2006 / Gela Babluani > A true testament of a great film is its replayability; however, with 13 (Tzameti), it feels like once you know the central plot twist (which has been widely given away in trailers and other promotional material), the film is an ultrapredictable romp through what is essentially a derivative, somewhat hollow script by first-time director Babluani. His filmmaking skills, however, are not in doubt. As a debut feature of a 26 year-old, the film is technically superb and warrants attention to be placed on his future projects.
The Devil Wears Prada
2006 / David Frankel > How’s this for a film trying to justify the existence of the fashion industry? And maybe even show that it’s not just glitz and glamour, but full of heart too! Well, whether you believe much of the fashionista propaganda or not, The Devil Wears Prada is still an enjoyable, formulaic ride enhanced by the presence of the one and only Meryl Streep. Sure, Anne Hathaway is nice, but one has to wonder how filmsy the film’s foundation would have been without Streep’s presence. The only real misstep was the decision by the screenwriters to chose an irrational ending that heavily deviated from the film’s general ideals.
In the Bedroom
2001 / Todd Field > In his debut, Field crafts a quiet work that lingers at the edge of one’s bones. While not as polished or impeccable as The Sweet Hereafter, both films challenge the viewer to face a state of gloom with patience, courage and hope. Tenseness is everpresent, but rarely does it overdo its charm. And while there are small missteps here and there (notably part of the climax), incredible performances from Tom Wilkinson and Sissy Spacek ultimately glues the work to one’s mind.
The Power of Kangwon Province
1998 / Hong Sang-soo > It’s always a bit hard to talk about Hong’s films. His plots are so subtle and delicate that it’s almost impossible to say anything without giving away secrets. Moreover, the emotional resonance often comes days and weeks after the first viewing. The Power of Kangwon Province, Hong’s second feature film, is no different. While not as agreeable to my heart as Tale of Cinema, he once again dissects the thin border between man and woman, this time outlining a deep and brutal sense of loneliness. As with his other films, the lesson to be learned is a personal one, modified to each viewer’s own experiences.
The Da Vinci Code
2006 / Ron Howard > Having never read the book, my expectations for The Da Vinci Code were moderate at best, especially after the barrage of critical dismay during Cannes. For its part, that may have worked out well, as I found the film to be a well-crafted, well-paced mystery that kept me surprisingly interested for a good part of its two and a half hour journey. It’s not particularly dense, and things are explained to a degree where there’s not much thinking involved. In other words: it’s very appropriate for simple enjoyment. The ending took a bit too long (and that’s time that Howard arguably could have used elsewhere), but the production quality is superb enough that it’s hard not to recommend this as a solid popcorn movie. Just don’t expect references for a Ph.D thesis.
Crank
2006 / Mark Neveldine & Brian Taylor > The MPAA advises audiences for strong violence, pervasive language, sexuality, nudity and drug use in Crank. While all of these positively contribute to the feel of this Jason Statham vehicle, none of these could have saved it from falling flat on its face. The plot is a gimmick, the story is bland and, with the exception of a sequence or two, there’s little here that’s memorable.
Half Nelson
2006 / Ryan Fleck > Bad before the good: Much of the film’s realism and objectivity is lost through the “mini-lectures” made on society and the government. While interesting, they take away from the interplay between the king (Gosling) and queen (Epps) of the show. The only reasonable explanation for these inserts might be that writers Fleck and Anna Boden needed a little bit of this and that to stretch the original short (“Gowanus, Brooklyn”) into this full-fledged feature.
That aside, the poignancy of Half Nelson is present in the way it’s resonated in my mind for the past few weeks. Against the backdrop of Broken Social Scene’s score, Gosling’s portrayal of a crack-addicted schoolteacher in the inner-city is a testing experience. The beats are heavy, and the film is filled with areas of gray that have little in terms of definition. Shareeka Epps’ performance as Gosling’s headstrong pupil is glowing—undoubtedly one of the breakout young actors of the year. Not much of the story is predictable. The second half of the film crescendoes into its final sequence, one of heartbreak and simplicity. Things click, and things may or may not work. Thankfully, the film does.
Fearless
2006 / Ronny Yu > In some ways, it’s hard not to like Fearless: Yuen Woo-Ping’s exquisitely crafted fight sequences leave you breathless by the beauty of its brutality. Shigeru Umebayashi’s score, while not memorable, is subtle enough to cradle your patience when the film tries to be a little too philosophical. And Jet Li’s goodbye-to-wushu performance is, at the least, memorable for his return to the days of Fist of Legend in terms of style, intricacy and emotion.
I do, however, find myself disappointed in the film’s erratic character development. Often, characters motivations changed seemingly overnight, as if it’s just that simple. Moreover, its emotional overtones were often heavy-handed, and much of it was fairly trite and by the numbers. One has to wonder, though, if the film’s original 150 minute cut would have been able to achieve what this 105 minute theatrical release did not. If there’s not much else to the story that what’s presented here, there’s a chance that the longer cut would have been a droning failure. For that, it’s possible to give Ronny Yu the benefit of the doubt and consider this as good a martial arts film will get these days.
The Fast and The Furious: Tokyo Drift
2006 / Justin Lin > There are a few great scenes in the film, including an incredible sequence deep in the heart of Shibuya. And many will argue that these scenes make the film worth its running time. Unfortunately, the story itself is so bland and teeth-tugging, it’s hard to care for any of the characters, including the horribly miscasted Lucas Black as an good ol’ Southern boy who just can’t stay away from his cars. The races, of course, are the focus, and they are successful for the most part. I did find the climactic race a little boring compared to the introductory one, and up until that point I had hopes for a smashing finish. I find myself disappointed, having put my faith in Justin Lin since he will direct the American Oldboy. After all, high standards are warranted when you’ve been picked to do such a project.
The Illusionist
2006 / Neil Burger > One of the most refined films of the year, it’s hard to find any technical flaws in The Illusionist. Most noticeable is its cinematography, crisp and decisive about its turn-of-the-century Vienna setting. The mood is further perfected by Philip Glass’ elegant score. The acting is above par at worst, with Rufus Sewell’s post-Dark City re-emergence being a pleasant welcome. But as the drama unfolds, we find ourselves within a rich love story that, unfortunately, feels like it’s on shaky foundations. Thankfully, the mystery of the illusions drives the story forward. By the end, it is what it is: The unexpected is actually expected, but we not only only accept it, but actually enjoy it.