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Movie Review: 101 CUPCAKES (2016)

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MOVIE POSTER101 CUPCAKES, 13min, Australia, Family/Drama
Directed by Jane Eakin

Healing comes in many flavours. An uplifting story about love, death and the healing power of cooking.

Seen at the August 2016 FAMILY FEEDBACK Film Festival in Toronto.

Movie Review by Kierston Drier

Grief is by far one the most complex and compelling emotions of the human experience. 101 Cupcakes, written and directed by Jane Eakin, dissects the emotion with an expertly spun tale combining the raw sorrow and comforting simplicity. Grieving daughter Amy, while cleaning out her late mother’s’ home, discovers evidence that her mother knew long before her death that she was ill and did not seek treatment. Amy spins quickly through several stages of grief (such as disbelief and anger) before stumbling across her mother’s cupcake recipe.

One of the wonderful things about this film is how efficiently it distills the themes of grief, loss, love and memory. Beyond the themes of the show, it is wonderfully edited and a special nod must be given to the Director of Photography. The memories, based flash backs, have a unique brightness and subtly that establishes the compassion and human connection Amy shares with her deceased mother.

This piece has a tear-worthy ending, and it comes from a place of honesty and compassion, not cliché. It has strong, human, layered characters and a wonderful sense of community. It is story that is simple, and yet rich. It is about the memories we keep, the lives we build, and the sweetness in even the most bitter moments of life.

Watch the Audience FEEDBACK Video of the short film:

Movie Review: Westworld (1973)

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Westworld (1973)
Classic Film Review
Directed by Michael Crichton
Starring: Yul Brynner and Richard Benjamin

by Mike Peters

Synopsis:

In the future, there will be extravagant amusement parks for adults that will cater to every whim and fantasy imagined. John (James Brolin) and Peter (Richard Benjamin) are two of the guests visiting one of the three parks offered. For a thousand dollars a day, John and Peter decide to visit Westworld where they can kill, fight and fornicate with machines disguised as humans. However, things do not go as planned and the machines begin to act irrationally which, as a result, threatens the very existence of every human being at the resort.

Review:

Many people have pointed out numerous flaws with this film and I will be the first to agree with them. This film is not perfect. There are many plot holes and the acting is amateurish (even campy) in certain instances. However, the film attempts to convey an eerie message that is even more prevalent in this day and age. Man’s fascination and obsession with technology and the consequences as a result.

As was the case with Stanley Kubrick’s “2001: A Space Odyssey”, Westworld attempts to showcase man’s fascination with attempting to create a simpler and better world through the means of technology. As the film exemplifies, this is not always a sensible step. Technology can be used to improve life and make it simpler but there are far too many consequences that can result if man is not careful. Technology can rear its ugly head and turn on the human being who believes he is in control.

When Peter and John arrive at Westworld, they are allowed to do what ever they want to whom ever (as long as they are a robot). In one instance, John and Peter are at a bar when the gunslinger (Yul Brynner-his wardrobe referencing his character of Chris in “The Magnificent Seven”) bumps into Peter. The gunslinger is an antagonist machine and belittles Peter. Peter does not step down and enters into a draw with the gunslinger. Peter kills the gunslinger and, in this instance, he is allowed to feel the rush of killing another man/machine.

These incidents are closely monitored by a group of scientists who play God in a sense by creating scenes that are fixed and staged. They have everything under control. When the robot is killed, he is taken back for repairs and then placed back onto the stage for another scene. In fact, the gunslinger continues to return but is repeatedly murdered by Peter. However, things begin to get a little suspicious as the robots systematically begin to rebel against their creators. They begin to refuse the advances of the guests and even begin to harm them. The scientists are concerned but decide not to shut down the park because it would cost them financially in the end. Is there ever another reason?

