Rating: The Good – 87.7 Genre: Crime Duration: 115 mins Director: Joel & Ethan Coen Stars: Gabriel Byrne, Albert Finney, John Turturro
A rare gem of a film that has remained relatively unacknowledged (when compared to more commercially successful Coen films), Miller’s Crossing stands alongside The Big Lebowski as the Coen brothers’ best film to date. Based loosely on an often forgotten film-noir, The Glass Key, the film is set during the prohibition era and follows kingmaker Tom Regan (Gabriel Byrne) in his attempts to play two rival gangs against the middle for reasons that are never entirely clear. This is a film that boasts perfection from all quarters from the casting, the acting, the writing, the directing, the cinematography, to the scoring. The cast is loaded with heavy hitters with Albert Finney and J.E. Freeman (as the terrifying Eddie Dane) doing particularly well alongside Gabriel Byrne who is in the form of his career. The directing is textbook as the brothers create a flawless synthesis of Dennis Gassner’s production design, Roger Deacons’ cinematography, and Carter Burwell’s score, all of which are stunning.
Of course, the standout strength of Miller’s Crossing is the dialogue which is not only the best example of Coen dialogue but perhaps the most powerful use of dialogue in modern film. The main thrust of the film’s quick and steady pace comes from the lyrical and relentless back and forth between the film’s characters and in typical noir fashion, this is usually between Tom and someone else. The story is the usual rubix cube of crosses and double-crosses which we have come to expect from the Coens but the payoff is perhaps more sharply realised here than in any of their other movies. In fact, the manner in which it all comes together is so sublime that Miller’s Crossing isn’t just one of the Coen’s best films, it’s also one of the best gangster noirs – period!
Rating: The Ugly – 65.1 Genre: Action, Science Fiction Duration: 109 mins Director: Jean-Pierre Jeunet Stars: Sigourney Weaver, Winona Ryder, Ron Perlman
200 years after she threw herself and the alien growing within her into a molten pit, military scientists genetically re-engineer Ripley and her parasite back to life in order to harvest the alien embryo. Fortunately for the surviving crew of the inevitably doomed ship, the mingling of the two species’ DNA left her with a few special abilities. First things first. Alien: Resurrection backtracks on the finality of Alien 3. It introduces an overtly comic-bookish plot and a host of caricatured personalities into a series of movies that were always defined by tight plots and layered characters. The genre defining set-pieces of Alien and Aliens and the admirable attempts of Alien 3 are replaced by contrived, blockbuster, slow-motion explodathons. The most interesting aspect to the story, writer Joss Whedon’s notion of Ripley’s ‘rebirth’, is completely misinterpreted by director Jean-Pierre Jeunet. The incisive dialogue of the first three instalments replete with its organic wit and charm is replaced by a one-liner infested script which plays to the sound bite. The lavish production design jars completely with the more elegantly simple aesthetic of the first three. Similarly, the sleek and dark naturalism of H.R. Giger’s creature design is ultimately replaced with a quasi-surrealist Cronenberg-esque body horror. And lastly, and perhaps most unforgivably, the steely fear and breathless tension that so defined Scott’s, Cameron’s, and Fincher’s movies is relinquished in favour of gore, gore, and more gore resulting in yet more outlandish events that feel so ‘alien’ to the series.
With all this in mind, if one is going to enjoy Alien: Resurrection, one must take it entirely on its own merits and treat it as a standalone feature. For those who can do that, there’s a fairly enjoyable action/sci-fi/horror romp lurking beneath the ashes of the great series. Sigourney Weaver is back in her darkest Ripley incarnation and she eats up the opportunity to play with the well worn role. The movie comes alive when she’s on the screen and she is the most important factor in its partial redemption. There are also a host of fantastic character actors (e.g., Brad Dourif, Ron Perlman, Dan Hedaya, J.E. Freeman) playing the various secondary roles and caricatured as they are, the quality of the actors inhabiting them makes them fun to watch. The creatures look better than that which most sci-fi horror movies offer up and can even be enjoyed from the perspective of the franchise. As mentioned above, inappropriate as it may be to the Alien series, the production design and creature effects are still first rate and when combined with the motley gang of badasses led by the gnarly Ripley, the whole thing becomes quite entertaining.
Rating: The Good – 77.7 Genre: Crime, Romance Duration: 125 mins Director: David Lynch Stars: Nicolas Cage, Laura Dern, Harry Dean Stanton, Willem Dafoe
David Lynch’s ‘Wizard of Odd’ tale of young love in an ugly and dangerous world is arguably a more visceral experience than his magnum opus Blue Velvet – though not on that same level of brilliance. Laura Dern plays a new age Dorothy named Lula who together with her recently paroled boyfriend, Sailor Ripley, heads out west and down their own yellow brick road where the madness and depravity of the adult world (powerfully embodied in her mother’s obsession with them) threatens to engulf them at every turn. Dern is sensationally good as the bright-eyed yet wounded heroine while Nicolas Cage is electric as the dualistic Sailor. Diane Ladd turns in an extraordinary Wicked Witch performance as Lula’s mother and Harry Dean Stanton is the usual safe pair of hands as her devoted servant.
Wild at Heart is very much about duality. It’s complex yet simple, pessimistic yet optimistic, disturbing yet elating. The characters themselves are all either teetering on the brink of the two worlds or firmly implanted in one (usually the darker). As is typical for Lynch’s films, there is a host of weird and terrifying characters on show, keeping everything off-kilter and played with relish by a host of scene-stealers. Willem Dafoe’s repulsive Bobby Peru is most certainly the standout example of such and his performance – messed up teeth and all – will stay with you for a long time. Lynch’s direction is searing as he streamlines all the instinct behind Blue Velvet into the soul of this film leaving you with a tornado of imagery and sound.