The International

The International movie poster

 

The International is a disappointment coming from Tom Tykwer, director of the kinetic classic Run Lola Run, the mystical The Princess & The Warrior, and the lunatic, perverse Perfume. The International is by far his most conventional in subject matter, and lacking his energy and spirit. It especially suffers in comparison to its closest contemporary rivals in the globe-trotting action/suspense field, Jason Bourne and James Bond.

Eric Singer’s original screenplay unravels the sort of paranoid conspiracy theory that only exists in fiction, but in fact is based on an actual scandal involving the Bank of Credit and Commerce International (BCCI), which collapsed in 1991. But the fictionalized story makes use of ridiculous contrivances that reduce a massive international investigation down to a two-handed operation involving disgraced Interpol agent Louis Salinger (Clive Owen) and Manhattan District Attorney (and MILF) Eleanor Whitman (Naomi Watts).

Clive Owen and Naomi Watts in The InternationalFor the love of God, will somebody please tell me where Tykwer hid the camera?!

Speaking of, The International is a true waste of Watts’ talent (watch Mulholland Drive and Funny Games for a primer). A potentially shocking moment comes when her character is hit by a car. Not to sound bloodthirsty, but it might have been very interesting for her character to make an untimely exit from the movie, a la Julianne Moore in Children of Men (read The Dork Report review) and Janet Leigh in Psycho. But she escapes with just an arm brace, with as little impact on the plot as on her body.

Clive Owen in The InternationalToy Guggenheim… toy Guggenheim…

The International’s best purpose is perhaps as porn for those with an architectural fetish. Much has been made of the production’s recreation of New York’s Guggenheim Museum interior on a European soundstage. But the extended firefight sequence is disappointing and clumsy. Michael Mann is often credited for being the master of such sequences, and for good reason. He utilizes his total command of space in Heat’s street shootout and Collateral’s nightclub battle. You never forget where all the characters are in relation to each other and the surrounding architecture. Likewise Paul Greengrass’ work in The Bourne Supremacy and Ultimatum. But The International’s grand shootout is a senseless jumble, and even the total number of assailants seems to wildly fluctuate. First there are two… no, four… no, eight! And the last two are right above you… no, wait, they’re loitering on the ground floor. A mess.


Official movie site: www.everybodypays.com

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Children of Men

Children of Men

 

Alfonso Cuarón’s Children of Men is absolutely one of the best movies I’ve ever seen. Two viewings have overwhelmed me with some of the strongest emotional reactions I’ve ever had to a movie. It is, at the very least, one of the best of 2007 (along with Pan’s Labyrinth and United 93), and everything the similarly-themed V for Vendetta could have been.

Children of MenThis coffee packs a wallop

The movie opens nearly two decades after the last human birth. Mass infertility is a terrifyingly plausible sci-fi trope in 2008, with looming climate catastrophe, increased rates of autism and allergies, and the imminent threat of a globe-spanning contagious disease outbreak like SARS (a fictional flu pandemic is alluded to in the film). As the infertility remains uncured, so too is it unexplained for the audience. The best science fiction avoids pedestrian pseudo-science that tends not to date well (2001: A Space Odyssey being the exception that proves the rule). The most detail we learn is that women are infertile, and we can assume that cloning and artificial insemination of frozen eggs have failed. So by the time the film opens, the harsh fact that the human race is doomed to slowly die out is a given, and has reduced the world’s societies into chaos. Only Britain has been able to survive, to a point, using only the harshest totalitarian methods. In propaganda commercials glimpsed throughout the movie, Britain congratulates itself for the fascism that makes it possible to carry on; but is this kind of survival worth the price?

Immigrants flood the only country with some semblance of stability, fleeing unspecified atrocities abroad. All we learn of the United States is of a vague catastrophe in New York creepily referred to only as “it.” Immigrants are demonized as “fugis” (for “fugitives,” perhaps punning on the derogatory British slang “paki” for any and all Middle Easterners) and penned in concentration camps. Many shots explicitly allude to infamous images of captive enemy combatants in Guantanamo Bay. Several of the fugitive voices we hear are German, causing one to wonder just what exactly may have happened in Germany, and if it may have been something we have seen before in human history. My German is non-existent, but If I’m not mistaken, we overhear one captive German woman bitterly complain to her guard for being locked up in a detention cell with black people. It’s not a pretty picture of human nature, that at the worst of times, the worst of us comes out.