This film plays like an updated version of the Frankenstein story. A being is created who cannot be controlled, begins to think for himself and commences to run amok causing terror and tragedy. However, Westworld does not merely have one Frankenstein monster but rather hundreds. The three worlds created for this park, Westworld, Medieval World and Roman World, begin to self destruct as a result. Rules are ignored and chaos and violence mount. Ironically, these worlds sink into the type of behavior that helped to define them in the first place. For instance, the West was known for being uncivilized and a violent era of time. It is only when rules and creeds were instilled that the West became civilized in a sense. The scientists are not prepared for this sort of reality. One cannot instill rules into an era that never had them in the first place. The robots are forced to act in a land that is unaccustomed to them. The West embodies individuality and violence as a way of solving problems and the machines seem to take this to heart.

The film is a cautionary tale for society dependant on every innovative gadget that is created. In this day and age, people rely on the means of technology to help them get through their day. It makes life easier and simpler. It is only when people begin to worship the gadgets in their possession that problems can arise. Technology can still cause many problems and drive people bonkers. WE NEVER OWN TECHNOLOGY. In fact, it can control us through society’s dependence on it.

Westworld is a film that attempts to tell a cautionary tale but as well strives to entertain. In the last twenty minutes of the film, there is a chase scene that occurs that is both exhilarating and suspenseful. Peter has witnessed first hand that the machines are out of control and takes off on a horse with the gunslinger (who has targeted Peter and John personally) close behind him in full pursuit. The machines have taken control and we, the audience, fear for the human’s lives. The characters no longer take anything for granted. They are now the hunted.

Michael Crichton wrote and directed this film. He is a world renowned author who has penned such stories as “Congo”, “Sphere” and, of course, “Jurassic Park” which incorporates sort of the same story as Westworld except with a much larger budget. Crichton does an adequate job of directing but he must be commended for his incorporation of digitalized effects into the film. In fact, Westworld is the first feature film to ever include the use of computer digitalized effects (not used for monitor graphics) which is reflected in the gunslinger’s P.O.V.

All in all, this film is not perfect and does have many glaring holes. However, the story is taut (and relatively short at a mere 88 minutes), the performance are good in instances (especially by Yul Brynner who conveys so much in the film but yet says so little. He was truly a tremendous talent).

This film arrived during an era that was undergoing great change. Films were attempting to convey meaning and messages about society throughout their stories and characters. Although, not widely known, this film is one of the more important one’s of the 70’s. It conveyed a message that was before its’ time and is still a message to be thought of dearly in the present day.

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Film Review: MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN

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miss_peregrine_posterMISS PEREGRINE’S HOME FOR PECULIAR CHILDREN (UK/USA 2016) **
Directed by Tim Burton

Starring: Eva Green, Asa Butterfield, Samuel L. Jackson, Judi Dench, Rupert Everett, Allison Janney, Terence Stamp, Chris O’Dowd

Review by Gilbert Seah

Based on the 2011 novel of the same name by Ransom Riggs, the film has a few similarities with the HARRY POTTER films which is likely the reason the rights of the book were quickly picked up for a film adaptation. Like Harry Potter, the boy with hidden powers, the hero of the story is a young 16-year old, Jake Portman (Asa Butterfield) who might or might not possess hidden powers. The orphanage home is a sorry replacement of Harry Potter’s Hogwarts. But Jake also stumbles across a home with magic as well as evil forces.in the background. The story here is so-so and can nowhere be compared to the depth and imagination of J.K. Rowlings. The film, however has the benefit of being directed by Tim Burton and it is no surprise then that the film has a NIGHTMARE BEFORE CHRISTMAS dark look.

If one is a Tim Burton fan, there is a lot of Tim Burton to enjoy in the film, a part of it even feeling like ALICE IN WONDERLAND but do no expect anything new. Burton trudges along his storytelling in this film, with special effects, just going through the motions with his past methods. The film is also overly long at over 2 hours.

The film begins with the death of Jake’s grandfather (Terence Stamp). 16-year-old Jacob “Jake” Portman is forced to travel to a mysterious island in order to discover the truth of what really happened. The film jumps frequently from the U.S. to England so often that it becomes confusing. One has to remember for example that when the pier is seen, it is Blackpool and no longer the Tampa Bay area.

