I enjoyed the novel way back when. The original movie was a D+, a sad adaptation of the novel. This movie is much better. There are two problems, however. #1. This is not the whole story; it stops about halfway through. Obviously, it is a setup for a sequel. I have not seen this mentioned in any advertisements or other reviews. #2. The film does not flow. If I had not read the novel and seen the early movie version, I would find it difficult to understand the flow of the story. It hops, skips, and jumps, leaving out important sequencing. In all other ways this movie version is a vast improvement in storytelling. Better cast. Better CGI. Interesting music. Still, though, far from perfect.
Reviews
9 Reviews
Far from Men
(2014)
A touching homage to humanity
12 December 2015
A quiet and touching study in love, respect, and morality beautifully acted by Viggo Mortensen and Reda Kateb. As the world swirls around each of them, each facing violence and death in their own universe, fate brings them together and each is saved by the other. A wonderful meditation on setting aside hatred and violence to reach the inner core that each of us carries within.
Do not let the pace frustrate you; parts move as snails, which is what Viggo's parents were called by the French. Set in and amongst the bloody Algiers civil war of the 1950's, one comes to appreciate the need to reach out, not only to those with whom we interact, but to teach the children the universal humanity of us all.
This movie, like the great Japanese movie Departures (2008), asks us to put aside the petty hatred, twisted customs, and violence of much of what we call life, and appreciate the beauty and love we can share with our fellow humans.
An absolutely lovely film.
Do not let the pace frustrate you; parts move as snails, which is what Viggo's parents were called by the French. Set in and amongst the bloody Algiers civil war of the 1950's, one comes to appreciate the need to reach out, not only to those with whom we interact, but to teach the children the universal humanity of us all.
This movie, like the great Japanese movie Departures (2008), asks us to put aside the petty hatred, twisted customs, and violence of much of what we call life, and appreciate the beauty and love we can share with our fellow humans.
An absolutely lovely film.
The Great Beauty
(2013)
A Felliniesque Mediation On Life
30 March 2014
A Felliniesque mediation on the vapid nature of high society. The main character, Jeb, at age 65, is only beginning to sense the empty existential nature of not only his existence, but also of that of those around him. The only meaning and true beauty which Jeb fines is in the art of centuries past and the almost Christ-like dedication of living saints, akin to Mother Theresa of today. Church cardinals are seen to be beneath concept, and naught but foolish pontificators.
It is a movie not only to be seen, but emphatically felt as the emptiness of 40 years of Jeb's shallow hedonism is laid bare. But, having seen briefly seen the promised land, Jeb does not venture forth, but embraces the emptiness of high society, perhaps to forget the wonder of young love that he once saw and felt, but all too briefly.
The cinematography is exceptional, with each shot a painting of life in the moment. At 2 hours, 12 minutes of story time, the film is a bit too long and the very end becomes a bit of a bore. The movie would flow better if the last 20 minutes were reduced to perhaps 8 or less.
See this movie with Departures (directed by Yojiro Takita) and know the potential for meaning and fulfillment in life and as one approaches death.
It is a movie not only to be seen, but emphatically felt as the emptiness of 40 years of Jeb's shallow hedonism is laid bare. But, having seen briefly seen the promised land, Jeb does not venture forth, but embraces the emptiness of high society, perhaps to forget the wonder of young love that he once saw and felt, but all too briefly.
The cinematography is exceptional, with each shot a painting of life in the moment. At 2 hours, 12 minutes of story time, the film is a bit too long and the very end becomes a bit of a bore. The movie would flow better if the last 20 minutes were reduced to perhaps 8 or less.
See this movie with Departures (directed by Yojiro Takita) and know the potential for meaning and fulfillment in life and as one approaches death.
The Man from Nowhere
(2010)
Mysterious stranger saves neighbor from sadistic thugs
18 August 2013
In broad generalities, the movie has a lot in common with Leon The Professional (1994), one of Jean Reno & Gary Oldman's great films. There are, of course, significant differences. Leon was a mafia hit man by training. The Man From Nowhere has a murky past that the police must uncover. Leon was a gun for hire; the Man from Nowhere was not. But both sought to protect and help the young daughter of their neighbor who is swept up in trouble. Of course, Leon deals with corrupt NY police (played fabulously by Gary Oldman), and the Man From Nowhere, a wide variety of Japanese gangsters.
