Greetings Loved Ones! Liu Is The Name, And Views Are My Game. Continue reading
Greetings Loved Ones! Liu Is The Name, And Views Are My game. Continue reading
Greetings Loved Ones! Liu Is The Name, And Views Are My Game.
The Tang Dynasty is in shambles. The government is both corrupt and weak, and, every day, it loses more ground to the House of Flying Daggers, a popular rebel group. So, in a desperate ploy to bring the insurgents down, the Tang give two detectives, Leo and Jin, ten days to find and kill the head of the cell. Believing that Mei, a blind dancer at a local brothel, might have connections to the rebels, they arrest and interrogate her. But when Leo decides that they might be able to use Mei to lead them to the group, Jin springs her out of jail, pretending to be sympathetic to the insurgent’s cause. As they travel north, towards the Daggers encampment, however, Jin finds himself growing closer to Mei. So much so that, when they finally find the Daggers, he might not want to bring them down after all.
House Of Flying Daggers is beautifully-shot, and superbly acted. And it’s the sort of film that only makes sense to the eye. What I mean by that is, many things happen in it that work as pure eye candy, or visual representations of character’s psyches–like a scene suddenly shifting from summer to winter. But when you actually stop and think about it, none of the movie makes sense. And I mean none of it. If you consider this movie’s plot or characters even slightly, the whole thing comes flying apart. This all stems from a veritable marathon of twists that get revealed within the last 20 minutes of this 2 hour movie. First, you find out that Mei isn’t actually blind. Next, you find out that the Madam of the brothel where she worked is actually the head of the Flying Daggers. Except, as you learn just a few minutes later, she’s not really. Then you learn that Leo, who’d been using Jin and Mei to track the Daggers, was actually a member of the Daggers the whole time, and in love with Mei. None of these twists are built up to in any manner, and when you stop and think about them, none of them make sense. First, why would Mei pretend to be blind? How does that help her? There are several points in this movie where characters trick her, or sneak up on her, because they know she can only hear them. Except, as it turns out, that’s not true. She can see them. So how would they be able to sneak up on her? Why would she let them sneak up on her? Next, why were she and the leader of the Flying Daggers in a brothel? What was their goal in doing so? To seduce people? To gather intel? Was it even a brothel to begin with? How did they infiltrate it? Third, if Leo was a member of the Flying Daggers the whole time, why would he arrest Mei? Why would he use her to find the Daggers? Doesn’t he, as a member, already know where they are? These are just a few of the many, many, many questions you find yourself asking when you start to think about this movie and it’s twists. And that’s not good. A film’s narrative logic should be air tight.
But, you know what? I can forgive logical errors. Those mistakes happen in filmmaking, and, oftentimes, you don’t spot them until you’re done shooting. What I can’t forgive is rape, and this film has no less than three attempted rape scenes in it. Mei’s character is molested by both her male love interests, on multiple occasions. No, they never fully rape her. But they do grope her without consent, and tear off her clothes. Thankfully, each time they do so, someone intervenes. But that doesn’t make up for the fact that this movie has the balls to show her getting molested, on multiple occasions, and then have her fall in love with the assholes who groped her. I find this crude, misogynistic sentiment to be utterly revolting, and I think it’s long past time we stopped using it in our art. No one asks to be raped. No one enjoys being raped. No victim of rape ever falls in love with their rapist. Why, filmmakers, can’t you accept that?
Guys, if it seems like I’m angry, it’s only because I expected so much more from this movie. You’ve got one of the most talented directors in the world, Zhang Yimou, behind the camera, and one of the most talented actresses of all time, Zhang Ziyi, in front of it. And to be fair, they both do their part. The cinematography, costumes and color palate are all exquisite, as you expect from a Zhang Yimou picture. And Zhang Ziyi gives a believable, heartbreaking performance as Mei, also as you’d expect. But the script just isn’t up to the same level that they are. It relies too much on twists that are never built up to, and it’s sexual politics are beyond disgusting. For that reason, I can’t recommend you all see this. Maybe watch some of the fight scenes on YouTube, but definitely don’t buy or rent the whole movie.