Jake stumbles into what seems to be a different world. Jake is introduced to the extraordinary Miss Peregrine (Eva Green) and her peculiar children at Miss Peregrine’s Home for Peculiar Children. But when what seems to be a fairytale takes a horrific turn, Jake is forced to make a life altering decision in order to protect the ones he loves from the monsters of his grandfather’s past, the creepy Hollows and the dangerous Wights led by the terrifying Mr. Barron (Samuel L. Jackson).
The parts of the story in the film also feels unrelated and dumped together. These include among other curiosities unexplained in existence: World War II destroying the orphanage; the connection between Jake’s father and the monsters; Miss Pedegrine’s loops and her ability to change into a bird.

Bright moments are provided by Samuel L Jackson as Mr. Barron who as expected delivers another over the top performance. His under-his-breath curses each time Jake evades him are priceless. This is also one film Jackson does not get to utter his famous ‘mf’ phrase. He does, utter, however,”What the f…” under his breath.

MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN is rightly released just before Halloween to draw a family audience with the film getting a boost once the 31st of October comes around. It should do ok box-office numbers.

Trailer: https://www.youtube.com/watch?v=tV_IhWE4LP0

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Film Review: OFF THE RAILS (USA 2016) ***

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off_the_rails_poster.jpgOFF THE RAILS (USA 2016) ***
Directed by Adam Irving

Starring: Charles Bilal, Courtney Brown, Sally Butler

Review by Gilbert Seah

OFF THE RAILS is the story of a black man who has spent a majority of his life on the NYC subway and buses. But he is not an employee but a transit worker impersonator who has landed himself in jail 32 for criminal impersonation of NYC Subway workers, hijacking trains and buses, endangering the lives of the public and a whole lot of assorted charges.

Why make a documentary of such an unimportant person and who would want to watch a documentary on such a person? Co-writer and director Irving makes it a point to make his documentary on Darius McCollum one of the most intriguing and entertaining documentaries that it won the prize of the top 20 Audience Popular docs at Canada’s Hot Docs Festival.

Irving has clearly done his homework. He has assembled everything about Darius and has shown him to be a most unfortunate victim of the U.S. system. One cannot help but feel both pity for the man yet wanting to punish him for his deed. But there is more……. Darius McCollum is revealed as a man with Asperger’s syndrome who cannot help himself.

A patient with Asperger’s is one who can deal with objects better than human beings. But Irving includes two human beings that affect Darius the most. One is his mother who is interviewed on film. Their letters of correspondence while Darius is serving sentence are read aloud. The other woman in his life, an immigrant from Ecuador who can hardly speak a word of English is also interviewed. Here, the audience sees that even true love cannot alter Darius’s obsession with the NYC Transit System.

Like many a successful documentarist, Director Irvin know how to rally his audience’s emotions. Irving has as his target the U.S. judicial system. Darius is an unfortunate sick man who has not done anyone any harm, though it is made clear that he could have, given the opportunity. Darius offers the police information on the weaknesses of the transit in order to better protect citizens from possible terrorist attacks on the subway. Yet because of fear of being contacted by terrorist while incarcerated, Darius is put into solitary confinement. His lawyer clearly states that no system would punish a man who has helped them in this way.

OFF THE RAILS is not without humour. Irving parodies jail with the transit system. “The doors are closing,” is heard in voiceover as the jail doors automatically close shut. The way in which Darius manoeuvres his way around the system is quite hilarious.

OFF THE RAILS is a very thorough examination of Darius McCollum. The origin of his sickness is shown to be catalyzed from a stabbing by a pair of scissors in school when he was a kid during a snow day. Asperger’s experts also explain Darius’s behaviour in impersonating transit personnel and his comfort within the transit system.

An obvious solution is to have Darius hired by NYC Transit. But Transit has replied that Darius is a risk and Transit cannot have the safety of the many millions of riders lie in the hands of someone who never obeys the rule book.

OFF THE RAILS finally emerges as both an entertaining and absorbing documentary about an ordinary person with a problem. The doc is tremendously effective because that ordinary person that is the subject in OFF THE RAILS could be any one of us.

