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This, That and The Movies!

Note: movie ratings are out of a possible ***** as follows:

* is lousy
** is ok
*** is good
**** is very good
***** is outstanding


December 1, 1999
by He Jung Kim

Being John Malkovich - ****

Who would have ever predicted that one of the most ingenious and thoroughly entertaining movies this year would come from a feature débutante, Spike Jonze? Coming from a background of music videos and commercials, director Jonze teams with screenwriter, Charlie Kaufman to produce the best, insanely surreal mind trip your eight dollars will ever buy. Despite its title, Being John Malkovich isn’t about the actor at all. As many Hollywood performers addicted to ego boosting would like the public to believe, the character John Malkovich is simply that, a character. Jonze and Kaufman use the well-known actor as well as his star-studded name to toy with the notion that an actor is merely a public image to be consumed by the viewers in order to satisfy their desires for new experiences and to taste novelties absent from their daily lives. And what novelties they are! Being John Malkovich combines a myriad of inventive, twisted and comical ideas and explores them with a level of originality and skill that will not go unnoticed when it comes time for Oscar nominations. It is probably the most thought-provoking comedy to-date.

A greasy, longhaired John Cusack stars as Craig Schwartz, a dark and disillusioned street puppeteer. His rather polite marriage to pet store employee, Lotte (played by an unrecognizably distraught and homely-looking Cameron Diaz), leads him to design puppets in their likeness. These puppets are dreadfully morbid in their setup but much more in love and passionate than the real-life couple. From the onset you get a sense that both Craig and Lotte wish that their lives were different. Change soon occurs, however, when Craig gets a "real paying job" as a filing clerk at the nondescript LesterCorp. When we meet Dr. Lester (Orson Bean) we are amazed to learn that this elderly man believes he suffers from a speech impediment. He is perfectly well spoken, but he is convinced by his hearing-impaired secretary Floris (a woman Dr. Lester secretly lusts after), that it is his speech, and not her hearing that is the problem. This is just one of the many comic elements that makes you think that each of these characters could easily spin-off into another film. After only a few days on the job, Craig makes two fantastic discoveries. The first one is his coworker Maxine (seductively played by Catherine Keener), who is immediately on to Craig’s lust for her but continues to tantalize him. The second discovery is a secret doorway behind a filing cabinet. Craig curiously enters it and is pulled into a bizarre portal leading him inside the brain of famous Hollywood actor John Malkovich for exactly 15 minutes. As soon as Craig tells Maxine of the portal, the two establish an underground business selling entry tickets to Malkovich’s brain. One of the several returning customers is Lotte, who begins a journey of self-discovery and sexual experimentation traveling through the portal.

Each character who travels through the Malkovich portal returns a changed, if not more full-filled person. That includes John Malkovich, who is not only excellent in his role as himself, but also plays this risk-taking role with the right amount of bravado and a delightful sense of humor. Though Malkovich rarely deviates from his supposed everyday activities, the experience of seeing life through someone else’s eyes heightens every traveler’s sense of the world, and presents new forms of desire as well as longings to control and to participate in things previously deemed untouchable. When inside Malkovich’s brain, Craig becomes the ultimate puppeteer by shedding his shabbiness and attracting Maxine. Similarly, Lotte is made to feel empowered and desired. If this sounds simple, don’t be fooled by my intentionally simplistic synopsis. No one review can possibly do justice to the complexity, depth and humor underlying each development within these subplots. Being John Malkovich is a delicious temptation for your imagination and I guarantee that its unpredictable and dazzling storytelling will leave you wanting to see these actors again at the Oscars. This **** movie certainly gets my vote!

Dogma - **1/2

Ben Affleck and Matt Damon as fallen renegade angels? Possibly. Chris Rock proclaiming that Jesus was a black man? Highly likely. Alanis Morissette as the God of all creation? If she says she is, then let her be before she writes another "bitter pill" song about it. Kevin Smith redefining Catholicism from the same twisted and zany mind set that has earned him a huge cult following among indie-film aficionados? Sounds hilarious! So what’s wrong with Dogma? I don’t think I’m alone in saying that editing, or lack thereof, is its biggest downfall. There’s no doubt that Smith did his biblical research and applied his usual wit, creativity and fearless outspokenness in his interpretation of Catholic dogma. Yet, most scenes in this movie not only run too long to be effective, but they are also filled with misplaced and poorly paced explanatory scenes that are unusually inundating for a Kevin Smith comedy. Another weakness in Dogma is the script. This was an unfortunate surprise coming from the same screenwriter who kept us laughing with continuously outrageous dialogue that made Clerks and Chasing Amy so entertaining and well-deserving of cult movie status. Though there is plenty of off-beat humor in Dogma, it is clearly diminished by the over-drawn feel that is the result of poor editing and an ambitious, but somewhat off-the-mark, script.

