189-193: Bruges, Cliffhanger, Trouble, Chernobyl, Instead

in-bruges

189: In Bruges

In Bruges looked like just another action movie to me. Even the involvement of one of my favorite actors, Brendan Gleeson, wasn’t enough to get me to watch it. But during the years following its initial release more and more people came out of the woodwork to confess their mistake in dismissing In Bruges in the manner I did. I decided to give in and give In Bruges a chance and what do you know… it is brilliant. So incredibly not what I was expecting. Central to the story are two British criminals who are sent to Bruges in Belgium to lay low for a while after a tragic accident. There they have to wait for their boss to call with instructions. What seems to be a regular crime story with two thugs spending time in one of the most dreamy cities in Europe turns into an existential fight for survival and redemption. There are a lot of great performances in In Bruges. Colin Farrell is brilliant as the petty criminal who acts more like a bored child than a professional hitman and Brendan Gleeson is masterful as ever as the hardened criminal who is trying to keep everything together somehow. Their chemistry starts to build throughout the movie to culminate in a sequence that is truly harrowing. Martin McDonagh wrote and directed a movie that will stay with you for a long time. I loved it. See it.

cliffhanger

190: Cliffhanger

It was a Saturday night, I was tired, so I went and stood in front of my DVD cabinet to find a movie that wouldn’t challenge me one bit. The result was Cliffhanger, a Sylvester Stallone vehicle directed by Renny Harlin (Die Hard 2) I had not seen in fifteen years or so. And with good reason, because this movie turned out to be even more dumb than I remembered. The screenplay is so incredibly full of holes and implausibilities that it took all the fun of the action out of it for me. I think the whole reason why I (and many with me) look back fondly on Cliffhanger is the opening sequence, which is as horrendously suspenseful as ever. If you have anything resembling vertigo I urge you to skip the opening sequence and pick up what happened there from the rest of the movie (that shouldn’t be too hard). When the screenplay turns out to be so incredibly dumb, is there still something to be enjoyed in Cliffhanger? Sure, the action is decent throughout the movie, the acting is deliciously over the top and the scenery is beautiful (actually shot in Italy, not Colorado). Cliffhanger is a clear example of just about every action movie made in the late ‘80s and early ‘90s: big brutish heroes taking on mindless groups of evil doers with lots of explosions and extravagant stunts. It’s just that sometimes one movie hits it out of the park and the other takes a walk. And yes I am talking about Die Hard being the slugger, not Cliffhanger.

trouble-with-the-curve

191: Trouble with the Curve

Trouble with the Curve is a sports movie of the most common denominator. And I so wanted this to be another Moneyball, a smart look at the business of baseball and what goes on behind the scenes of my favorite sport. But what I got was a melodramatic mess about an old baseball scout (Clint Eastwood) who doesn’t want to accept he is losing his grip on his job and his estranged daughter (Amy Adams) who wants to be close to her dad if only he wasn’t such an insufferable asshole. Trouble with the Curve is in fact the polar opposite of Moneyball. It goes out of its way to tell us that the new baseball (as seen in Moneyball and now used around the league) is much worse than the old school way of finding talent. Therefore everybody who has anything to do with computers and spreadsheets is presented as oafish and all the old guard is portrayed as lovable and eccentric. In addition to this incessant polarization the screenplay takes a turn for the worse when a telegraphed red herring from the first act is used to finish the movie in the cheapest way possible. During that first act of Trouble with the Curve I thought I was dealing with a movie that understood baseball, but it turned out it didn’t know anything about it at all. I guess I’ll have to grab my copy of Moneyball and erase Trouble with the Curve from my baseball loving brain.