Trailer: https://vimeo.com/160158306

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Film Review: THE AGE OF SHADOWS (South Korea 2016) ***1/2

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the_age_of_shadows_poster.jpgTHE AGE OF SHADOWS (South Korea 2016) ***1/2
Directed by Kim Jee Woon

Starring: Byung-hun Lee, Yoo Gong, Kang-ho Song

Review by Gilbert Seah

THE AGE OF SHADOWS (original title SECRET AGENT) marks the second hugely successful patriotic South Korean film released this summer. The first OPERATION CHROMITE was far too serious failing to convince audiences with its plausible plot despite having Liam Neeson as General McArthur in the cast. THE AGE OF SHADOWS is a much better film because it improves in the credibility department.

Asian patriotic films are often a problem with western audiences. For one, westerners are unfamiliar with Asian history such as the Japanese/South Korean conflict in this film. Asian patriotic films are often confusing. This one is a little at the start, and runs a little too long (2 hours and 20 minutes) for its own good.

THE AGE OF SHADOWS thankfully, contains lots of intrigue, like the best of spy movies. The beginning segment has an exciting chase amidst rooftops that ends dramatically with the victim’s big toe being taken off.

If one wishes to complain that audiences may be aloof at the film’s historical content, there is a full torture scene with a red hot iron that will will make anyone wince.

A crucial portion of the plot involves Captain Lee (Song Kang Ho from THE HOST), initially a spy for the Japanese switching to the Korean side. A fair amount of screen time is devoted to this important subplot. Captain Lee is shown with the Resistance Leader drinking a whole barrel of liquor before taken night fishing. Important words are exchanged: “You can’t trust words; you can only trust in deeds…..To which side (country) will you write your history?… etc,” do the trick efficiently.

As for espionage suspense, the train sequence is one of the best that even Hitchcock will be proud off. The Resistance fighters are on board carrying the explosives, followed by the Japanese and Captain Lee who has jet switched sides with the Resistance. As the Resistance changes plans, the new plans are immediately known as there is a rat among them. Included is a standoff that ends with a shoot out in the train carriages with the wind blowing right through the train’s broken windows.

One problem this film might incur is its inherent racism. Besides the Koreans played as good looking (the men) and pretty (the women), the Japanese are portrayed as evil and creepy. The torture segment would be deemed too effective that it might incur more hatred by the Koreans towards the Japanese.

Of all the actors, supporting actor Tae-Goo Um stands out as the super creepy (complete with pencil-thin moustache, crooked nose and over high cheek bones) Japanese agent ordered to bring in the Resistance. His tongue-in-cheek performance perfectly compliments Song’s seriousness as Captain Lee.

The film also benefits from an authentic period atmosphere together with costumes and vintage cars, trains and other props. The landscape of the Korean countryside also adds to the film’s rugged beauty.

THE AGE OF SHADOWS emerges as a film several notches up from OPERATION CHROMITE. Despite a non-white cast, the film should appeal more to western audiences as well.

Trailer: https://www.youtube.com/watch?v=iII68QCGEDo

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Film Review: TRANSPECOS (USA 2016) ***1/2

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transpecos_poster.jpgTRANSPECOS (USA 2016) ***1/2

Directed by Greg Kwedar

Starring: Johnny Simmons, Gabriel Luna, Clifton Collins Jr.

Review by Gilbert Seah

Co-written and directed by Greg Kwedar, this thriller/drama has the odd setting of the desert surrounding a makeshift U.S./Mexican border control post. It begins as a drama about the three stationed patrol agents that turns into a thriller once trouble starts. The set-up seems so ideal for a superb thriller that one wonders why no other filmmaker has ever made a film with this setting.

The film stars three excellent unknown actors Johnny Simmons, Gabriel Luna, and Clifton Collins, Jr. as border patrol agents Benjamin Davis, Lances Flores and Lou Hobbs respectively. The film begins with the three buddying around, making jokes about their job and talking trash. It is a good way to start the film where the audience is introduced to the 3 characters. It turns out that Hobbs is the senior no-nonsense guard, willing to put everything into the job. Davis is the youngest and most immature while Flores the most level-headed. It is Flores that the story concentrates on. Gabriel Luna is nothing short of perfect in his role as Flores and the film succeeds primarily from his performance. Luna is able to bring the audience at any time to tears or to draw them to the subject at hand.

