lancer0410 Reviews

Memories (1995)

Must See, very engaging

[10/10 · 12 November 2004]

While watching Memories I went to check IMDb.com for some further background information on the short's directors. This film is unique in that it is really three smaller movies blended together to create one of theatre length. I expected them to all be intertwined, and in a way they are, only in substance if not in plot or characters as I had imagined.

Anyway, all I can see is this film is a great watch in that it engages the viewer and forces him/her to think, the plots engage you in such a way that makes the overall experience rewarding to say the least.

I am only commenting due to the fact that the current user reviewer rates it as forgettable. Although I respect that he is entitled to his own opinion, I do not believe that a review entitled "forgettable" should receive top billing for an 8.1 rated movie on IMDb; and yes it is really that good. Your current commenter thinks scripts such as Donnie Darko are "contrived" (http://www.imdb.com/title/tt0246578/usercomments-1089) and that Halloween: Resurrection is a great piece of cinematography, along with Drumline (http://www.imdb.com/title/tt0303933/, http://www.imdb.com/title/tt0220506/usercomments-467). He himself states Drumline is so good because it contains "no surprises." To me a surprise or plot twist is the trademark of good cinema, and any director and/or producer worth his salt would agree. I apologize for picking on fellow reviewer Dan from somewhere in East LA, but really, please give such fine works as Memories the reviews they deserve, at least in terms of the top billed review which appears on the main page of each movie. Thank you.

The Luzhin Defence (2000)

Probably not a buy, but a worthy rental for an evening at home.

[28 May 2004]

John Turturro, Emily Watson, Geraldine James, Stuart Wilson; directed by Marleen Gorris, loosely based on the novel by Vladimir Nabokov The Luzhin Defence is set in nineteen-twenties Italy's lake district where the world championships of Chess are being staged. Our hero Luzhin (Turturro) is a main contender for the title and recognized as one of the greatest chess minds of the era. He is utterly consumed by game, and has utterly devoted his life to the contest since a young age. It has been both obsession and addiction for the man, as it is both all he knows and what gives his life meaning. While competing in the championships, he meets Natalia (Watson), a wealthy socialite. Showing his peculiarity, he immediately asks her to marry him, sight unseen. Intrigued by his straight forward manner, she does not immediately dismiss him.

This is due to the fact that she is here for her mother to choose a suitor for her, and Luzhin's eccentricity is seen by her as a welcome change. Her mother (James) is completely taken aback by such an idea, and wants her daughter to marry someone of similar prestige and means. All of this transpires while his old chess teacher (Wilson) tutors his chief rival, wanting nothing more than to see Luzhin humiliated.

Being a chess movie, it could immediately be set aside as dull and unwatchable, being as Chess is not exactly a spectator sport.

However, this movie is much less about chess and much more about the people surrounding the game; making it a piece about the interactions of personalities and not pieces. The movie does find a parallel however, as it is shown like a chess match between two sides, the present and the past (shown through flashbacks), with one side prevailing at the end. This storytelling choice works surprisingly well, as we gain much insight as to why Luzhin is the way he is, and how he views the world.

The movie begins with a telling piece of cinematography, as the audience is given the perspective of a train conductor emerging from a tunnel. This is especially significant when viewed in the sense of Luzhin's later mental breakdown, and can be seen as meaning the same thing. This scene is then segued into the first flashback, giving us a pattern that can be seen in the rest of the film. Other notable scenes include the meeting of Natlalia and Alexander at a tennis court, and later when he is thinking to himself in their bedroom, "There is a pattern emerging!" cries the eccentric chess genius Alexander Luzhin. "I must keep track--every second!" To which Natalia, whom he loves can only reply, "It sounds like such a lonely battle.' This all encompassing effect of chess on him can also be seen earlier in the film, as he is being driven by one of his old chess teachers chauffeurs into the middle of the countryside, is dropped off there, and does not notice. The end adds character to the film without being overly dramatic, but is a departure from the finish of the novel, however it is believable and adds to the sense that Luzhin does not really control himself, or know how.

Overall an enjoying piece of film, more about camera angles and people then chess. After the first half, the films pace drastically speeds up, and the plot becomes much more intriguing. Can best be compared to other independent films of its ilk, yet also suffices quite well as a period piece. Probably not a buy, but a worthy rental for an evening at home.

Hamlet (2000)

Either Almereyda or the Miramax really missed the boat with this one.

[28 May 2004]

Ethan Hawke, Kyle MacLachlan, Sam Shepard, Diane Venora, Bill Murray, Liev Schreiber, Julia Stiles, Karl Geary; directed by Michael Almereyda, loosely based on the play by the Immortal William Shakespeare This is not your father's Hamlet, and really not your Hamlet either.

Set in modern day New York City, this adaptation by director Michael Almereyda attempts to blend the all time classic with a modern day lifestyle, while retaining the traditional speech and lines of the play. Unintentionally comical for those familiar with the piece, it actually is able to combine the two worlds of twentieth century New York and sixteenth century Denmark quite well.