Greetings Loved Ones! Liu Is The Name, And Views Are My Game. Continue reading
Greetings Loved Ones! Liu is the Name, And views Are My Game.
Hey kids, did you know that, once upon a time, people actually cared about chess? No, I’m not shitting you! Back in the 1970s, when America was determined to beat the Soviets at everything, there was a real surge in chess’s popularity. That was because a young man named Bobby Fischer managed to beat the Russian Grand Master, Boris Spassky, and, in so doing, gave the American people something to brag about. The story of how he did this, as well as how he coped with his inner demons, is what is told in Pawn Sacrifice, the latest film from director Edward Zwick, and star Tobey Maguire.
And it’s terrible. Yeah. I wish I could be more subtle, more nuanced, but that’s the fact of the matter. It’s terrible.
Now, before any of you say anything, I want to be clear that there are aspects of this film that work. The costumes, sets, and especially the fake news broadcasts, are all beautiful, and help to bring the film’s time period to life. The news broadcasts are actually what I loved most about this movie. They give you a real sense for how big a deal this match was, as well as what technology was like back then. On top of this, Tobey Maguire is truly hypnotic as the unhinged chess champ, Bobby Fischer.
But, alas, none of this is enough to save this film from its weak script. To put it bluntly, this movie just isn’t interesting. And it’s not because it’s about people playing chess. The End Of The Tour and The Social Network are movies about writers and website designers, neither of whom are the most exciting groups in the world. And yet, these films still managed to be critical and commercial successes. Why? Because they had fleshed out characters and engaging narratives. Pawn Sacrifice has an interesting premise, but completely flat characters. Every line of dialogue they speak is either exposition, or stuff that will move the plot forward. We’re never given a scene where someone simply sits down, and talks to someone else about food, or art, or anything unrelated to politics and chess. Because of this, they never feel like real people, and we never feel any urge to care about them. Seriously! About 40 minutes into this movie, I completely tuned out. I pulled out my i-pad, and watched the music video for Rania’s “Dr Feel Good.” I was more concerned with why a K-pop girl group was wearing dominatrix outfits than I was with the movie I was watching. That’s not good. Movies, first and foremost, are supposed to entertain you. They’re supposed to suck you in. Pawn Sacrifice does neither of those things. It fails to do the very thing that it was created for. On top of this, as much as I like the news broadcasts, they also kind of take something away from the narrative. They tell us how we’re supposed to think and feel. They tell us how big a deal the Cold War is. They tell us how people in the world are responding to Bobby Fischer. We never actually see people living in fear of nuclear annihilation, or espionage. Because of this, we’re kept at a perpetual distance from the story and its characters. They’re not real to us, because we’re never allowed to see or feel what they feel, only hear it. A good film will SHOW you the climate and environment of its story. A perfect example of this is the first few minutes of the movie Hunger. Set during the Troubles in Ireland, the film’s opening scenes have absolutely no dialogue, and yet, we learn so much from them. We see a man looking under his car, and over his shoulder. We see the cuts and bruises on his knuckles when he goes to take a smoke. We gather from this that he lives in a world of constant and unpredictable danger, and that his daily routine is fraught with violence. It’s so obvious to us, and yet, we’re not told a single word. That kind of subtlety doesn’t exist in Pawn Sacrifice, and the movie really suffers as a result.
Guys, I’m not going to waste any more of your time. Pawn Sacrifice is a boring, poorly written, overly obvious piece of junk. 5 out of 10. Don’t watch it.
Greetings Loved Ones! Liu is The Name, ANd Views Are My Game.