The trouble in paradise starts when a car is stopped by Hobbs. The car is carrying a hidden stash of cocaine and in the process of stopping the car, Hobbs is wounded by Davis. The driver of the car is shot and killed. It is revealed that Davis is in with the drug smuggling as the drug cartel has his family at ransom. “They know everything,” Davis tells Flores, “even when my sister goes to the grocery store.” But how Davis got into trouble with the cartel is not revealed. Though it does not really affect the rest of the film, one is still curious to know. Now, Davis pulls out his gun on Hobbs and Flores and decides to do the drop off off the cocaine himself to protect himself and his family. But Flores has to deal with both the wounded Hobbs while trying to save his buddy Davis.

It appears to be a lose-lose situation. There is no way out, with jail appearing to be the best alternative and the cartel killing them to be the worst scenario.

The rest of the film has the two of them, Flores and Davis dealing with the cartel. Though TRANSPECOS is not an action film, the necessary action segments are accomplished with sufficient expertise.

The desert setting is used to its full potential. The most beautiful segment, courtesy of Cinematographer Jeffrey Waldron has Flores crawling up a hill of sand silhouetted by the sun, his body shown in shadows. The segment in which the Hobbs is brought to an old Mexican medicine woman deserves mention. It brings the culture and beliefs of the people of the area into the picture completing the atmosphere of the story.
The film works best as a character study of patrol guards in the desert setting. It succeeds less as a suspense film trying to sort out a solution. But as an absorbing film in which the audience can identify with its characters, TRANSPECOS definitely succeeds with full marks.

Trailer: https://www.youtube.com/watch?v=osD5DjWnLXE

 

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THE GIRL KING (Sweden/France/Canada/Germany/Finland 2016) ***

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the_girl_king_poster.jpgTHE GIRL KING (Sweden/France/Canada/Germany/Finland 2015) ***
Directed by Maki Kaurismaki

Starring: Malin Buska, Sarah Gadon, Michael Nyqvist

Review by Gilbert Seah

Though one might initially shrug at a costume period film on European royalty, this true story of a queen from age 6 might instead, turn heads. THE GIRL KING paints a portrait of the brilliant, extravagant Kristina of Sweden. She fights the conservative forces that are against her ideas to modernize Sweden as she begins her sexual awakening and her love for women. The film is also a Canadian co-production that went on two win two awards at the 2015 Montreal World Film Festival – for Best Actress Malin Buska in the lead role and for the most Popular Canadian First feature.

Maki Kaurismaki (Aki’s older brother) introduces certain controversial segments that question whether they actually happen. One of these is the one in which Descartes is summoned to Queen Kristina’s court to perform an incision from the brain (open surgery) where he removes what he claims is the seat of a man’s soul. It is a gruesome scene where many of the court leave and also one that will make many an audience wince.

Kaurismaki shows the two sides of Queen Kristina – her strong willed side as well as her weak one. The audience will both take her side and the side against her at different points in the film. Her romance with the countess (Canada’s own Sarah Gadon) is displayed less than a love story than Kristina’s weakness leading to her downfall.

Kaurismaki’s GIRL KING is not the first film made on the controversial Queen Kristina.
Besides several stage productions, the most famous was Greta Garbo’s portrayal in Rouben Mamoulian’s 1933 classic QUEEN CHRISTINA which totally ignored her gay romance with her lady-in-waiting. Given the modernity and freedom of today’s times, THE GIRL KING is the most open in the gay treatment of the material, including a scene with a roll in the bed.
But Kaurismaki’s film surprisingly lacks real drama, despite many dramatic confrontations the best being the one between Kristina and her mother. But most of the film often feels like history lesson, bumped up a bit with emotions that do not affect the audience.

During the Coronation speech when Queen Kristina is opposed after she quotes French philosopher Rene Descartes and imposes peace for the sake of learning, her Counsellor stands up and declares ; “This is Queen Kristina, and when she speaks, she commands!” But she is often opposed by the court and does not always get her way. The end of the film has titles that heard her victory in achieving academia for Sweden, tough how this come about is not explained. The only thing she did was to bring philosopher Descartes to her court.