The Man From Nowhere is quite violent, but the black hats have it coming; they deal in drugs (heroin, meth) and body parts. So, it is easy to feel that they all get what they deserve. Except for the closing confrontation, the violence is actually rather muted and the number of bodies, restrained. What makes this movie enjoyable is that the hero is a sad and troubled soul. But for reasons that likely reflect the sad, untimely death of his significant other, he decides to save his 5 year old neighbor even though her mother is a less desirable member of society. How very unJapanese. But, then, he is not Japanese. Reflecting a subtle reality of Japanese culture and discrimination, the Man From Nowhere is Chinese, and thus subject to the usual rampant discrimination that Japan has for all non-Japanese.
One of the interesting subplots is the way various gangster organizations set each other up as they compete for a share of the underworld pie. These are not nice people, though there appears to be a puzzling absence of traditional Yakuza from the movie (plenty of Yakuza want to be's, though). The gangs are, of course, replete with incompetent sadists, all the more deserving of a vengeful death. The chief police inspector is a persistent and joyously optimistic soul who does his duty in an efficient and relentless manner.
If you liked Leon The Professional, you will enjoy The Man From Nowhere. How can you not but admire someone who goes all-out to save a 5 year old neighbor he barely knows from the worse dregs of society?
The Man From Nowhere is quite violent, but the black hats have it coming; they deal in drugs (heroin, meth) and body parts. So, it is easy to feel that they all get what they deserve. Except for the closing confrontation, the violence is actually rather muted and the number of bodies, restrained. What makes this movie enjoyable is that the hero is a sad and troubled soul. But for reasons that likely reflect the sad, untimely death of his significant other, he decides to save his 5 year old neighbor even though her mother is a less desirable member of society. How very unJapanese. But, then, he is not Japanese. Reflecting a subtle reality of Japanese culture and discrimination, the Man From Nowhere is Chinese, and thus subject to the usual rampant discrimination that Japan has for all non-Japanese.
One of the interesting subplots is the way various gangster organizations set each other up as they compete for a share of the underworld pie. These are not nice people, though there appears to be a puzzling absence of traditional Yakuza from the movie (plenty of Yakuza want to be's, though). The gangs are, of course, replete with incompetent sadists, all the more deserving of a vengeful death. The chief police inspector is a persistent and joyously optimistic soul who does his duty in an efficient and relentless manner.
If you liked Leon The Professional, you will enjoy The Man From Nowhere. How can you not but admire someone who goes all-out to save a 5 year old neighbor he barely knows from the worse dregs of society?
End of Watch
(2012)
Flawed cops, flawed villains, stereotyped action
5 April 2013
The premise of End of Watch, that the two very flawed L.A. City law enforcement officers, are wearing mini-cams for a cinema verite recording of their patrols, is clever. However, much of the film is made with ordinary cameras making ordinary shots, which demeans what was to be a unique theme and perspective.
The other overriding aspect of the film is that everyone is flawed, even South Central L.A. Does anyone decent live there? From lousy ex-cons, like the ones I use to defend, to sociopaths from Mexican drug cartels, all the baddies are from 6 to 10 on the sick-o scale, with the banditos from south of the border all in the 9-10 range. But the central characters (played well by Jake Gyllenhaal and Michael Peña) are a six, and many of their fellow officers are in the 4-5 range. Ironically, only the female cops appear to be what an idealized street cop should be. Sexist claptrap?
The final battle scene, with the cavalry arriving decisively, but late, is awful. Of course the Cartel baddies have to die, blown away in a hailstorm of gunfire. But, really,where were they when our heroes were being hunted down like two outgunned rabbits being played like a fiddle by evil incarnate? If the last minute 911 call had really gone through, backup would have swarmed the area, not arrived late and all together.
If the characters in the movie had been given some depth, if the story line was not geared to move from one evil gross-out to the next, if the DEA guys did not look like a posse from Seal Team 6, if if if .