Bartleby (Ben Affleck) and Loki (Matt Damon) are two angels banished from heaven for past offenses. However, they have found a loophole within Catholic dogma that may allow them back into heaven, but it may also present God as fallible. To avoid such a disaster which will surely put an end to existence on earth, a messenger (Alan Rickman) is sent from heaven to incite the help of Bethany (Linda Fiorentino), a woman secretly chosen by God as the Last Scion. Energized by her new mission in life, Bethany elicits the help of two sidekicks (the ever-popular Jay and Silent Bob), Christ’s forgotten 13th apostle, Rufus (Chris Rock), and Serendipity (Salma Hayek) the muse-turned-stripper. Together this odd team of angel fighters embarks on an adventure in search of Bartleby and Loki.

Regardless of how familiar you are with these biblical figures, it is quite obvious to most that the casting is a bit of a let down. Do I dare venture to say that stardom (mainly for Affleck and Damon) is the third weakness in this film? As the leading characters, these two poster boys have plenty of screen presence. Yet as renegade angels with a purpose, they seem awkward in their roles, often delivering lines with an "I-don’t-belong-here" air about them. Loki and Bartleby’s philosophical arguments pale in comparison to the banter between Jay and Silent Bob. In a sense all four actors are typecast into roles that they perform best, but it is clearly Jay and Silent Bob who come to the rescue after several dull and uninspiring exchanges between Affleck and Damon. Linda Fiorentino, on the other hand, is consistent throughout; she is convincing as the smart but emotionally vulnerable Bethany. I heard in an interview recently that Fiorentino nearly went broke waiting out the distribution conflict for this movie. She really wanted to be part of Smith’s project and her enthusiasm sincerely translates onto the screen. Selma Hayek and Chris Rock, neither of whom venture much outside their usual typecast roles, frequently struggle with their lines and make the explanatory scenes seem unbearably longer.

I was quite excited to obtain passes for an advance screening of Dogma; however, after a little over two hours in the theater I realized I could have easily waited a week for the regular screening, or perhaps even a few months for the DVD release. Although Critics praise Kevin Smith for his charm and wit during interviews and for the humor he displays in his director’s commentaries on the DVD versions of his movies, until Dogma is released on DVD, I give the film release a **1/2 rating.

The Messenger: The Story of Joan of Arc - **

Don’t shoot the messenger! That’s one important message that French director Luc Besson should have received and considered before embarking on his lavish and off-kilter dramatic action feature, The Messenger: The Story of Joan of Arc. Critically and internationally acclaimed for his earlier films such as La Femme Nikita and The Fifth Element, Besson is more than capable of translating this French legend into an inspiring epic motion picture. However, that talent and ability is not present in The Messenger.

Milla Jovovich is Jeanne (historically known as Joan of Arc), a young, illiterate peasant girl who claims to have had visions of God from a very young age. When the English army raids her village, Jeanne witnesses the savage rape and murder of her older sister. Traumatized and confused, Jeanne falls deeper into religion and sees God as her only salvation. It is in this pious state that Jeanne discovers a battle sword in the wilderness. She immediately interprets this as a message from God whom she believes is directing her to save France from English oppression. Her first mission is to see that Dauphin (the next in line for royalty as Charles VII) is crowned King by aiding him to drive the English out of Orléans. Though suspicious at first, the pompous and spineless Dauphin (played by John Malkovich) is quickly impressed with Jeanne’s zealousness. Both he and his mother-in-law Yolande D’Aragon (Faye Dunaway) are too hungry for the crown to dismiss Jeanne’s premonitions. Consequently, Jeanne is given an army to drive the English out of Orléans, where the French bravely win the battle and return to France in time for Charles’ crowning. A year later, however, Charles is too comfortable at the throne to be interested in war and abandons Jeanne by conspiring to have her captured in Compiègne. At 19-years of age, Jeanne is imprisoned and tried for heresy. Unwilling to deny God’s will, Jeanne is burned at the stake only to be canonized centuries later, or so the legend goes.