THE GIRL KING is one of Kaurismaki’s most dramatic features. He as a credit of 35 directorial films. His other films have been slight and mostly forgettable. Though not in any means the best 10 films of the year, THE GIRL KING is a worthy effort and will well be remembered as one of Maki Kaurismaki’s better films.

Trailer: https://www.youtube.com/watch?v=zxL0S78DZfc

 

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Film Review: KICKS (USA 2016) ****

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kicks_poster.jpgKICKS (USA 2016) ****
Directed by Justin Tipping

Starring: Jahking Guillory, Christopher Jordan Wallace, Christopher Meyer

Review by Gilbert Seah

KICKS is the ‘nigga’ term for shoes and refers to the pair of red Jordan sneakers Brandon (Jahking Guillory) bought and lost within the same day. The film brings a new look to the term ‘red shoes’.

“Get your nigga ass over here.” are words used instead of “Please, come here,” in the film. This is one example of the common black slang used in KICKS. KICKS is a spirited African American film that puts the audience right in the hood. The hood in this case is Richmond of East Bay, California. Similar to Vittorio de Sica’s classic BICYCLE THIEVES, the protagonist gets his prized possession, his KICKS stolen. Updated to the present, the victim, unlike the Italian who got the bike quietly stolen, Brandon is beaten up, insulted and has his beaten ass photographed on a cellphone and uploaded on to YouTube.

Justin Tipping’s film has a simple premise. 15-year old Brandon longs for a pair of the coolest sneakers that money can buy, assuming that merely having them on his feet will help him escape the reality of being poor, neglected by the opposite sex and picked on by everyone – even his best friends. His best friends – good-looking Lothario Rico (Christopher Meyer) and wisecracking Albert (Christopher Jordan Wallace, son of the Notorious B.I.G.) – are hilarious, making fun of Brandon half the time, while trying to get it on with the chicks. Working hard to get them which he eventually does, hilariously from a street hustler (he is too naive to question if they are genuine), he soon finds that the shoes have instead made him a target after they are promptly snatched by Flaco (Kofi Siriboe), a local hood. Brandon goes on a mission to retrieve his stolen sneakers, even stealing a gun in the process.

Tipping has plenty of style on display. He makes good use of slow motion from the car spinning competition (making the sequence look like a majestic symphony), to the rap music to the upbeat titles that precede each segment. It also helps that his characters are interesting as well as funny. Brandon learns a few life lessons on the way. Though Brandon finally gets his sneakers back, the question that finally bogs him, is whether all the effort is worth it. He is now on the watch for Flaco who he knows will hunt him down to get the shoes back. And his best buddies are hurt in the process.

Another feature of Tipping’s film is the depiction of Flaco’s character . Flaco, though first shown as a tough thug, is later shown giving the shoes to his young son (Michael Smith Jr.). When the sneakers are taken by Brandon, Flaco drags his young son on a mission to teach Brandon a lesson. The narrative sacrifices a portion dedicated to the character of Flaco with effective results.

2016 will be remembered for some fine black low budget films. At the Toronto International Film Festival, highlights were MOONLIGHT, I AM NOT YOUR NEGRO and BIRTH OF A NATION. Though KICKS did not play at the festival, it is the most original and entertaining of the lot.

Trailer: https://www.youtube.com/watch?v=rci4qxqcooA

Film Review: THE MAGNIFICENT SEVEN (USA 2016) ***

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the_magnificent_seven_poster.jpgTHE MAGNIFICENT SEVEN (USA 2016) ***
Directed by Antoine Fuqua

Starring: Denzel Washington, Chris Pratt, Ethan Hawke, Vincent D’Onofrio, Haley Bennett

Review by Gilbert Seah

This 2016 version that opened the 2016 Toronto International Film Festival is a western film remade from John Sturges’ successful 1960 version that itself was a remake of the 1955 Samurai film called SEVEN SAMURAI by Akira Kurosawa. Those who have seen either of the remakes know that either one was much superior. But Fuqua’s updated version is true to its source, still fun and pays loyal homage to the classic western in every department.

The story, simple enough is one that most are familiar with. A band of 7 misfits are recruited to save a town from an evil land baron. They succeed with some losses no doubt.