The promise was there, but End of Watch fails to deliver.
The other overriding aspect of the film is that everyone is flawed, even South Central L.A. Does anyone decent live there? From lousy ex-cons, like the ones I use to defend, to sociopaths from Mexican drug cartels, all the baddies are from 6 to 10 on the sick-o scale, with the banditos from south of the border all in the 9-10 range. But the central characters (played well by Jake Gyllenhaal and Michael Peña) are a six, and many of their fellow officers are in the 4-5 range. Ironically, only the female cops appear to be what an idealized street cop should be. Sexist claptrap?
The final battle scene, with the cavalry arriving decisively, but late, is awful. Of course the Cartel baddies have to die, blown away in a hailstorm of gunfire. But, really,where were they when our heroes were being hunted down like two outgunned rabbits being played like a fiddle by evil incarnate? If the last minute 911 call had really gone through, backup would have swarmed the area, not arrived late and all together.
If the characters in the movie had been given some depth, if the story line was not geared to move from one evil gross-out to the next, if the DEA guys did not look like a posse from Seal Team 6, if if if .
The promise was there, but End of Watch fails to deliver.
Casa de mi Padre
(2012)
A Telenovella Writ Slapstick and Satire
16 March 2013
Once again, the schmoo wins the fair, but flawed, maiden.
To appreciate and enjoy the humor of Casa de mi Padre, there are two requirements: a) a knowledge and understanding of telenovellas, particularly those from Mexico, and b) an ability to speak Spanish in order to understand the jokes. The latter is particularly important because some of the best, subtle humor is the contrast between the socially acceptable translation of certain Spanish idiomatic expressions spoken by various characters and the meaning of the Spanish words themselves. (Another movie with a variation on such humor is Wasabe, a 2001 movie with Jean Reno, best watched in French because the English subtitles are a more literal (and I would say guttural) translation than the milk-toast English voice-over version of the movie.)
I particularly enjoyed the discussion/description by the Alvarez brothers of drug-addled and junk-food crazed Americans; definitely over the top. If you know novellas and can speak at least some Spanish, this is a movie you will enjoy because you will appreciate the gestalt of the setting, imagery, and storyline which is key to the movie's satire.
To appreciate and enjoy the humor of Casa de mi Padre, there are two requirements: a) a knowledge and understanding of telenovellas, particularly those from Mexico, and b) an ability to speak Spanish in order to understand the jokes. The latter is particularly important because some of the best, subtle humor is the contrast between the socially acceptable translation of certain Spanish idiomatic expressions spoken by various characters and the meaning of the Spanish words themselves. (Another movie with a variation on such humor is Wasabe, a 2001 movie with Jean Reno, best watched in French because the English subtitles are a more literal (and I would say guttural) translation than the milk-toast English voice-over version of the movie.)
I particularly enjoyed the discussion/description by the Alvarez brothers of drug-addled and junk-food crazed Americans; definitely over the top. If you know novellas and can speak at least some Spanish, this is a movie you will enjoy because you will appreciate the gestalt of the setting, imagery, and storyline which is key to the movie's satire.
Departures
(2008)
A Tea Ceremony for the Departed
16 March 2013
Departures (2008) is a fascinating mix of existential angst and Taoism. It is a celebration of life and death, of nature and civilization, of the complexity of beauty and the basic elements into which we all decompose.
Daigo Kobayashi (played wonderfully by Masahiro Motoki) is a Grade B cellist in an orchestra that fails. His life, his dreams are crushed, along with his finances since he had gone deeply into debt to buy a "professional grade" cello. Not sure how to organize his life, he returns to his home town. Looking for work, he stumbles into a job as a professional who prepares bodies for cremation. Like the work done by the Untouchables of India, this is a profession abhorred by all who knew him as a child and an aspiring musician. Yet, he finds a new love of life, an appreciation for the beauty of the world about him. He also realizes that the ceremonial aspect of his work allows those who "remain behind" to resolve unspoken conflicts (afterall, this is Japan) between themselves and between themselves and the deceased. In rare cases, he even helps assuage the loss and bring happiness to those who knew the departed and can share their joy-filled memories with each other.
