film reviews

Film Review: AMERICAN HONEY (UK/USA 2015) ****

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american_honey_poster.jpgAMERICAN HONEY (UK/USA 2015) ****
Directed by Andrea Arnold

Starring: Sasha Lane, Shia LaBeouf, Riley Keough

Review by Gilbert Seah

The fifth film and fourth feature (I have seen every one of her films) sees British director Andrea Arnold covering similar material in a total different setting. All her films have a disgruntled female as the central character often living a life in the outskirts of a city, one that the protagonist strives to get out of and make something of herself. Her first short, WASP, had a middle-aged woman go to her ex-husband’s home to beat up his woman and take her children out. She ends up leaving her children outside a pub while she goes in for a drink hoping to pick up a man. Her next two films RED ROAD and FISH TANK were hard hitting dramas, both of which were excellent, but her last film, a modern adaptation of WUTHERING HEIGHTS did not work and was plain awful. Her new film AMERICAN HONEY, that premiered at Cannes (that also won her the Jury Prize) is her first film set in America, about a 18-year old teenager, Star (newcomer Sasha Lane who was pick up from a beach by Arnold for a screen test) following a crew of hard-partying teenagers criss-crossing the Midwest while working as travelling magazine salesmen.

Star leaves her mother and her siblings, after being enticed by Jake (Shia Labeouf) who she meets at Walmart to work as a magazine sales crew. The crew is a hilarious gang of misfits: slugging hard liquor in the backs of vans, crashing in rundown motels, and selling fraudulent magazine subscriptions. Star and Jake are ecstatic in each other’s company. They begin dreaming of a house and family to call their own. But their relationship offends the crew’s queen bee, Krystal (Riley Keough).

Arnold knows how to film confrontation – the film’s best scenes are the confrontations between Star and Krystal.

One can see the fascination America has for British director Arnold. She shoots the lead characters first meeting at an American icon – a Walmart. Arnold loves the landscape of Kansas City and the barren landscapes that the van passes during their sale trips. Her verite style can be seen in the film’s loose plot and her frequent use of the hand-held camera.

Arnold is also fascinated by insects as revealed in many of the film’s scenes. Star is seen twice saving insects, a bee from a window and a ladybug from drowning in a lake. A pretty butterfly is also filmed while Sasha falls in a bog in another scene.

But the film has its English roots. The gang is immediately reminiscent of the gang of pickpocket and thieves in Dickens’s OLIVER TWIST. The character Krystal is a cross between Fagin and Bill Sykes. But redemption here, unlike in the Dickens story is up to Star herself, with no one to help. It is a hard life on the American road, even for veteran salesman Jake who Krystal finally gets bored with as a sex object.

` The film’s soundtrack varies from E-40 to Rihanna to Bruce Springsteen with the song AMERICAN HONEY used in the soundtrack at the end of the film. Star and Jake also meet to the dance beats of Calvin Harris and Rihanna’s 2011 smash “We Found Love”.

This is Arnold’s longest film, running at 2 and a half hours, an epic opus to life of American youth living on the outskirts, as seen by a Brit.

Trailer: https://www.youtube.com/watch?v=y1SpWZm1PLc

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Movie Review: THE LAST JOURNEY OF THE ENIGMATIC PAUL WR (2016)

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MOVIE POSTERTHE LAST JOURNEY OF THE ENIGMATIC PAUL WR, 17min, France, Sci-Fi/Fantasy
Directed by Romain Quirot

The red moon threatens our existence on earth. Our only hope is the enigmatic Paul WR, the most talented astronaut of its generation. But few hours before the start of the great mission, Paul disappears.

Shown at the September 2016 Sci-Fi/Fantasy FEEDBACK Film Festival

Movie Review by Kierston Drier

 There is a big red moon that hangs in the sky at all times now, and it will kill us all if Paul WR, an astronaut with the power to read thoughts, does not fly into it and save human kind. That is the pretence of Romain Quirot’s The Last Journey of the Enigmatic Paul WR. This French film must be praised on several levels, one of which being its attention to iconographic detail.

The film is set in the future, with hover cars and hyper-real technology. And yet everything the film touches has a strong retro 1960’s iconography. The film has beautiful color and brightness, and visual splendor that gives a nod to Frances’ famous Amelie.

The story leaves much to be questioned, but still satisfies the viewer. In the end we are left to wonder what makes Paul WR choose the path he does. Curiously, a film about reading thoughts, begs the audience to compose their own about the ending.

