Catch-Up Capsule Reviews for Films Screened on 9/8/07 and 9/9/07:
Shoot ‘Em Up represents a real critical dilemma for me: it
is a movie that is as outrageously entertaining as it is degradingly
offensive. There is no possible way one could watch Shoot ‘Em Up
and not have a good time, but at what cost? The experience will make
most viewers want to take a shower as soon as it’s over; “dirty,”
“slimy,” and “mean-spirited” are all adjectives that come to mind when
attempting to describe it. As I watched a scene in which vigilante
protagonist Smith (Clive Owen) ridiculously shows an infant he has
rescued the different parts of a hand-gun, something about the
experience (albeit engaging) just didn’t feel morally-acceptable to me.
Not to mention, the movie also features such questionable elements as a
lactating prostitute, a sex scene during a gun-battle, and a certain
segment set on a playground in which Smith has to shoot toward
the aforementioned baby in order to save it from being killed by the
antagonist. Shoot ‘Em Up kind of feels like watching a
Quentin Tarantino film with none of the artistic merit to make the
amorality present seem cinematically justifiable. Don’t get me wrong:
this is a slickly-paced and hyper-stylized motion picture – but nobody’s
going to be confusing it for a great work of pop-art anytime soon, nor
should they. The picture is so sleek and sensuous that it engages the
viewer immensely, but said engagement hardly proves fulfilling. And
don’t even get me started on Shoot ‘Em Up’s conclusion, which
proceeds to hit the audience over the head with pro-gun-control
messages, as if it doesn’t realize that its glamorized characters use
guns to kill well over one-hundred individuals throughout its duration.
“Only the most
ridiculous parts of this story are true,”
opens The Hunting Party’s
first act, which loses itself by indulging in all of the
conspiracy-theories and liberal-guilt-trips that you’d expect to find in
a politically-themed film starring Richard Gere. Despite functioning as
a rather introspective look at wartime broadcast media, the movie’s
first half-hour can’t find its footing because it seems so desperate to
prove itself ideologically. As I watched this act flounder as it set the
scene to semi-biographically tell the story of a team of journalists’
attempts to confront the criminal-mastermind behind the Bosnian War, I
was prepared to dismiss the film entirely. To my eyes, director Richard
Shepard’s implementation of historical-parallels used to bash the Bush
Administration’s current view of foreign policy was proving entirely
preposterous.
Color me surprised when
The Hunting Party was actually able to settle itself down and end
up an engrossing film. After the first act break, Shepard realizes the
need to tell a worthy story and, accordingly, tones down the abundance
of political rhetoric in his film. As the trio of journalists—Gere’s
washed-up Simon, Terrence Howard’s high-profile Duck, and Jesse
Eisenberg’s youthfully-deluded Benjamin—inches closer to its subject,
the movie’s narrative becomes progressively more interesting. During
The Hunting Party’s final two acts, I found myself consistently
engaged by the film’s suspense-ripe plot. Because this aspect of the
picture was able to function effectively, I alas begun to understand its
political discourse, which I had previously been utterly indifferent
towards. All in all, The Hunting Party establishes itself as a
worthwhile and mostly-riveting effort, even if it suffers from a shaky
start.
“What the hell was that?” exclaimed one of three tourists
sitting behind me at a screening of Live-in Maid as the credits
began to roll. Seeking an oasis from the outdoor heat, the group had
clearly plodded into Mark Cuban’s brand-new Los Angeles art-house not
knowing what the movie was about, expecting something rather mainstream.
The fact that Live-in Maid is a meditative, introspective look at
lives of two older women did not come easy to the three. I, on the other
hand, was delighted by the freshness and authenticity of this tale of a
financially-pressed Buenos Aires business-woman and the relationship
that she has with her maid of thirty-years. This is the kind of movie
where nothing much happens, but it doesn’t need to. The lives of the two
main characters progress naturally and beautifully, subtly providing
insight on both the human condition and the economic situation of
Argentina in the late 1990s. The lead performances by Norma Argentina
and Norma Aleandro feel real and are wonderfully nuanced. The movie may
not ultimately leave much of a lasting impression—the story is
enlightening, although not particularly memorable—but it certainly
offers open-minded viewers a delicate little experience to immerse
themselves in.
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