chernobyl-diaries

192: Chernobyl Diaries

As far as useless found footage movies go Chernobyl Diaries is right up there with the worst of them. We are witness to a group of young people traveling around Europe and ending up in the Ukraine to participate in a tour of the area surrounding Chernobyl, the site of the most horrendous accident involving nuclear materials. Their focus is Pripyat, a village where everybody had to drop what they were doing to escape the evil that was spouting from the reactor. Now, supposedly, the radiation levels are low enough to go wandering around the village (which they aren’t by the way in real life). Of course their visit isn’t without peril, because when they want to leave the village they discover they are not alone, something has been left behind. Chernobyl Diaries comes from the brain of Oren Peli, who also fathered the Paranormal Activity series. As with so many other found footage crap movies, Chernobyl Diaries doesn’t think it’s necessary to actually convincingly tell us a story that could be called found footage. The camera angles are all circumstantial and in no way believable like the pioneers (e.g. The Blair Witch Project) were. Let’s hope Chernobyl Diaries doesn’t spawn a load of sequels as Paranormal Activity did and still does. That would be truly disastrous.

you-instead

193: You Instead (Tonight You’re Mine)

Having been to quite a few music festivals in my younger days (wow, I sound old) I can get behind the vibe of You Instead (or Tonight You’re Mine, I’m not sure which is the right title), David Mackenzie’s latest feature. He actually filmed the movie at a music festival and that lends it a tremendous amount of goodwill. Goodwill that is much needed, since the screenplay is nearly devoid of anything interesting. It is a love story about two musicians, one British and one American, who are handcuffed to each other by some mysterious festival patron. They will have to spend the rest of the weekend, their gigs and day-to-day activities chained to each other. Of course something beautiful blooms between the two of them and everything will be all right in the end. You see, nothing special. The charm of You Instead comes from the images and situations Mackenzie chooses. The drunk, muddy, stoned get-together around a campfire, the sweaty tents filled with thumping music and those quiet mornings when you try to think of a reason why you drank so much the night before (believe me, I’ve been there). This was actually the only reason why I continued watching You Instead… nostalgia. At least You Instead has a lot more life to it than Mackenzie’s last feature Perfect Sense, which I found excruciatingly boring and completely forgettable.

118: Perfect Sense

Perfect Sense tells us a story of the senses or rather the lack there of. Eating a bar of soap becomes nice, licking shaving cream off somebody’s face, eating a raw fish at a market, it all doesn’t matter one bit when you don’t have the senses to, well, make sense of it all. Without all this sensory input you get a new lease on life. At least, that is what director David MacKenzie (Young Adam) would want you to believe.

It is on a normal day that people start turning up at their doctor with the shocking story that they were suddenly overwhelmed with a terrible sense of grief and after that they lost their ability to smell anything. At first the doctors, among them the young Susan, played by Eva Green (Casino Royale), think this is merely a coincidence, but it doesn’t take long before everybody suffers from this mysterious disease. She meets chef Michael, Ewan McGregor (Beginners) from the restaurant across the street and in him she finds a beacon of hope in these trying times. Then matters get worse and everybody starts losing their other senses as well.

In a lot of these apocalyptic fantasies the world goes to hell in no time. Sure, people panic, but that is not what director MacKenzie focuses on for the most time. He uses archival footage and footage shot on location to give his story a global feel while then he returns to the small story that plays in front of the camera in Glasgow, Scotland. An ingenious way of making his movie larger than it actually is. The result is an intimate story about two people weathering a dreadful episode in mankind’s history. A story that is more frightening than believable.

MacKenzie beliefs that when the whole world falls to pieces there will be a predominant portion of mankind that will still be there for each other instead of society disintegrating into a free-for-all like Mad Max or The Road. While I don’t subscribe to this notion (I do think mankind is doomed to destroy itself one day, sorry) it is admirable that MacKenzie dares to take this approach to a story that could have easily gone the other way. There is hope in his vision, even after the whole world clearly goes to the brink of disaster when people start to lose more of their senses.

Every time people start to lose one of their senses it is preceded by a harrowing sequence. With smell it is intense grief, with taste it is sickening eating, with hearing it is a devastating rage and with vision it is excruciating joy. These scenes are perhaps the most intense part of the whole movie. Green and MacGregor throw their everything into these scenes, which make them all the more heartbreaking. The same, however, can’t be said about the love story part of the Perfect Sense. It takes a lot out of the audience to buy into MacKenzie’s belief that everything will be alright in the end just because you love somebody. It is a beautiful idea, but one that is ultimately unsatisfying.

> IMDb