It can be argued that The Last Journey of the Enigmatic Paul WR is an alternate dimension housing a different version of earth, because the world the characters live in is both resembling our own and yet exists completely outside of us and our timeline.

We do not have an ominously huge red moon threatening our destruction, nor retro 1960’s car that hover and fly. But this is the joy of classic science-fiction- that we can throw out our disbelief and settle into a world that is a fun-house mirror to our own. We long to fall into a story set in a universe close enough to out own to be relatable, yet far enough way that we do not have to be made uncomfortable by the threats being too plausible.

Enjoy this film, it’s a beautiful view, an introspective story of a flawed hero who is at odds with a world he never made.

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Movie Review: RED ROVER (2016)

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MOVIE POSTERRED ROVER, 15min, Australia/USA, Fantasy/Action
Directed by Brooke Goldfinch

Two teenagers from a remote religious community travel to town in search of shelter after being told by their Evangelical parents that an asteroid will soon destroy the earth.

Shown at the September 2016 Sci-Fi/Fantasy FEEDBACK Film Festival

Movie Review by Kierston Drier

 A refreshingly different approach to an encroaching apocalypse film, Red Rover, an American film directed by Brooke Goldfinch, straddles the genres of science fiction, romance and drama. As the end of the world approaches, two teenagers escape their religious community to seek shelter and potential survival. The piece is founded in tragedy when the teens realize that they have nothing left to loose except each other.

Unlike many apocalypse films, this piece does not rely on heavy pandemonium- huge riots, teeming masses of terrified people, big explosions- instead it focuses on the last death throws of a society that has already accepted its’ end. The streets are vacant. The shops deserted. The last remains of society exist in debauchery inhabited abandoned hotel rooms. Red Rover’s focus on realism in this way may be disturbing to some, a refreshingly honest to others.

The theme of this film, however, will pull the heart strings of any romantic. As the world approaches its violent end our heroes must re-evaluate what it means to have lived and been alive. Is a life that is short, yet full of love, wonder and joy, any less lived? Red Rover seeks to ponder that question. To find the answer, you’ll have to watch it and see.

 

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Film Review: THE GIRL ON THE TRAIN (USA 2016) ***

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the_girl_on_the_train_poster.jpgTHE GIRL ON THE TRAIN (USA 2016) ***
Directed by Tate Taylor

Starring: Emily Blunt, Haley Bennett, Rebecca Ferguson, Luke Evans, Justin Theroux, Edgar Martinez

Review by Gilbert Seah

THE GIRL ON THE TRAIN is based on the best selling novel of the same name by British author Paula Hawkins. The suspense mystery revolves around Rachel’s daily trip on the train to work in London. The film is adapted to a setting in the U.S. with the train now travelling along the Hudson.

The film and book is divided three chapters – Rachel, Meghan and Anna in that order. It makes sense in the novel as the story is told from the three points of view of the three women. In the film, however, it is not and while unfolding totally from Rachel’s (Emily Blunt) point of view, it is told in non-chronological order, flipping back and forth from the present to 6 months ago, to 4 months ago to 2 months ago again back to the present. The titles appear, which is really redundant and confusing. One title of 6 months ago should suffice, with all the events now occurring in chronological order. The film’s mystery is heightened artificially by these antics coupled with blurry images of Rachel’s memory.

The film opens with Rachel Watson travelling on the train. It is revealed that Rachel is an alcoholic (reason not given except perhaps to make her a sad and pitiful protagonist) who divorced her husband Tom (Justin Theroux) after she caught him cheating on her. During her daily journey, she sees through the train window and fantasizes about the relationship of her neighbours, Scott (Luke Evans) and Megan Hipwell (last seen in THE MAGNIFICENT SEVEN). That all changes when she witnesses something from the train window and Megan goes missing and is presumed dead.

One can see the attraction of the story. It is also one of redemption – the redemption of the sad, alcoholic Rachel. She goes to the detective (Allison Janney) with her story of what she had seen, hoping to do some good. This of course backfires. The story, full credit to the book, is very intriguing where truths and secrets are hidden and images are lies. For those who like a good yarn, THE GIRL ON THE TRAIN will not disappoint. But director Taylor is unable to prevent unintentional laughs (as observed in the promo screening) during a few of the film’s key scenes.