Unless you’re extremely familiar with 15th century French history and with events such as the Hundred Years’ War, it’s very difficult to determine the historical accuracy of as questionable a legend as Joan of Arc. Perhaps it is for this reason that Besson decided to create an off-balanced, if not slightly comical ambience to his storytelling. The battle scenes are excruciatingly violent and brutal and are enhanced with extravagant special effects to depict the horror of war in the early centuries. Yet throughout it all there is an oddness to his framing. Besson frequently opts for the tight and often flat look. This mixed with contrived dialogue (delivered in indecipherable accents) renders much of the fighting sequences rather improbable. In fact, at Jeanne’s trial when Dustin Hoffman finally enters as the Conscience, his presence seems more physical than spiritual. Hoffman’s exchange with Jovovich, however, is the strongest part of the film. Physically beaten and psychologically vulnerable, Jeanne’s tortured soul is powerfully displayed as she is forced to face the good and evil within herself. If there is one message that Besson delivers in this movie it is that despite Jeanne’s canonization in the 1920s, many still question the motives and the mental state of the legendary Joan of Arc. If you’re a Luc Besson fan expecting something as involving as La Femme Nikita, you’ll most likely be disappointed by this ** movie.

Romance - **1/2
(Reviewed by Doug Schneider)

Caroline Trousselard plays Marie, a young woman who feels abandoned by her boyfriend since he has no desire to make love to her. While their lack of intimacy is a source of tension for her, he seems perfectly content with it. He is, however, aware that she’s not happy and he is concerned that her discontent will lead her to cheat on him. She tells him she is faithful, but in her mind she convinces herself that he deserves her infidelity.

Her tension grows to resentment and soon she cannot help but be drawn to other men. Her first encounter takes place at a bar where she meets Paolo, played by real-life porn star Rocco Siffredi. Although she tells Paolo she’s married, he knows nonetheless that she wants to be seduced. After Paolo, her sexual exploits get much riskier. Soon she considers herself as nothing more than an outlet for men’s pleasures.

This rather frank depiction of what goes on in Romance will likely offend and perhaps even shock many people. After all, it does make the sexual explicitness of Breaking the Waves tame by comparison. Trousselard takes on a daunting challenge with what is obviously real, onscreen sex. In fact, some have gone so far as to call Romance pornography. Without a doubt this is the most explicit mainstream movie ever released and, not surprisingly, the controversy has fueled ticket sales. Unless the French have revolutionary special effect technology for art films like this, then you can be certain that most of the sex acts, and there are many, are quite real. There is oral sex, male and female genital close-ups, long and somewhat creepy bondage sequences and even a money-shot! Still, it’s likely not pornography in the traditional sense, but some of it is certainly gratuitous. It could have used a more subtle touch, not necessarily to tame down the film, but to give the story more impact since the sex overshadows anything the film has to say.

Despite its flaws (and there are many), this sexually explosive movie has an interesting angle, perhaps because it was written and directed by a woman. The story is presented entirely from the woman’s perspective and it is this deviation from the mainstream norm that made me like the movie as much as I did. Although many men will be hesitant or even reluctant to admit it, the way in which men are depicted in the film does ring true in many cases. Perhaps by understanding what causes Marie’s drastic actions, men will be startled out of their indifference and will no longer be so comfortable in their relationships. However, while it is somewhat thought provoking, it does break down in several key areas, including a flaw in the basic premise: Why does Marie stay with a man who is so obviously unable to bring her happiness? While the movie clearly explains the motives behind other choices Marie makes, it never offers an explanation as to why she isn’t willing to leave her boyfriend and fully explore her sexual escapades. If it had addressed this rudimentary question, then it may have contributed to a stronger movie.

In my opinion the director bit off far too much here. The film tries to say too much, too graphically. While some of the explicit scenes do work and can be deemed necessary, others are simply unwarranted. For instance, when Marie’s being examined by a room full of doctors, the camera fixates unnecessarily on her crotch. Did it need to be that way? It seems to merely exploit the character and the actress. The same message or even a more powerful one could have been delivered without giving us the never-ending eyeful. And what about the imaginary brothel? Frankly, it looked like it was straight out of a porno movie; the images served very little purpose. Probably its worst sin is the manner in which the story evolves. Marie’s story moves from casual affair to degrading sex. Her exploration quickly transforms from sexual liberation to psychological damage. Did it really have to become so mean-spirited and judgmental? One viewer summed it up with an astute observation: "Why do so many films purporting to be about female sexuality always resort to such extremes?"

