Because, sometimes you see a flood of movies, both new theatrical and DVD releases as well as classics. Unfortunately, time constraints and life don’t always comply with allowing you to be on time with all of them and you wind up falling behind. Part one of two.
USA / China / Hong Kong / UK / Italy / Canada / New Zealand
Director: Patty Jenkins
Runtime: 141 minutes
Language: English, German, Dutch
I generally stay away from almost 99% of superhero movies that come out at the rate of one per week. I just don’t feel that I’m the target audience they wish to cater to and for me, unless it’s something directed by Christopher Nolan or Tim Burton (who to me, directed two of the most memorable Batman movies) then I’m just not interested in watching hyper-kinetic action from the word go, cartoon villains, two dimensional acting, and the requisite confrontation scenes in large cities that offer only a mock-up of urban destruction, the kind Roland Emmerich would positively fall in love with.
So, with that in mind, it took me close to two weeks and voice of mouth before I found myself sitting at the back of theater 10 in an AMC allowing me to, naked of bias, experience Wonder Woman. Reader, I was totally taken in by her origin story in an invisible island off the coast of Greece, living in perfect paradise, away from the world of men and its complications. The intro section is one of of the best in the film even when it compresses time and shows Diana growing up before our eyes, unaware of the role she will have to play against the god of war, Ares, who has turned his powers to place the world in complete turmoil. Chance has it where Diana, now grown up, meets a downed pilot who turns out to be Steve Trevor who somehow has penetrated the bubble of invisibility that hides Diana’s island home.
While many of the women, Diana’s mother (Connie Nielsen) included, feel uneasy with a man in the midst, Diana learns through Trevor there’s a war raging outside her kingdom and sensing Ares must be behind it, they both set out to London; he to stop the Germans, she, to find Ares. Does this seem unbelievable? Of course — every story involving superheroes are, but at least this one has some roots in reality with the Germans attempting to use and release lethal gas as a war weapon. Also, Gal Gadot as the titular Wonder Woman is a hell of a performer and will erase most memories anyone has of Lynda Carter. Her Diana is completely ahead of her time, a feminist, and a conscientious warrior focused on the higher good. Chris Pine has the less meatier of the starring roles — all the action goes to Gadot — but his is still, much more solid than the TV version played by Lyle Waggoner, and provides enough comic elements when the story threatens to become too serious for its own good.
To me, the real surprise and sole reason to go see this film is Patty Jenkins, a director I only knew from her 2004 movie Monster, a film that garnered Charlize Theron an Oscar for Best Actress. Monster was essentially a chilling portrait of Aileen Wuornos, and after that, Jenkins did very little. It seems she has had time to prepare for a movie like this that is action-driven and female-centric. She does not disappoint, establishing Diana’s world from the onset, introducing strong women like her aunt and teacher Antiope (Robin Wright), and then fast-forwarding her isolation to catch-up to 1918, and from there moving towards action sequences filled with Gadot’s balletic movements until the emotionally satisfying finale. It is a tour de force part for Jenkins who announces herself as a director to pay attention to. [A+]
THE WORLD OF KANAKO
Director: Tetsuya Nakashima
Runtime: 118 minutes
Viewing The World of Kanako is akin to looking into the abyss for a second too long. There is so much carnage, so much nihilism involved and not a branch, nothing to hold on to, that once the film was done there was a sense of something truly ugly hovering, as if somehow, the story I’d seen was penned by a lucid madman who wanted to plaster on paper all the ugliness in society into one vertiginous tale of deceit and murder. Anchored by Koji Yokushio as former detective Akikazu Fujushima, a broken man separated from his wife who finds himself investigating his daughter Kanako’s disappearance. It seems as though she’s been swallowed up by the underbelly of society and, hell-bent to save her, Fujushima dives head first into it, running into all sorts of undesirables. If there is a sense that Kanako may make an appearance in the style of Orson Welles in The Third Man, it’s due to how much of an impression she’s left on people. It is as though she herself was a ghost living in the narrative of the movie, invisible but omniscient, and instead of bringing a sense of solace that her eventual discovery may allay the anguish of her absence, it does the contrary.
What denies Kanako the points it would need to become great in the eyes of movie lovers is that it’s frankly, so frenetic, so ferocious in its editing — a scene not lasting more than a second, placed against others that fly by so quickly it’s not far-fetched to say one could get a headache — that the notion of suspense is gone and all that remains is shock and buckets of gore. On top of this, the women in the film — and there are several — are never seen as sympathetic. Ranging from simply alienating to downright monstrous, Kanako is a film that serves as a cry of misogyny that only stops once the film itself is over. [Although, to be honest, I may be over-analyzing; extreme cinema doesn’t abide by the rules of having nice characters. On the contrary, the more transgressive the better to express how black the human heart can be, and how far its tentacles can go. This is one ugly, ugly film that mysteriously manages to come off as strangely compelling. [B]
A DOG’S PURPOSE
Director: Lasse Hallstrom
Runtime: 100 minutes
When did Lasse Hallstrom lose his shit? Can someone please inform me? While I recall that Hallstrom rose from being a fluke Oscar winner for My Life as a Dog to direct Oscar winning performances in thoughtful movies starting with Once Around and ending in the Oscar-pleaser Chocolat, I also recall that somewhere in the mid-aughties he began directing films that either went nowhere (An Unflinished Life, anyone?) or became parodies of feel-good romance and general goodness. Perhaps it’s me, but it seems like by the time he came up with Hachi, he’d somehow just checked out and chosen to go to the path of making a quick return on a movie that was based on a real dog who waited for his owner, even when the owner himself was dead. Hallmark had suddenly hijacked the building.