The original 7 spawned a sequel and this one should as well, as this film seems destined to be a hit, helped by the fact that there is no competing action film out right now.
THE MAGNIFICENT 7 are played by:
Denzel Washington as Sam Chisolm, a bounty hunter, the leader of the Seven
Chris Pratt as Josh Farraday, a gambler with a fondness for explosives
Ethan Hawke as Goodnight Robicheaux, a sharpshooter
Vincent D’Onofrio as Jack Horne, a tracker
Byung-hun Lee as Billy Rocks, an assassin[9]
Manuel Garcia-Rulfo as Vasquez, a Mexican outlaw
Martin Sensmeier as Red Harvest, a Comanche warrior

The cast is excellent though a few like 2-time Oscar winner Denzel Washington has nothing much to do but grit his teeth. Director Fuqua has directed both Washington and Hawke before in TRAINING DAY and it is of no surprise that they play the two lead characters in the story, though the dullest of the 7. The most interesting of the 7 are the asian characters, Red Harvest who eats a raw heart and Billy Rock a Japanese with a hidden history though played by a Korean star.

Peter Sarsgaard plays the main villain Bartholomew Bogue, a corrupt industrialist well enough for an audience to hiss and boo at him.

For all that this remake is worth, Fuqua appears apt at setting up the action set-pieces, right from the very first scene when the town is taken over by Bogue. The mid-section when the 7 rid the town of Bogue’s men and the final showdown are all expertly setup from the camera angles, to the close-ups, to the fights right down to the way the sun shines through the camera lenses (cinematography by Mauro Fiore), as is seen so often during the old westerns. The screen also saturates to red like the old 60’s credits of the spaghetti westerns.

Just as the confrontational shootout at the climax is riddled with bullets, the film is also riddled with cliches. When Robicheaux is reprimanded by Chisolm after turning chicken and taking off the night before, one knows he is going to show up the next day to help the fight. When another Red Indian is shown as one of Bogue’s new recruits, he and Red Harvest will face off in a hand-to-hand combat fight. The Mexican and the gambler throwing insults at each other will end up saving each other’s lives. And the villain and the hero, Bogue an Chisolm eventually meet for a gunfight draw in the true western tradition.
Fans of westerns will not be disappointed with THE MAGNIFICENT SEVEN. The only surprise in the movie is that the entire film, directed by Fuqua has only one black character, throne played by Washington.

There is no credit mention of Sturges’s MAGNIFICENT SEVEN or Kurosawa’s SEVEN SAMURAI in the end credits though Elmer Berstein is credited with his MAGNIFICENT SEVEN score which was used in Fuqua’s film. But the film is dedicated to James Horner, who partly did the music for the film and passed away before the film’s completion.

Trailer: https://www.youtube.com/watch?v=anyMa2gN6uw

Film Review: MILLER’S CROSSING, 1990

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Tribute review as it’s Ethan Coen’s birthday today.


millers_crossing_posterMILLER’S CROSSING, 1990
Movie Reviews

Directed by Joel and Ethan Coen
Starring: Gabriel Byrne; Marcia Gay Harden; John Turturro; Jon Polito; Albert Finney
Review by Tom Coatsworth

SYNOPSIS:

A gangland war erupts; one mobster falls from power as another rises; a lover’s triangle tears two friends apart. The one man owes the other — to repay him he must go undercover and join the enemy, forsaking love and friendship – he must go to Miller’s Crossing.

REVIEW:

Oh for the days when the talented brothers Coen knew how to finish a film. With ‘Millers’ Crossing’ they hit the sweet spot — a complex tale set in Prohibition – a tale of love, betrayal and redemption; featuring a gangland war between Irish and Italian mobs, and two lover’s triangles – one straight, one gay. It springs from the Dashiell Hammett style of crime story; plays with the genre, masters it, and then transcends it altogether to become something greater.

Tom Reagan (Byrne) is right hand man to Leo’s (Albert Finney) gang leader. Tom sees all the angles. Its 1929, an Eastern city. (Filmed in New Orleans.) Johnny Caspar (Jon Polito) wants to rub out Bernie Bernbaum but he needs Leo’s permission. Bernie has been tampering with the fix. Every time Caspar fixes a fight the odds go straight to hell – this on account Bernie (John Turturro) has the inside scoop from Mink – Eddie Dane’s boy – and the Dane works for Caspar. Love triangle number two.