It is a charming movie, full of reverence for life and a commentary on how much we take each other and the world for granted, until it is too late.
Daigo's wife (played by Mika Kobayashi) ultimately affirms his profession. Although she says little, her facial expressions shout volumes. One is easily reminded of her role as the rebellious teenager Yumi Yoshimido in Wasabi (2001), with Jean Reno, another great movie that celebrates love and life, though a la John Wayne and Dirty Harry. Although Yumi was a much more talkative role, as Mika Koayashi the same face provides excellent and moving dialog, all the more interesting for its silence.
Tsutou Yamazaki plays Ikeui Sasaki, Daigo's mentor, who sees instantly in the musician the sweetness and emotion needed to bring beauty and feeling the job of Nokanshi, the funeral professional who engages in a highly stylized ceremony before the family and friends of the deceased as the body is prepared. Ikeui performs his Nokanshi role with a beauty that is inspiring.
The movie is long at 130 minutes, but never boring. If you have lost someone close to you, if you have stood on a mountain and smelled the aroma of trees and flowers and watched the clouds dance across the sky, if you have marveled that we are all literally star stuff, you will find this quiet mediation on life and the joy of living worth every moment of your time. Then go tell your children, your spouse, your significant other and your friends, how much you love and appreciate them. Then throw a party for no reason at all to celebrate the blessing of being a sentient being on the third planet circling an ordinary star in the outer third of a galaxy not really unusual or difference from millions of other galaxies in the universe. For, in the end, about 4-5 billion years hence, we and all that is of our planet will be cremated, just like the departed of the movie.
Daigo Kobayashi (played wonderfully by Masahiro Motoki) is a Grade B cellist in an orchestra that fails. His life, his dreams are crushed, along with his finances since he had gone deeply into debt to buy a "professional grade" cello. Not sure how to organize his life, he returns to his home town. Looking for work, he stumbles into a job as a professional who prepares bodies for cremation. Like the work done by the Untouchables of India, this is a profession abhorred by all who knew him as a child and an aspiring musician. Yet, he finds a new love of life, an appreciation for the beauty of the world about him. He also realizes that the ceremonial aspect of his work allows those who "remain behind" to resolve unspoken conflicts (afterall, this is Japan) between themselves and between themselves and the deceased. In rare cases, he even helps assuage the loss and bring happiness to those who knew the departed and can share their joy-filled memories with each other.
It is a charming movie, full of reverence for life and a commentary on how much we take each other and the world for granted, until it is too late.
Daigo's wife (played by Mika Kobayashi) ultimately affirms his profession. Although she says little, her facial expressions shout volumes. One is easily reminded of her role as the rebellious teenager Yumi Yoshimido in Wasabi (2001), with Jean Reno, another great movie that celebrates love and life, though a la John Wayne and Dirty Harry. Although Yumi was a much more talkative role, as Mika Koayashi the same face provides excellent and moving dialog, all the more interesting for its silence.
Tsutou Yamazaki plays Ikeui Sasaki, Daigo's mentor, who sees instantly in the musician the sweetness and emotion needed to bring beauty and feeling the job of Nokanshi, the funeral professional who engages in a highly stylized ceremony before the family and friends of the deceased as the body is prepared. Ikeui performs his Nokanshi role with a beauty that is inspiring.
The movie is long at 130 minutes, but never boring. If you have lost someone close to you, if you have stood on a mountain and smelled the aroma of trees and flowers and watched the clouds dance across the sky, if you have marveled that we are all literally star stuff, you will find this quiet mediation on life and the joy of living worth every moment of your time. Then go tell your children, your spouse, your significant other and your friends, how much you love and appreciate them. Then throw a party for no reason at all to celebrate the blessing of being a sentient being on the third planet circling an ordinary star in the outer third of a galaxy not really unusual or difference from millions of other galaxies in the universe. For, in the end, about 4-5 billion years hence, we and all that is of our planet will be cremated, just like the departed of the movie.
