclipse was meant to restore the franchise’s energy that had been sucked out by its uniformly hated predecessor New Moon. “These violent delights have violent ends / And in their triumph die, like fire and powder / Which, as they kiss, consume”. With the brooding voice-over of Bella Swan quoting Shakespeare, audiences were thrust into the atmospheric two-hour-long mope that is New Moon. Slade’s take on Stephanie Meyer’s third book achieves much of the same, if not a more sophisticated flirtation between annoying indecisiveness and embarrassingly obvious predictability. That the film literally ends where it should have begun (if we go by New Moon’s cliff-hanger of “will you marry me?”) validates the overbearingly sluggish narrative.

Little improvement on their acting skills is shown by the Twilight trio, who’ve now all achieved mega stardom. Taylor Lautner’s commitment to his werewolf persona quickly turns silly, while Robert Pattinson is just a bore to watch, plain and simple. Kristen Stewart, who’s often polarised the critics when it comes to her command of acting, finally confirms that she cannot command ongoing interest in her whiny character. It doesn’t help either that the icy mountain top ranges, upon which the complications of the central love triangle intensify, look at once cheesy and cheap.

Slade manages to stay loyal to the book by recapturing the past lives of certain members of the Cullen family. However, the result is strangely jarring. The soundtrack is similarly disappointing and misused, with the only way to integrate Muse’s Neutron Star Collision is by having some peripheral random remarking “Oh...I like this song”. Terrible. Just terrible.

1 STAR
91
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I Am Love

June 28th 2010 07:07
Tilda Swinton seated as the matriarch of the Recchi family


There is no denying the tremendous beauty of Luca Guadagnino’s I Am Love. From the stunning Art Deco home of Tilda Swinton as matriarch to the beautiful outfits she is dressed in, the film’s rich visual style seems close to perfection


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76
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City Island

June 1st 2010 17:01
The Rizzo's introduce themselves as cinema's new offbeat family


In the tradition of Little Miss Sunshine, comes Raymond De Felitta’s latest indie offering City Island. In this offbeat comedy, Andy Garcia leads a generally endearing cast as the father of yet another dysfunctional American family


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69
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The Burning Plain

April 21st 2010 12:22
Charlize Theron as Sylvia, a woman too afraid to look into the past


Back in 2000, Mexican director Alejandro Gonzalez Inarritu struck it big time with his directorial debut Amores Perros, which in English roughly translates to Love’s a Bitch. This was the first instalment in what Inarritu now calls his Death Trilogy, completed with 21 Grams (2003) and Babel (2006). All three films were met with critical acclaim and all three were written by Guillermo Arriaga


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70
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Triangle

April 15th 2010 06:11
TRIANGLE: one of those rare gems of the horror genre


Be excited. This slick UK-Australian coproduction is the breath of fresh air that discerning horror fans have been wanting for months. Or for years, it seems


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81
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The Bounty Hunter

April 4th 2010 02:36
Could The Bounty Hunter be the worst film this year? Yes it could.


At first glance, the bus poster for The Bounty Hunter might incline you to believe that it stands out from the overcrowded pool of rom-com mediocrity. For starters, it holds the promise of Jennifer Aniston alongside Gerard Butler. Even the title itself hints at something a touch more daring


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69
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Welcome

March 30th 2010 08:18
Vincent Lindon guiding Bilal's swim across the English Channel


There’s an inherent irony in the title of French director Philippe Lioret’s latest impressive effort Welcome. It’s about the grim struggle of illegal immigrants in Europe, the plight of their experience, and how they are anything but welcome


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72
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Winged Creatures

March 25th 2010 08:39
Dakota Fanning tackles this challenging role with success


Winged Creatures revolves around one awful event: a man walks into a diner and shoots at random. Lives are fractured; the hapless victims do what little they can to reconcile themselves to the shocking attack


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59
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Chris Waitt: endearingly daggy star and creator


A Complete History of My Sexual Failures charts the cringe-worthy odyssey of its brave and unashamed British creator Chris Waitt, who is determined to fix his hapless love life


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51
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Disgrace

March 24th 2010 02:30
John Malkovich with South African newcomer Jessica Haines


Few places in the world can arouse as strong a sense of foreboding in modern consciousness as South Africa. In Disgrace, Australian director Steve Jacobs has presented us with a harrowing exposition of the sum of contemporary South Africa’s misfortunes – its corruption, racism, and crime – in a faithful adaptation of J.M. Coetzee’s Booker Prize winning novel of the same title


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52
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Synecdoche, New York

March 24th 2010 02:24
They're all the leads of their own stories - Caden Cotard


Be excited. Very few filmmakers can pull off nonsensical, postmodern delight as well as Charlie Kaufman, and his first directorial effort Synecdoche, New York is no exception. Having written films including Being John Malkovich and Adaptation, it’s little wonder that Kaufman has taken full visionary charge of this latest ingenious piece of metafiction


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48
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Elegy

March 24th 2010 02:16
A romance doomed from its inception


There is very little cathartic reward by the end of Isabel Coixet’s emotionally draining drama Elegy, and unfairly so, with a running time of nearly two hours


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24
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