Category: Movie Reviews

By Joe Bendel. In Moscow, you can never find a cop when you need one—if you’re lucky, that is. While ostensibly nonpolitical, a scathing picture of the Putin era’s petty corruption, casual cruelty, and moral malaise emerges in Angelina Nikonova’s Twilight Portrait (see a clip here), which screens this week during the 2012 edition of New Directors/New Films.

Initially, Marina appears to be a woman who has it all: a career she is ambivalent about, a husband she cannot respect, and a lover she despises. Unfortunately, after another unsatisfying tryst, the wheels come off Marina’s life. A stolen handbag, a broken heel, and a bit of dishevelment later, the cops pick up Marina on the assumption she is a prostitute and therefore fair game. The details are kept deliberately obscure from the audience, but we know some combination of the three officers rapes her in their patrol car.

Twilight’s second act might be the most realistic, bluntly unvarnished portrayal of the aftermath of such trauma yet rendered on film. Marina’s depression and anger manifest themselves in ways that are sometimes understandable, but often perplexing and off-putting. However, Twilight is just getting started. When Marina takes up with Andrei, one of the cops from that fateful night (who apparently does not recognize her in a different context), the film gets even darker. Is this part of an elaborate plan for revenge or compulsive self-debasement? Perhaps it is both or neither. Indeed, part of her seems drawn to Andrei’s unapologetic masculinity in much the same way Russia collectively submits to an authoritarian strongman like Putin. Twilight keeps its cards close to its vest, but it is safe to surmise their relationship is deeply twisted.

At this point, it might be helpful to point out Twilight was co-written by Nikonova and her lead actress, Olga Dihovichnaya. Nonetheless, some might find the film’s sexual dynamics, as described above, considerably troubling – which is perfectly reasonable.  This is not a film for everyone, just like Bad Lieutenant is not a film for the masses. However, like Ferrara’s arguable masterwork, there is always a point to the degradation. Frankly, Twilight is not very explicit in terms of what it shows on-screen, but the implications of the character’s words and actions are undeniably disturbing.

Beyond visceral, Dihovichnaya gives a phenomenal performance that will make viewers squirm in discomfort. Film patrons will not see better work on-screen this year, but it is so brutally honest and tightly controlled, Dihovichnaya is unlikely to get the accolades she deserves, at least around these parts. (We’ll probably just shower our awards on Meryl Streep’s next schticky impersonation.)

Nikonova masterfully controls what the audience sees and what it thinks it perceives, keeping them off-balance and edgy throughout the film. It is not an easy film to watch, but it has some real arsenic to it. Recommended for those who fully understand what they are getting into, Twilight screens this Friday (3/30) at MoMA and Saturday (3/31) at the Walter Reade Theater, as the 2012 ND/NF wraps up a particularly strong year.

Posted on March 28th, 2012 at 4:55pm.

By Joe Bendel. China is a man’s world and becoming ever more so. In addition to making young girls increasingly less common, China’s One Child policy poisons the personal relationships of several working class provincial villagers in Song Chuan’s Huan Huan, which screens during the 2012 New Directors/New Films, jointly presented by the Film Society of Lincoln Center and MoMA.

Huan Huan has not taken control of her own life. She passively married a habitual gambler and acquiesced to the advances of “Doctor” Wang, a dodgy practitioner of “Chinese and Western medicine” married to Chunfeng, the village’s government enforcer. When their ill-concealed affair becomes public, Chunfeng starts harassing Huan Huan’s family, while Wang starts paying a monthly consideration to her deadbeat husband. Huan Huan’s eventual pregnancy complicates matters tremendously, particularly in light of the One Child policy and Chunfeng’s infertility.

Indeed, given the harsh procreation laws, everyone is interested in Huan Huan’s baby, hoping for a son of course. As a result, what might be a passionate infidelity melodrama in the West becomes a study in cold calculated decisions for Huan Huan’s circle. The frank matter-of-factness with which Song Chuan addresses the One Child policy and the petty corruption of local officials is nothing less than stunning. He also clearly argues contemporary Chinese society is sexually objectifying women, most notably in the low pop culture it imports.

Unfortunately, though Song’s social criticism is undeniably trenchant, his unprofessional cast largely acquit themselves as such. Lead Tian Yuefang is rather convincing in a true-to-life way as the sullen and self-destructive title character. However, the supporting cast is guilty of frequently awkward line readings and a clumsy fight scene that would not pass muster in most dinner theaters.

In addition, Song follows in the aesthetic tradition of independent Chinese filmmaking initiated by the Digital Generation (or DGenerate) School. As a result, Huan Huan features the long static shots and unhurried ground level naturalism that are hallmarks of the movement, but can be distancing for undisciplined viewers. He displays a strong sense of composition, though, vividly conveying the hardscrabble environment of Yunnan.

Ultimately, Huan Huan is more interesting for what it portrays than as a fully engaging drama for audiences to submerge themselves into. According to Deadline Hollywood, Song was denied a visa to attend ND/NF, so it worth seeing on those grounds alone. A bold undertaking, but quite a mixed bag cinematically, Huan Huan screens this Tuesday (3/27) at the Walter Reade Theater and Wednesday (3/28) at MoMA.

Posted on March 26th, 2012 at 11:09am.