The film is aided by excellent performances, the best of which is provided by Blunt in the lead role. Janney is also outstanding as the disbelieving detective.
But the film is totally geared towards a female target audience (i.e. film is a chick flick to put it crudely). All the female characters are strong like the detective and those who are not, finally get it together at the end as in the characters of Rachel and Anna. The men are all male idiots who cannot keep their dicks (the doctor, Tom and Scott) in their pants. The actors playing them all have great bodies. No female should complain about the eye candy. The only male who has a good character is a fellow passenger on the train who ends up saving Rachel from two thugs when she passes out. Even then, he is also told to “fuck off” when Rachel comes to. Enough said about a film with main female characters in a female novel written by a female with a script adapted by a female. (The director of one of my outlets has already told me I have female issues).

The film does have a few good sinister moments. The best is the one where a victim (not to be revealed in the review) is about to be murdered. She is half-conscious and being pushed under the vegetation in the woods. It is an excellent scene as she looks at her killer, knowing that she is about to die and unable to do anything.
Apart from a few over melodramatic segments, THE GIRL ONTHE TRAIN is a satisfying mystery with a credible solution with the bonus of the sad heroine’s redemption.

Trailer: https://www.youtube.com/watch?v=KkoEE1i0CX8

 

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Film Review: LONG WAY NORTH (Tout en haut du monde)(France/Denmark 2015) ****

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long_way_north_posterLONG WAY NORTH (Tout en haut du monde)(France/Denmark 2015) ****
Directed by Remi Chaye

Starring: Christa Théret, Féodor Atkine, Antony Hickling

Review by Gilbert Seah

LONG WAY NORTH is a French (screened in Toronto in the English dubbed version) 2D animated feature from screenwriters Patricia Valeix and Claire Paoletti and director Rémi Chayé (THE SECRET OF KELLS).

For what LONG WAY NORTH lacks in modern animation – it cannot be compared to the lush expensive modern animation of Pixar and Disney Studios – it more than compensates in story and charm. The proof is in its win of the Audience Award at the 2015 International Annecy Animation Festival where it premiered.

The film’s setting is 1892 in St. Petersburg, Russia centring on an aristocratic family. Sasha, a young Russian aristocrat, has always been fascinated by her grandfather’s life as an adventurer. A renowned explorer, he designed a magnificent Arctic ship, but he hasn’t returned from his last expedition to the North Pole. To save her family’s honour, Sasha runs away. Headed towards the Great North, she follows her grandfather’s trail in search of his famous ship.

The young female protagonist Sacha is as winning and charming as the story. She loves her grandfather who has told her wonderful stories of the cold Arctic. So, when his ship the Davia disappears, Sacha uncovers a route map which leads her to believe that the search expedition has looked in the wrong location. Armed only with her determination, she takes a ship to the North Pole in search for her beloved grandfather. Who will not root for such a lovely lass?

Being a fully animated film, the film avoids all the problems of having to film a voyage under extreme Arctic conditions. Imagine having to shoot ice avalanches, a polar bear attack, the ship breaking ice and finally coming down under an avalanche. Chaye’s animation captures both the danger and beauty of unchartered territory. Even animated, the sight of a drawn ship tracking through the ice and water of the Arctic is stunning.

LONG WAY NORTH reminds me of the little seen excellent Dutch 1993 mockumentary THE FORBIDDEN QUEST written and directed by Peter Delpeut. The film interviews a fictional J.C. Sullivan, the carpenter on that ill-fated voyage and is the last known surviving crew member of the Hollandia. Though THE FORBIDDEN QUEST was an amazing film, LONG WAY NORTH is able to show more hardship because it is animated.

Chaye never forgets the importance of the human elements in a story. From the old woman at the sailor’s bar who takes Sacha in thus saving her to the young boy who forms a bond with Sacha, LONG WAY NORTH is full of heart.

Though the story is quite an improbable one demanding the audience’s belief that a little girl can achieve so much, the treatment of the story like a Russian fairy tale allows one to forgive the implausibility of many events.

The film will be released either in French with a voice cast including Christa Theret as Sasha, Féodor Atkine as Oloukine and others or in English with an English voice cast led by Chloé Dunn as Sasha with Vivienne Vermes.

(French) Trailer: https://www.youtube.com/watch?v=pW7JDw2Qimo

 

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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

festreviews 2016 movies, movie, Movie Review, Uncategorized , , , ,

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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