However this is also the movies downfall, as only with a working knowledge of the classic are you able to understand the modern work, otherwise it is completely incoherent, with vital cogs of the plot missing.

Denmark is no longer a country but now a corporation, Cladius (MacLachlan) not a King, but now a CEO. Computers and video are now the norm, as this is how the movie begins. Polonius (Murray) is both the best character and also probably miscast, as he would have done much better in a cameo as the gravedigger, a scene that is deleted entirely! This gem and other scenes were deleted in order to pare down the length of the film, while attempting to preserve all major known lines. Yet, as earlier mentioned, for those who do not have a strong background in the classical work, you will be quickly lost. The so-called 'fluff' that the producers thought Shakespeare used actually made the tale so brilliant, relevant, and understandable. The modern work is none of these, only an ancillary piece for those with a vast Hamlet knowledge.

The major scenes are also greatly adapted to fit the environment, mostly to no effect. Most of the movie occurs in high-rise apartments or board rooms, giving it an awkward type of feel. With Hamlet (Hawke) and Ophelia (Stiles) being constantly watched in a city such as New York, i thought I was observing a Mafia film, as indeed that is what the Denmark corporation felt like, killing of Old Hamlet and all. Maybe that adaptation could've been a better fit, for the reduced length also makes the piece less-watchable, and much more bland with none of the intrigue. The murder of Polonius in the laundromat, Old Hamlet being seen on a security camera, and Ophelia committing suicide in a Guggenheim fountain just does not have the same feel, something is definitely missing.

In all this film likely misses both it's core audience and lacks the mass-market appeal that it was trying for. If a full four-hour version was released word-for-word of the original work, it would likely be a cult classic, as it has the makings of a strong work. In all honesty, how can such a great work like Hamlet be lacking if shown in its entirety? In the attempt for a higher box-office, the two hour version has no soul. If you find yourself in Blockbuster and face the same question as Hamlet, of whether this version is 'To be or not to be' showing on your TV that night, most likely it is not to be. However, if you are a teenage girl and enjoy looking at Ethan Hawke, or a Shakespeare aficionado who wishes to laugh at some unintentional humor, this could be the ticket. A shame that more did not come out of such a great cast, interesting premise, and mother of all base material in Shakespeare. Either Almereyda or the Miramax really missed the boat with this one.

Sleepy Hollow (1999)

In all, a great work that I would have admittedly skipped.

[6 January 2003]

Sleepy Hollow is Director Tim Burton's latest (and in my view greatest) horror/mystery thriller, based on the 18th century book by Washington Irving. The original was set up in the great gothic tradition, and the movie definitely does not disappoint as it is set in late 18th century New York with brilliant work done in regards to it's feel, the village of Sleepy Hollow is definitely believable. It is faithful to the custom-entrenched, and sleepy dreamy like state of the novel, as the super-natural occurs naturally. By the end of the movie, I could've left my seat and gone outside to see a tree open up and swallow a woman whole and my senses would've accepted it due to the brilliant cinematography. Enough about the movie however, it's real merit is the gothic aura that surrounds this great, under-appreciated work that I might have otherwise skipped.

Gothic Romance in general was a theme largely developed in the 18th century, with novel's written in rural Europe by author's growing up in the shadow of objects of immense intrigue.Castles or Large Manors left over from the feudal ages of Lords and Kings. This new genre was concerned with the realm of the paranormal, away from everyday life. Of Beautiful Maidens and horrifying monsters, of strange events that defied reason. This was its essence, of dark tones and bright bursts of light of contrast of both extreme ends of the spectrum at once. Mysterious pasts are also key, as history always plays a major role, usually with an aging male figure, or one who is deceased, yet undead. Family history is also integral most likely stemming from the period's obsession with oligarchies and inherited traits and titles.

Sleepy Hollow draws on all these ideologies to create a complete gothic experience.dark background and all, with a twist of contemporary horror thrown in. Even if you had no prior knowledge of what makes Goth gothic, the film serves its purpose by the viewer walking away with a wonderful sampling, even if they still could not identify the topic. One of the film's greatest underlying tones in my view, is its emphasis on the supernatural, it's greatest juxtaposition lies in Ichabod Crane, a man consumed by knowledge, ahead and behind in the times, encountering a world he believes does not exist, that oversteps logic's vast grounds. His knowledge and avant-garde approach coupled with more than contemporary instruments do not measure up in the slightest, to the dead horseman's appearance from the land of the dead into that of the living. Of course, you can't have romance without the rhapsody of real romance. In this work the plate is definitely full, as you have many, if not some undeveloped, affairs and flings to take account of. The ageless question of, `what is love,' is explored briefly, as the diligent viewer is worth to ponder its meaning. most likely because the director does not have any real answers himself, just the initiative to raise more questions.

In all, a great work that I would have admittedly skipped. A movie that came seemingly out of nowhere in my universe, and with little fanfare, gained my respect. Great to watch, if not to observe the underlying themes of what a Gothic Romance is alone. This film, in my opinion, is a very solid ***1/2 stars (out of 4).