By Joe Bendel. Evidently Jamie Gorelick also set up an information-sharing firewall for Korean intelligence. Unbeknownst to each other, two agencies are tracking the same Russian gangster-spies out to purchase the latest monster virus. Nor do Ahn Soo-ji and her ex realize they work for the rival agencies. Things get rom-com complicated in Shin Tae-ra’s My Girlfriend is an Agent (trailer here), which screens – for free – this Tuesday in New York as part of the Korean Cultural Service’s current It’s a Fine Romance film series.

Ahn is an excellent operative, but things like rejection make her loose her cool. In contrast, Lee Jae-joon is completely incompetent, but he is a rookie. At least his Russian background will be useful. Obviously, the evil Victor Somethingrussian has a huge advantage. Every Korean operation targeting him is blown when Ahn and Lee blunder into each other.

Of course, they fight like cats and dogs, providing much entertainment for the local coppers, while scrupulously maintaining their classified affiliations. When Ahn and Lee’s teams finally start to suspect their respective exes, they assume each is in league with the Russians, as duly required in secret agent comedies.

Agent is not afraid to milk a public yelling match for all its worth. Indeed, the comedy is pretty broad here, but it barrels ahead quite confidently. To give credit where it is due, Shin and screenwriter Cheon Seong-il certainly know how to introduce their heroine, immediately putting Ahn into the field as a pistol-packing, jet-ski driving undercover bride. That so works.

In fact, as Ahn, Kim Ha-neul makes a pretty engaging action protagonist, poised in her fight scenes and rather endearing when navigating her romantic frustrations. However, the slapstick incompetence of Kang Ji-hwan’s Lee is lathered on far too strongly, quickly undermining any possible dramatic credibility. Still, his goofiness is not difficult to translate.

Clearly, Agent just wants viewers to have fun, which is cool. Frankly, it contrasts rather favorably with Hollywood spy comedies of recent vintage that unfailingly portray either the CIA or the U.S. military as the “real villains.” Though they have their secrets, Agent’s heavies are still Russian, through and through.

A smash hit in Korea, it is fairly easy to understand Agent’s appeal. Light and breezy with a healthy dose of romance, it is an amusing bauble. It ought to be quite pleasant to watch it with an appreciative audience—again, for free—so plan to arrive early when it screens this Tuesday (3/27) at the Tribeca Cinemas, courtesy of the Korean Cultural Service in New York.

Posted on March 26th, 2012 at 11:07am.

By Joe Bendel. Wan Laiming was the Walt Disney of China. Unfortunately, his long planned masterwork finally came to fruition on the eve of the Cultural Revolution. Just as the second part of his animated adaptation of the Ming-era novel Journey to the West was released to general acclaim, the Chinese film industry was shuttered for reasons of ideological madness. Recognized as one of the greatest Chinese animated features ever, Wan’s complete The Monkey King—Uproar in Heaven has been meticulously restored, frame-by-frame, and converted to widescreen 3D. Su Da and Chen Zhihong’s Monkey King restoration had its North American premiere screenings during the 2012 New York International Children’s Festival.

Being in fact a monkey, the Monkey King is perfectly suited to animation. Supernaturally powerful, he happily leads the monkey tribe of Flower Fruit Mountain, but his rambunctious nature attracts celestial attention.  On the orders of the Jade Emperor, the Monkey King is whisked up to the heavens, only to be given a dubious title and shunted off the a harmless corner of the cosmos. The Monkey King does not play that game, though. He creates quite the ruckus before returning to his clan on Flower Fruit Mountain.  However, the beings of the higher realm consider his rebellious drive a threat and will not leave well enough alone.

Often thought to be influenced by Hindu deities, the Monkey King clearly fits the Trickster archetype. While he eventually settles down in the source novel, Uproar features him at his most uproarious. Frankly, some of his moves prefigure several signature sequences from the Matrix franchise. He is also quite proficient with his magical staff, delivering plenty of satisfaction for martial arts fans.

However, the look of Wan’s film, by way of the Su and Chen’s restoration, is truly remarkable. It has a rich lushness, but there is also a mystical vibe that resists comparison to other films. It is also hard to describe the film’s color palate, but it is quite distinctive (and a testament to the filmmakers’ restoration efforts). Some sequences are incredibly graceful, such as the Monkey King’s encounter with a wonderfully cinematic group of fairies, at least until his mischievousness asserts itself. In addition, the restored Uproar is one of the most skillful and refined examples of 3D rendering, aside from Wim Wenders’s Pina. More than just pointy objects jutting out from the screen, the 3D here emphasizes depth on a grand scale.

The Monkey King’s story holds a place of honor amid China’s rich cultural legacy, which the ideological campaigns of the mid and late 1960’s tragically nearly destroyed. Presumably, some purists will debate aspects of the 3D digital refurbishment, most definitely including the 3D itself, but also the restoration directors’ abridgment of the film, the newly composed and recorded soundtrack (directly inspired by the Beijing Opera) and their alteration of the aspect ratio. However, these debates are good to have.

Ultimately, their efforts will bring Wan’s images to a new generation of viewers and ensure they will be preserved for generations to come. Perhaps more to the point, Uproar is an enormously entertaining spectacle that is both high-brow and action-oriented. Recommended for kids and animation fans with an interest in Chinese Culture, The Monkey King—Uproar in Heaven is likely to have a long life on the festival circuit and in specialty distribution, following its enthusiastically received screening last night at NYICFF.

Posted on March 22nd, 2012 at 12:19pm.