Brotherhood Of The Wolf****
(Le Pacte Des Loups) One could try and push this film under a specific category but it would do no good. This film encompasses every genre possible. From the darkness of horror, through the intrique of suspense, around the edges of mystery, feeling the punches and swift kicks of classic martial arts and tied into a nice little knot of love and romance, this film delivers it all. I am in no way conveying it is one of the top notch foriegn films like IL POSTINO, LIKE WATER FOR CHOCOLATE, ALL ABOUT MY MOTHER or even AMORRES PERROS, but dam was it ever entertaining.
On the hillsides of Gevaudan during 18th century France a wild beast described as a fierce and enormous wolf is terrorizing the countryside, brutally attacking women and children. With hardly no eye witness accounts and feeble attempts at hunting and killing the beast an enlightened traveler of the world Gregoire de Fronsac (Samuel Le Bihan) is brought in to try and solve the mysterious attacks. With modern ideas that rival traditional old world ways he sets out along with Mani ( Mark Dacascos most notable as Eric Draven in the short lived CROW series) an Iroqouis Shaman to find and resolve the problem. Carrying the assests of philosophy, science and the rationalization tools of the modern world, and lets not forget the impecible martial art skills of Mani, the task is taken at full force.
During the mists of trivial attempts Fronsac encounters the beutiful (yet of course quick tounged) Marianne (Emilie Dequenne) whom he quickly takes a liking to. But soon following he unfortuneately comes into the presence of her older brother Jean Francois (Vincent Cassel). Jean is also a world traveler and avid if not overly morbid hunter of all prey. Injured in attack from a lion he regretfully misses his right arm. Bitter and over protective of his sister he quickly stands in front of every action Fronsac attempts. With the beasts attacks getting more frequent and brutal the race is on. While searching and missing, falling in love Fronsac still has time to visit and partake in the local brothel where he comes across the mysterious dark beautiful prostitute Sylvia (Monica Belluci of MALENA). There odd relationship blooms in spite his feelings for Marianne.
The hunt goes forth and slows several times involving the very apparent republican government, religious interventions and false coverups. None of this however will stop Fronsac and Mani from finding the ill tempered beast. Nothing is ever as it seems. Nothing sticks out as either the rhyme or the reason. The mystery stays mysterious allowing for the viewer to guess and ponder until a conclusion finally shows itself. What might be, could be and what could be, might be, but regardless it has been, right there under your nose.
Filled with beautiful landscapes captured in every possible season, the bitter snowy winter nights, the days of fall, the summer sunsets, the camera lets the eyes wander and revel in the beauty of Frances countryside. The well choreographed and pleasantly graphic violent fight scenes never cease to amaze. The fast and slow paced movement of the story and the camera allow every moment to move quickly or sink in, which in turn allows for the moment to play or the shock to overcome. Beautiful colors and actions captured magnificently by cinematographer (name not known). And let us not forget, beacuse this film did not, the sexy lurid ways of French Cinema.
Not a new story, based on urban legend or if you will supposed actual events in France, the screenplay (written by Stephane Cabel and Christophe Gans) works for what it is. I would bargain a wage as to the translation that was provided for the subtitles. Somewhere i'm sure it lost its poetry that French films usually carry. Regardless it would have worked without the subtitles due to the superb performances and beautifully directed film (Christophe Gans). Even though i know people hate to read i definitely suggest going an seeing this movie. MONSTERS BALL***** One of the best if not the best movie of 2001. Set in the south, three generations of men work or have worked as prison guards, primarily on death row. The film gives a nice insight against what most think of the new south. Racism still runs rampant, maybe closeted but still lingering below the cellar door waiting for it to open. Hank (Billy Bob Thorton) is in charge of an upcoming execution while his son Sonny, played by aussie Heathe Ledger, works under him and is not quite sure about his role at work, in life or his role in the family, due to his unracist ways. Peter Boyle give a stellar performance as Buck, the extremely racist retired guard and father of Billy Bob.
A prisoner, played by Puff Daddy AKA P Diddy AKA Sean Combs, is about to walk the prison hall for the last time. Leticia (Halle Berry) plays the soon to be widowed wife who is down in life, financially and emotionally. Widely known for her good looks and sexy ways (most noteable the topless scene in last years dissapointing Swordfish) finally steps in front of the camera and acts. When it comes to stellar performances for the year of 2001, there is no doubt in my mind that she should walk away with every best actress award possible.
Halle Berry took on a significant role, surrounded by a cast of gifted actors, one imparticular being Billy Bob Thorton, and ran with the character. She ran all the way there and all the way back leaving no possible characterization unturned or unjustified. She was pitch perfect in every moment of this film. Even during the scenes when she was acting with the horrible casting choice for her son she did not faulter, not once, not even for a second.