The World is Not Enough - ***
(Reviewed by Doug Schneider)

The world may not be enough for James Bond, but for many the nineteenth movie installment about the world’s most famous spy may be more than enough. That’s not to say that The World is Not Enough is a bad film, it’s not. In fact, I think Pierce Brosnan is the perfect actor for the part of 007. This movie, if nothing else, is entertaining; you can almost hear the cash register go ka-chink as the ticket sales roll in. My only complaint is that there just isn’t anything new here. For a series that has gone on for so long it may be time to look for some fresh ideas or pack it in.

This time Bond is up against Renard (Robert Carlyle), a bad guy made worse by the fact that he has a bullet lodged in his head, a unique condition that deprives him of feeling any emotional or physical pain. Renard is up to no good, trying to destroy the world as all epitomes of evil should and, of course, Bond must stop him with all kinds of gadgetry, doo-dads and double talk. For the most part it works and there are enough hair-raising spills and stunts to keep audiences on the edge of their seats for at least part of the movie. Bond leaps, drives, shoots and does what he does with as much skill as ever, but audiences have come to know what to expect. On the bright side I can say that Brosnan seems born to play this role, and for me he is even more satisfying to watch than Sean Connery; he gives Bond a real humanity that makes you cheer for him.

Of course, action sequences aren’t the only mandatory elements in Bond movie. Since what seems like the beginning of time the women have been the key players in these films. The World is Not Enough features Sophie Marceau as Elektra, the high-rolling heiress to an oil fortune. Denise Richards also makes her appearance with her big boobs in a tight tank top and actually does pretty well in her thankless role as Dr. Christmas Jones. Jones is Bond’s well-educated sidekick and she’s in charge of jiggling and wiggling in skimpy clothes while uttering sharp comeback lines as Bond saves the day. While the main stars are all fine, the filmmakers missed two great acting opportunities to breathe more life into this now stale series. John Cleese plays the new replacement for the aging Q, and just when we think he’ll liven up the film with some high comedy he is whisked away with only a few minutes of airtime. What were they thinking? The other is Maria Grazia Cucinotta (Il Postino) who turns up at the beginning for a memorable role that is cut way too short. Cucinotta shows as much charisma as Famke Janssen did in Goldeneye and if I was the casting director you could be sure she’d have been the main villain.

All in all, The World is Not Enough is worthy of a Saturday afternoon matinee if you haven’t already seen this year’s best movies like Being John Malkovich and American Beauty. The installment may not be enough, but the last frame of the movie tells us, if we couldn’t have guessed it already, that Bond will indeed be back. Perhaps next time.

End of Days - **1/2
(Reviewed by Doug Schneider)

Did you know that what you’ve been taught in horror movies like The Omen is wrong? That’s right, 666 is not the sign of the Devil! Nope, people have been reading it upside down and it is actually 999. If you add one thousand to that then you get 1999, and that year marks the period of one thousand years and now the Devil can return to earth to find himself a bride. Does it make any sense? Not really, but there is a priest in this movie with no tongue but who can speak and that doesn’t make any sense either. However, sometimes in the movies you just have to go with it.

Gabriel Byrne is Satan. He comes to earth every thousand years to impregnate a woman and to breed the anti-Christ. For the rest of us, Satan’s mission translates into, yes, the end of days. Schwarzenegger plays Jericho Cane, a former-cop-turned-bodyguard whose wife and daughter have previously been brutally murdered. Consequently, he is driven to heavy drinking and toying with a death wish, as demonstrated in the opening scene where Cane sits alone in a dark apartment holding a gun to his head -- a common activity, we are to assume. Sound familiar? People will recognize the character as somewhat of a knock-off from Mel Gibson’s Martin Riggs character in the Lethal Weapon series. However, this isn’t to criticize Arnold, because I can proudly say that I really like his performance in movies. I have seen every movie he has made (yes, including Hercules Goes Bananas) and what he does here is as good or perhaps even better than ever. Of course what he’s going to do in End of Days is battle the Devil himself in man-to-man combat, and this we’ve unfortunately seen far too many times in movies that may not have been as elaborate as this one, but were nevertheless far better.

The visual effects in End of Days are outstanding with a dark and gloomy setting that contributes to a real atmosphere. This is a high-budget extravaganza with all the stops pulled. The problem lies in the fact that audiences have seen this type of movie far too many times and all the clichés used here have already been played out elsewhere, and often better. The new Bond movie, The World is Not Enough, suffers the same fate. Although these movies aren’t bad and will be entertaining to some (particularly if one hasn’t seen a lot of modern movies), I vote that next time they make a movie like this they should chop 25% from the special-effects budget and give it to the writers. That, Hollywood seems to have forgotten, is where the stories come from.  

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