Let the Bullets Fly
(2010)
A Farce & A Puzzle Wrapped In Civil War
2 March 2013
Although the movie is allegedly set during the Chinese civil war, the first phase of the war between the Nationalists and Communists did not start until 1927, and the movie appears to be set in a time before the first phase began.
The underlying story is about a bandit (played by Wen Jiang) who disguises himself as a local "governor" (mayor of a town). His motive is acquiring wealth through fraud, or so one is lead to believe initially. Instead, the movie turns into a complex mind-game between the bandit, named Pocky Zhang, and a local war lord (Master Huang, played by Yun-Fat Chow). A struggle ensues, and the storyline turns on who will prevail. Prostitutes (with hearts of gold, of course -- something movies seem to love even though divorced from reality) also play a major role in the story.
The joy of the movie is watching the two protagonists (each served by loyal and capable side-kicks) try to one-up each other. There are plots within plots within plots. The film is also laced with farce and a few guest appearances by an excellent traditional Chinese drum band. All characters have traits that are both admirable and foolish.
Can you stay one step ahead of the protagonists as they scheme and counter-scheme? Good luck.
My one criticism is that the English language subtitles are small and pass by on the screen so fast that it is often hard to read them completely.
If you enjoy watching cleverness unfold, with the hero ultimately prevailing, and you do not mind struggling with the dialog, this is a cute movie. It is a much more sophisticated sojourn into Chinese culture and greed that the traditional kung-fu movie. It is likely that the script reflects more than a tad of Party influence since our hero, the bandit, ultimately turns out to have a heart of gold (no pun)and care only for "the people." Fortunately, this does not distract from the plot or the characters. Wen Jiang and Yun-Fat Chow are superb lead characters, as one would expect of actors of their quality.
The movie is long at 132 minutes, but you will never be bored. Even the special effects are exceedingly well done.
The underlying story is about a bandit (played by Wen Jiang) who disguises himself as a local "governor" (mayor of a town). His motive is acquiring wealth through fraud, or so one is lead to believe initially. Instead, the movie turns into a complex mind-game between the bandit, named Pocky Zhang, and a local war lord (Master Huang, played by Yun-Fat Chow). A struggle ensues, and the storyline turns on who will prevail. Prostitutes (with hearts of gold, of course -- something movies seem to love even though divorced from reality) also play a major role in the story.
The joy of the movie is watching the two protagonists (each served by loyal and capable side-kicks) try to one-up each other. There are plots within plots within plots. The film is also laced with farce and a few guest appearances by an excellent traditional Chinese drum band. All characters have traits that are both admirable and foolish.
Can you stay one step ahead of the protagonists as they scheme and counter-scheme? Good luck.
My one criticism is that the English language subtitles are small and pass by on the screen so fast that it is often hard to read them completely.
If you enjoy watching cleverness unfold, with the hero ultimately prevailing, and you do not mind struggling with the dialog, this is a cute movie. It is a much more sophisticated sojourn into Chinese culture and greed that the traditional kung-fu movie. It is likely that the script reflects more than a tad of Party influence since our hero, the bandit, ultimately turns out to have a heart of gold (no pun)and care only for "the people." Fortunately, this does not distract from the plot or the characters. Wen Jiang and Yun-Fat Chow are superb lead characters, as one would expect of actors of their quality.
The movie is long at 132 minutes, but you will never be bored. Even the special effects are exceedingly well done.
Man on a Ledge
(2012)
Fun movie; ending needs to be improved
15 July 2012
I have been a fan of Sam Worthington since Moon. He does a very good acting job in this movie. It is worth seeing, if only for its humor. There are two unnecessary distractions. Nick & Lydia's "relationship" is totally unbelievable for those of us that deal in the real world of events of this type. Cute, but ludicrous. Also the fan service of Genesis Rodriguez as Angie is sad. There is no question she is a beautiful woman; there is also no question that the T&A is unnecessary. Maybe their target audience is teenage boys, not adults. Still the humor and twists are worth the time. You will enjoy the movie, even if the ending is poorly conceived. It could have been an A, but was a B. Still, worth the time for many good laughs and lots of silly fun.
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