The story doesn't stop there, as if racism isn't enough there is a love story, it is actually this non-typical love story which the entire movie stands on, well besides the outstanding performances by all the actors involved. Yes, even Heathe Ledger straps on a southern accent and does it justice. Hank, who comes off as Rascist at first, grows thoughout the entire movie due to a string of tragedies. The domino effect of the the forementioned tragedies may seem flaky and unbelievable but they are truly necassary. These type of events are the only way a man can literrally start to grow over night. When everything that has been instilled in Hank has to and wants to be changed it takes events of this magnitude to do it.
The chemistry betwwen Berry and Thorton feels so natural which in turn allows for the on screen relationship to flourish with honest believability. The pairing of these two actors is a god send that Hollywood has been missing. The subtleties and intriquite nuances of this movie carry it farther than i could have ever expected it to. The screenplay written by Milo Addica and Will Rokos (the writer of the fine fine movie Galactic Giggilo) is superb in its own unique way. The sparse dialogue only fuels the fire. If silence is golden then so is this film. Mark Foster (not from the south) taps into the southern states as if raised in rural Alabama. To go to far into detail would partially take away from the experience of watching this movie. It grows on you because you learn from it and with it. But what i can say is WOW. I AM SAM**** A lot has been written on this movie and i am forced to write even more due to all the contradicting reviews that are floating around about its sappiness. From everyone saying it's way over the top, extremely melodramatic, and my favorite, that it is emotionally manipulative. Well aren't all films? Nobody sets out to make a movie by saying "I want the audience to feel nothing", and if they do then they would be considered complete morons.
If it is emotionally manipulative then it works and it works with power and passion. There is a strength to this film that plays the entire way through, there is a light heartedness that fills the audience with smiles, giggles and tears. I only wish more movies were as manipulative.
I will start off by saying that the lead performances turned in by Michelle Pfeiffer and Sean Penn are amazing. Newcomer Dakota Fanning (Lucy Diamond), Penn's daughter in the film, lights up the screen with raw honesty not seen by too many child actors. Mentally Handicapped Sam Dawson (Penn), is fighting for custody of his daughter who he has raised alone for the past seven years. In comes Rita Harrison (Pfeiffer), an uptown lawyer who is struggling in the raising of her own son. Eventually persuaded into taking the case she soon learns the importance of the parent sibling relationship through the experiences of Sam and Lucy.
The movie tackles, with force, the questions of what makes a good parent. Yeah the struggles of the parents are important, but what this movie also shows is the dramatic emotional free for all children endure during custody battles. Sam receives countless support from his mentally challenged friends and his next door neighbor Annie, played by Diane Wiest, who as always is outstanding. One great running theme throughout the movie is the countless pop culture references and stories about the Beatles, Sam's favorite band. He often utilizes these accounts during times of stress and nervousness as an outlet.
The plot is simple, the performances demanding. The direction and cinematography gritty, which in itself adds dramatically to the story. Jessie Nelson (Stepmom, The Story of Us) directs this movie with a purpose. The screenplay, written by Kristine Johnson and Jessie Nelson, is powerful and fullfilling, as was my viewing experience. ORANGE COUNTY** The movie that shouldn't have been. Maybe that is a little harsh, let me think about is again, no i was right. Let's call this the offspring of talent vehicle with helpless cameos movie of the year movie. Colin Hanks, son of Tom Hanks, Schuyler Fisk, daughetr of Sissy Spacek, directed by Jake Kasdan, son of acclaimed director Lawrence Kasdan. Does brilliant parents automatically mean brilliant movie, so far from the truth. I walked into this movie with hopes and left with nothing but regret and sorrow for the actors and director for having anything to do with this horrible horrible movie. Noticed that i haven't mentioned anything about poster boy for the funny Jack Black, well that's because he was the only shimmering light at the end of the long long dark dark tunnel. Jack is the sole reason for the **Awful rating as opposed to the *assinine rating.
Is it even worth reviewing? Probably not , but here's a short synopsis. Shaun (Colin Hanks) is a typical orange county surfing high school senior, that is until he finds a book on the beach and it chages his ever so hard life. He wants to be a writer. So now he applies to Stanford University where the author of the book teaches. Simple, but wait, hapless guidance counselor (Lily Tomlin) sends in the wrong transcripts and he doesn't get in. So now it's up to his brother Lance (Jack Black) and his girlfriend Ashley (Schuyler) to lead him on to Stanford so he can convince the Dean of Admissions to let him.
This all follows his discovery that the only way he can be a real writer is to leave his hometown and learn. This is aided by supposedly funny scenes with his disfunctional family and his stoner surfing not at all but suppose to be funny friends. I could go on but why, it is just bad. There are many talented actors that pop up in cameos, and i can't for the life of me figure out why any of these talented people would want to be associated with this movie. Why Ben Stiller? Why Kevin Kline? Why Chevy Chase? Who knows, if anyone does please tell me.
I will not however bash the acting or directing. The acting was fine, the directing was good, Jake Kasdan has done some great stuff including The Zero Effect and episodes of Freaks and Geeks. This was just a bad script written by Mike White, who i also enjoy, like such works as Chuck and Buck and episodes of Freeks and Geeks, but let us not forget Dead Man on Campus. Who knows, not everything can be good and this movie definitely fits directly under that category. |