But the whole descent into sap didn’t end there: earlier this year we had a movie pounce upon us with paws made of concentrated sugar, licking us with a tongue made of syrup and eyes made to stare lovingly at us while we wondered first what had just happened, but taken in by the charm, decided to stop thinking and just submit/ It was all very Orwellian. A Dog’s Purpose took the sentiment of Hatchi and dialed the lachrymose aspects of its story to eleven and then some. Predictably, Hallstrom’s film was based on a written book — yes, someone came up with the idea to write a story of a dog who has to reincarnate over and over in order to Come Back Home. [And I wonder why I’m still working a nine-to-five in corporate America. . . . ] That the dog, a lovable thing voiced by Josh Gad, who starts out cute and devolves into plain creepy (you’ll see if you rent it) is bad enough, but the plot developments are just plain implausible to a degree that I can’t. If Lasse Hallstrom wanted to do yer another film about a dog he could have remade the Hungarian film White God and eliminated some of the incursions into animal abuse, steroids, and violence and still come out a winner. As it stands, A Dog’s Purpose is a parody of shameless emotional manipulation that wants you to believe it’s got some cosmic understanding when in fact, all it understands, is dollar signs. [C-]
Director: Nick Hamm
Runtime: 94 minutes
For all its good intentions, the events depicted in Nick Hamm’s The Journey didn’t exactly happen the way they are shown. While the two leaders of opposing forces — Martin McGuiness, allegedly the former leader of the extremist IRAs who now heads Sinn Fein, and Reverend Ian Paisley, an ultra-conservative anti-Catholic minister who heads the Unionists — did meet in 2006 to put an end to the Troubles, a conflict that has plagued Ireland for over hundreds of years, Hamm’s reimagining of it sounds and looks a bit contrived but winds up working. When both men find themselves sitting side by side in a limo driven by a covert MI6 operative (played by Freddie Highmore, who brings a little more than just a thankless, passive presence to his role as a driver), the feelings of tension could cut the air like a knife. However, a conversation and a truce must be reached, and it’s the driver’s job to ensure that this event transpires between the two political enemies.
The greatest asset that Hamm’s picture has going for itself is the dialog. For a movie to have lines such as “You can almost taste the hatred” delivered almost in a scenario of “same-shit-different-day” is an early sharply drawn observation of how violence had become so entrenched in Ireland as to have been matter-of-fact. Both McGuiness and Paisley use words like daggers but also with a sense of humor; these are seasoned pros who know, it seems, what buttons to push against the other, and at times (and for those of us who know the results of this meeting), it appears that as much as they might want to believe they are on opposite sides of the fence, the movie portrays them as actually much closer than that, barely divided by a thin wall of pride. If anything, reveals that despite what we may think of how different opposing forces are, once the veil of ego is removed, we can all see the other for whom they are and work together. [I know, it sounds a bit trite, but it’s true.] The presence of Spall and Meaney alone is worth the 90 minutes of your time; plus, you can spot John Hurt in one of his final roles, and Toby Stephens as Tony Blair. [A]
Thaliand / Singapore
Director: Kirsten Tan
Runtime: 102 minutes
Kirsten Tan’s debut film, still playing in cinemas at the time of this writing, will be only affected by one thing: its timed release with another film about the relation between a human and an animal, and that film is the more commercial-friendly, sentimental Okja . The difference between the two starts almost at the start: while Okja is a superficial examination on mass consumerism and exploitation of available resources, Pop Aye is a little more complex. An architect past his prime (if I can say that) finds himself questioning his marriage, his life, his eventual replacement by younger, hipper architects. Out of nowhere — and it does seem fantastical — a pet from our architect’s childhood appears. But it’s not just any pet that has made its reappearance. It’s a full-grown elephant.
For reasons unexplained Thana (Thaneth Warakulnukroth) has a moment of epiphany and makes it a point to take custody of the elephant. It’s a completely off-the-wall moment, but made to look as if it were the most normal, natural decision, especially when it involves a man going through a mid-life crisis. He takes it home, much to the horror of his wife with whom he’s alienated with (and nothing could spell alienation more than the scene when Thana discovers a dildo in her belongings, brings it out, and places it nonchalantly on a coffee table waiting for her reaction).
When the presence of Pop Aye clearly has an unnerving effect on his house hold, Thana sets out to deliver Pop Aye to an animal sanctuary where it won’t be forced to perform in circuses for the amusement of others. On his way across Thailand he experiences the kindness of strangers (a thing that seems to be requisite of these road movies). Among these strangers are a bum who seems to be at the end of his life, a transgender nightclub singer, and a hooker. Pop Aye presents each encounter with a sense of greater connectivity, that even the most loneliest person can find his own place in the world. If anything is absent it’s in the fact that Thana as a character is so alienated to everything that he seems to be on his own island and thus it’s a bit hard to relate to him, and that the elephant in question seems more a background prop than an actual presence — that is, right up until the final sequence, which is rather moving.
Pop Aye had its premiere at the Film Forum on June 28 and is still currently playing around the country. Look for it soon on DVD. [B]