How often do you come across people who say “I want to be wrong?” Not very, I’ll bet. And yet, that was exactly what I kept saying to myself as soon as I heard that Netflix and The Weinstein Company were making a sequel to Crouching Tiger, Hidden Dragon. See, I might not have mentioned it here before but, Crouching Tiger , Hidden Dragon is my favorite film of all time. It’s not only the first movie I ever saw, but it’s also the movie that inspired me to want to make films. Seriously! As soon as I saw it, I went out and made a short movie “Crouching Lion, Hidden Eagle” with my parent’s cam quarter. And, keep in mind, I was only six at the time I did this. Any movie that can inspire a six year old to want to go out and make movies, when he doesn’t even know what a camera is yet, is fucking amazing! And I’m not the only one who feels this way. Crouching Tiger, Hidden Dragon was a huge critical and commercial success at the time of its release, taking home four Academy Awards, and, to this day, remains the highest grossing foreign language film in American history. Everything about it, from its direction, to its screenplay, to its cinematography and its score, were lauded. This was the film that made an international superstar out of Chinese actress Zhang Ziyi, who went on to star in such acclaimed movies as Hero, House Of Flying Daggers, 2046, and Memoirs Of A Geisha. This was the picture that cemented director Ang Lee’s status as one of the all-time great filmmakers, and proved to Hollywood executives that, yes, non-English movies can make money, and are, in fact, worth producing.
This sequel, however–this sickening piece of filth that dares to carry the same name as the original, beloved masterpiece–is nothing but garbage. It is the total antithesis of everything the first film was, or stood for. Just to give you an idea of what we’re dealing with here, the original film was over three hours long, shot entirely in Mandarin, and was primarily a drama, but with fight scenes scattered throughout. The sequel, by contrast, is barely over an hour and a half long, shot entirely in English, and is just a series of fight sequences strung together by the loosest of plots. The original Crouching Tiger took its time before jumping into the action, with the first 20 minutes being devoted to character development and dialogue. The sequel barely waits 2 minutes before shoving us into one of many pointless, poorly shot, poorly edited fight scenes. The first film was done entirely in-camera, with actual people performing the stunts and choreography. The sequel has A LOT of CGI in it, and, half the time when you’re watching the movie, you can tell that those aren’t real people, backgrounds, or objects. I could go on forever, but I think you get the idea.
Now, to be fair, this sequel was doomed from the start. The original Crouching Tiger ended with all but one of the main characters dying. This, by itself, makes it very difficult for anyone to make a sequel without there being a huge shift in tone and style. Add to this the fact that the studios waited over 15 years to make the sequel, and you’ve got a project just begging to fail. Now, by itself, a delayed production and drastic shift in tone aren’t enough to doom a film. Aliens came out in 1986, a whole seven years after the release of Alien, and was an action film as opposed to a horror movie, and yet, it turned out to be great. But in that circumstance, you had a really talented group of filmmakers–James Cameron, Walter Hill–working behind the camera to make the movie the best that it could be. The sequel to Crouching Tiger, by contrast, lacks any such talented individuals on its crew. Just to give you an idea, the film’s director, Yuen Woo-Ping, isn’t even a director. He’s a fight choreographer. He gave us all the combat in The Matrix, Kill Bill, and the original Crouching Tiger, so we know that he’s good at getting people to punch, kick and strangle each other in an entertaining manner. But can he tell a good story? Can he create characters who are well-rounded, and that you want to see prevail? No, and no. Ang lee, the man behind the original Crouching Tiger, has one two Academy Awards for Best Director. He knows how to get good performances out of actors, and to build up worlds with subtlety and nuance. Yuen Woo-Ping is about as subtle as a bat to the head. Add to this the fact that the sequel was written by John Fusco–who penned such films as Thunderheart, The Forbidden Kingdom, and Spirit: Mustang Of The Cimarron–and you’ve got everything you need to know.
Guys, I’m going to make this very simple by stating that the sequel to Crouching Tiger, Hidden Dragon is absolute garbage. I award it a 0 out of 10! That’s right. I hate it more than Inglorious Bastards, the remake of Point Break, and 50 Shades Of Grey combined. DON’T WATCH IT!