Children of MenAt gunpoint is one way to reconnect with an ex

The five credited screenwriters, usually a bad sign, have done an extraordinary job of adapting the original novel by P.D. James (who, according to IMDB, has an uncredited cameo in the café bombed in the opening moments of the film). I don’t know if I would go so far as to say the movie is “better” than its source material, but it is certainly more visceral and emotionally affecting to a post 9/11 audience. As an adaptation, the many changes are justified and benefit the translation to a different medium and time. Most significantly, the chronology is condensed from months to days, and the relatively polite insurrectionist group The Five Fish has become a full-fledged terrorist organization called simply The Fish. Theo (Clive Owen) is younger, and no longer living a life of wealthy ease. He’s a gambler and alcoholic, and his original motivation to help The Fish is raw money. His cousin Nigel (Danny Huston) is not the all-powerful Warden of England of the book, but rather merely the effete guardian of the Ark of the Arts. King Crimson’s dramatic Mellotron dirge “In the Court of the Crimson King” fittingly accompanies Theo as he visits Nigel, passing into a walled city that separates the privileged elite from the working masses outside (Naomi Klein predicts the future dominance of such places in the DVD bonus features). The Ark is a pointless quest to archive the world’s great works of art, including everything from Michelangelo’s David, Picasso’s Guernica, to Pink Floyd’s inflatable pig.

Children of MenCrying babies don’t usually have this effect on people

Several mind-bendingly impossible tracking shots grace the film, so fluid and justified by the action that the mind barely registers a lack of cutting. There is an incredible level of detail in the art direction, but as Cuaron declares in the DVD bonus features, the goal to was be the “anti-Blade Runner.” Two decades hence, technology has marched on only to a degree. What’s the point of innovation in fashion, automobiles, and consumer electronics when the human race is doomed to extinction? Eerie sights include fields of burning cattle corpses (possibly due to mad cow disease, or more likely the simple fact that the farming economy has collapsed), abandoned and crumbling schools, and the prominence of dog racing as the sport of choice in a world with fewer and fewer fit young people every day.

Children of MenThe Human Project is real

Children of Men may be a punishingly bleak vision of the future, but there is hope to be had. Theo is a broken man resolved to a slow death, both his own and of his species. But there is something special within him; his former lover Julian (Julianne Moore) trusts him over everyone else to do the right thing when presented with a gift of hope: the first human child in two decades. Even animals are drawn to him, including dogs, kittens, and deer. His friend Jasper (Michael Caine) praises the Hindu Peace Mantra, which also appears as an epigram after the credits (over the sound of children playing), and bears repeating here:

Shantih Shantih Shantih

Official movie site: www.childrenofmen.net

Must view: Daily Film Dose’s Greatest Long Tracking Shots in Cinema, including Children of Men.

Must view: a reel of fake adverts made for the film by Foreign Office Design (via Kottke.org)

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Elizabeth: The Golden Age

Elizabeth the Golden Age movie poster

 

I’ll have to gang up with the general critical consensus around Elizabeth: The Golden Age, best summed up as: Cate Blanchett is astounding, as usual (yawn – the Academy Award nomination was virtually assured before the cameras rolled), but the movie is a disappointing sequel to a powerful original.

Oh, and did I mention that Cate is great? Oh yeah, you don’t need me to say that.

Cate Blanchette in Elizabeth the Golden AgeCate is great; what else is new?

The cinematography is lovely but the editing a little choppy for a timeline that spans so much time. The staging is somewhat less than epic; even large CG set pieces like the Pirates of the Caribbean-style sea battle between the English and Spanish armadas seem under-staffed by background actors. A typical line of dialog, quoting from memory, is the dashing Sir Walter Raleigh killing two cliches with one stone with a humdinger like “We’re only human; we do what we can.”

Clive Owen as Sir Walter Raleigh in Elizabeth the Golden AgeSir Walter Raleigh sails away from the Kraken

Erm, that’s about it. I’ll try to think of something smarter to say about the next one.


Official movie site: www.elizabeththegoldenage.net

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