PresterJ Reviews

Gladiator (2000)

Swords, Sandals, and Mirrors

[28 May 2000]

After many years of neglect, Rome has found itself again in the spotlight... for the second time in one year! Like Titus, the version of Titus Andronicus released earlier in 2000, Gladiator brings new life to the sword-and-sandal genre and to a supposedly dead chronotope.

Another similarity between the two films springs to mind: to both belongs a much-discussed apparent lust for gore, accompanied by an introspective and self-conscious wariness of violence in the media. Without going into details that might spoil the plot of either movie, it should be noted that both movies:

1. are rife with violence and blood, taken to levels of extremity not customary even in modern theater 2. focus on this violence in its capacity as spectacle 3. examine the role of the film's audience through highlighting an audience in an ampitheater (in Titus, once at the end, in Gladiator constantly)

Through a synthesis of these three points, each film examines the role of violence as a spectacle today, in the modern ampitheater of the mass media. In effect, the viewer is forced to question the enjoyment he's gotten from the movie. In Titus, this question takes the tint of psychology -- is the viewer sick to laugh at Titus' jests amidst his horror? In Gladiator, the examination turns political and asks how much power the culture industry (the emperor in Rome, Hollywood today) has over the populace... its answer is quite an act of narcissism on the part of Dreamworks, but it contains truth.

But the special effects are spiffy keen and there's lots of blood, so what's not to love? :)

The Red Violin (1998)

More than the sum of its parts...

[10/10 · 17 September 1999]

The Red Violin is more than a collection of short stories centering about a fabulous instrument: it is an examination of Western Civilization and those to whom it is entrusted. The creation of the violin in Renaissance Italy mirrors the rise of Classical music and, with it, of modern Western culture. It moves from time to time, from place to place, always falling into the hands of those who are, in some way, greedy. In every scenario comes a realization of the humanity that lies behind true culture, and the inhumanity of those who falsely profess to be the most cultured. Those who miss the thematic unity of the work have only seen the cinematic beauty that is but the surface of this film.

The Blair Witch Project (1999)

Incomplete Experience

[9 August 1999]

The terror this film promises depends on the viewer's ability to identify with the characters and to feel their emotions... this in turn relies on the actors' ability to convey those emotions with some verisimiltude, enough to deceive the mind into seeing the story as real. For some viewers, it works. For me and apparently for many others, it doesn't. Of the friends of mine who saw the movie with me, some were terrified while others were bored and restless. Some saw the world through the characters' eyes and felt their fear, while the rest of us found both the acting and the plot implausible. In defense of the latter, I can't imagine that the students had read their survival book they proudly displayed early in the film if they didn't know to follow the stream they kept crossing to find their way to civilization. But to the point, the filmmakers managed to capture the attention of some of the audience and lose the others... in short, they did a halfway job. I was disappointed, given the hype surrounding it. I suppose that's my fault for expecting something at the theater and for listening to hype.

The English Patient (1996)

Such unfulfilled promise is a crime.

[2/10 · 16 June 1999]

Few flims have disappointed me so deeply as this one. The cinematography is beautiful, and I honestly don't think I can count on my hands the number of films I have seen that were more visually stunnning. But the praise ends there. The film promises a tragic romance, but delivers only stagnant plot movement, seemingly drawn out to prolong the background scenery, and flat, shallow characters with whom I did not find any sympathy. Indeed, I found the love affair a tad repulsive, and the immorality of the characters does play some role in this. The majority of my dissatisfaction, however, resides with my lack of interest in their lives: if the characters have emotion, the audience is not brought to share in that emotion. I felt quite numb watching this movie, and that is a terrible mistake for a tragic work... tragedy relies on emotion and sympathy, both of which are absent here. The main symbolic thread of the story, the Count's memory and his book, suffers from the same malaise: if it were easier to care about his character, his memories would be very touching. Unfortunately, the film does not do its job in executing this idea. In short, there are great possibilities in this film for an excellent overall work, but it seems that the story was neglected in favour of adding effort to the visual aesthetics. Usually, films are revised to add new effects to an existing storyline... Sabrina comes to mind. In this case, the director should be given a second chance to dazzle audiences with a stunning remake, to add emotion to the existing effects.

The Mummy (1999)

It's a Mummy Movie.

[12 May 1999]

If you come to a movie with "The Mummy" for a title, looking for Oscar quality acting, or a brilliant script, or cinematography or anything except for a corny Mummy movie, you deserve to be disappointed. This movie wasn't made to compete with Bergmann or Kieslowski or even Tom Hanks. It wasn't made to educate the young on the successions of Egyptian dynasties or the science of archaeology: the Discovery channel runs 24/7 if you're looking for that. This film was made just for fun. If you look for anything else in it, you're looking in the wrong place. But as a cheesy "mummy" movie, it's a winner.

Red Dawn (1984)

"Red Dawn:" Mirror of Society's Fears

[12 May 1999]

However silly the premise of Central American communist troops organizing well enough not only to hold their own country for very long, but to invade, and for a time hold, the much larger and well-organized United States, this movie still has serious value as an expression of the fear of such a scenario's realization. This movie mirrors the deep anti-communist, pro-American feeling with which so many of us grew up in the early '80's, and as a manifestation of this cultural trend, it is quite fascinating to watch again and reflect upon.

7 Faces of Dr. Lao (1964)

Dr. Lao: Classic Satire

[10/10 · 3 January 1999]

For students of satire, this movie is a must. Dr. Lao comes to the town of Abalone to bring enlightenment through entertainment. The residents of the town are locked in their own extremist views: an idealistic reporter, his polar opposite in the form of an exploitative businessman, a woman obsessed with remaining true to the memory of her dead husband, a foil character whose vanity won't let her see what little hope she has of finding a second husband, and many others. The idea of satire as holding a mirror to society is explored in Dr. Lao's circus, an imaginary topos within which human nature is held up for examination through a medley of sideshow attractions and the way in which they blur truth and illusion. Truly a well-made, visually arresting film with excellent writing.