A piece of human scoria (Billy Burke) with strong ties to the Bangkok criminal underworld murders an underage prostitute and is then justly dispensed of by the avenging angel ex-cop, Chang (Vithaya Pansringarm), which sets off a sequence of violent events as Billy’s brother, Julian (a practically speechless Ryan Gosling), is ordered against his will by his evil wicked-witch of a mother, Crystal (Kristen Scott Thomas – so brilliant at going against type and positively oozing with diabolical dirt-baggery), to mete out Chang. Suffice it say…(am I spoiling anything here?)…wrong move, brother. Only God Forgives is a film about the scum of the earth…ahhhh…but it’s an art film!
If Nicolas Winding Refn’s Drive was the best neo-noir “love story in the city of dreams” since David Lynch’s Mulholland Drive, then Only God Forgives is a despicable neo-noir “hate story in the city of sin.” Continue reading →
Currently in cinemas across the nation two films take on the old “film within a film” schtick – one going absurd while the other playing it straight. Both have garnered critical acclaim but only one has seen box office success and is being bandied about with awards buzz. Seven Psychopaths and Argo couldn’t be more different in style, substance and intent – yet they both hang (and in one case, hang themself) on the central conceit of a film within a film.
First up is Seven Psychopaths. Boring title and lousy marketing aside, I had high hopes for award-winning playwright Martin McDonagh’s second feature film as his first, In Bruges, is one of my favorite films from the past five years. The plot of Seven Psychopaths sounded darkly madcap enough – a hapless bunch of dog thieves (Christopher Walken and Sam Rockwell) kidnap the dog of a gangster (Woody Harrelson) and hilarious melee ensues. Sadly, what might have made a good short-story is trapped amongst other not-so-good stories as one of the friends of these dog-nappers is a struggling, alcoholic writer (Colin Farrell) working on a terrible screenplay called Seven Psychopaths that he intends to use to eschew the typical psychopathic thriller. We get introduced to these psychopaths as he makes them up and some are more interesting than the rest, though as Walken’s character puts it so succinctly at one point, “It all gets a little tiresome after a while.” Continue reading →
In the year preceding the start of World War I, a small German village is quietly rocked by a series of cruel events (crimes against the seemingly innocent) committed by unknown culprits in Michael Haneke’s The White Ribbon. The town’s children are both potential victims and suspects as the twisted natures of their parents’ sins are soon laid bare. In the midst of paranoia and gossip (though not as pointedly delicious as Clouzot’s Le Corbeau), a kind schoolteacher woos a sweetly naive nanny, a baron’s marriage disintegrates, a steward’s family crumbles, a pastor spares no rod and a doctor commits the greatest of sins. Originally conceived as a mini-series, there are many narrative threads and characters to keep track of, and Haneke provides glimpses into the varied lives of the different classes at work in the village and constructs something akin to a psychological case study of the personality types on display. One wonders how much more some of the stories would’ve opened up had Haneke the luxury of six or more hours to weave his tale.
The biggest problem with a Michael Haneke film is that it’s a Michael Haneke film. Continue reading →