For Tom it’s simple: Leo should let Johnny bump off Bernie. Johnny’s too valuable for business and too strong to ignore, whereas Bernie is a worthless grifter who will bring no good to anyone. The catch is Leo is seeing Verna (Harden), Bernie’s sister. The double catch is that Tom is also bedding Verna on the sly: love triangle number one. But he won’t let bedroom politics interfere with business. Leo tells Johnny to dangle – he’s not selling out Verna’s brother.

Writers generally introduce their theme in Act 1. The Coen’s tell us on page one, line one, in Johnny Caspars’ ironic speech to Leo: ‘friendship, character, ethics’. It’s funny that a mobster is concerned with ethics and character when it comes to the fix and laying a bet, but that is the central issue in the film. Tom can barely live with himself for betraying his friend and boss. His desire to make good is the driving force in the narrative. But he’s a complicated character, expertly played by Byrne, and you’re never quite sure what his motivation is.

So Leo puts a tail on Verna for protection. The man winds up dead in an alley; Leo blames Johnny and orders a police crack down — a huge mob war ensues. In a remarkable sequence that took weeks to shoot we see Leo at home enjoying a cigar in bed while ‘Danny Boy’ plays on the phonograph. Downstairs his bodyguard lies dead, his fallen cigarette starts a fire. Two thugs with Tommie guns and trench coats move ominously up the stairs. Cut to Leo enjoying the tune and his stogy – but something catches his eye – smoke rising through the floor boards.

He moves to the side of the bed. Cut to the assassins walking down the hall. Leo watches the door, puts out his stogy. The door bursts open, Leo reaches for his bedside pistol and hits the deck, ducking beneath the bed — a spray of bullets splintering floorboards. Leo caps one in the ankle; the man falls, catching another bullet in the brain. The other punk flees. Leo has a Tommie gun now – he jumps from the second story window and as the house goes up in flames he makes the bad guy do a little dance as he pumps him full of lead. (It is completely gratuitous violence and we are bad bad children for enjoying it.)

Suddenly a getaway car bursts from the shadows spewing machine gun fire. Leo turns with authority and takes out the car; it hits a tree, bursts into flames. Leo brings the stogy from his pocket and plants it in his mouth as ‘Danny Boy’ finishes — astonishing.

His victory is short lived however as the momentum and power move to Caspar. Tom tries to get Leo to see the truth of his situation – that Bernie is the heart of the problem and not Caspar. But Leo is blinded by love and wants to marry Verna; so Tom comes clean and admits to the affair. Leo throws Tom and Verna out of his life and she ends up at Toms. There is some talk of going away together but Tom makes a grim decision.

Caspar is king now. Tom goes to his office, offering his smarts – despite a weakness for booze and horses he’s the wisest guy in a town full of wise guys. So Caspar takes him on if he’ll sell out Bernie and Tom goes for it. But he doesn’t expect to find himself at Miller’s Crossing, a dark forest where the weak go to die, a gun in his hand — a tearful Bernie begging for his life — with orders to put one in the brain. How far will he go to help his old friend, Leo? And what will it cost him?

Is there a finer film composer than Carter Burwell? Ummm…maybe. But you had to think about it. He’s one of the best. Every film he touches plumbs hidden depths in his hands. Marcia Gay Harden makes her film debut with a stellar performance and some of the greatest dialogue: Tom: “All in all not a bad guy — if looks, brains and personality don’t count”. Verna: “You better hope they don’t”.

Byrne is magnificent as Tom Reagan, and John Turturro makes his reputation with this one performance. Barry Sonnenfeld is cinematographer; Dennis Gassner, production design. We’ve come to expect exceptional writing from the brothers but this is just ridiculously good writing.

The Coen’s will sort out their performance problems one day; I envision a late return to form. In the meantime we have this early masterpiece – completely ignored at the 1991 Oscars – it stands today with the very finest films of that decade, indeed of any decade.

 

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