Okay, I'm back once again with a couple reviews. The one most of you are probably interested in is for the current number one movie in America. See what I think of Sin City. And while you're at it, might as well read my thoughts on Nobody Knows. I still have tons of older flicks to catch up on, so keep checking back.
Sin City
Review by Jon Waterman
***
“Sin City” is a collection of stories that oddly and briefly intertwine. First there’s Hartigan, a cop looking to prevent a pedophile from claiming another victim. Next there’s Marv, the against-all-odds tough guy who’s determined to find the killers of his beloved hooker Goldie. Lastly, there’s Dwight. He’s out for revenge in the name of his waitress girlfriend. In order to accomplish his goal, he enlists the very capable help of some street walking ladies.
Auteur movie man Robert Rodriguez teams up with auteur comic book man Frank Miller to direct a motion picture version of the popular graphic novels. This isn’t one of those typical comic-to-screen adaptations. What we have here is a shot-by-shot remake of the books, using the pen and ink drawings as storyboards. The result is a comic book movie unlike any other. Whereas “The Hulk” unsuccessfully tried to capture the essence of its source material by dividing the frame into several panels, “Sin City” accomplishes the goal by staying true to the cinematically unorthodox views and angles. Sometimes some of the motion seems unmotivated, but the nearly expressionist cinematography makes up for it.
What the movie doesn’t quite achieve the way it wants is the stark contrast. There are clear moments where the world you see is pure black and white, just like in the illustrations. However, most of the time, you’ll see a lot of gray tones in there. I understand that getting pure black and white frames while still calling it a live action picture would be impossible. You’ll always have some level of gray scale detail imposing. I still wanted to see more of a contrast. There are certain moments where the distinction is clear and purposeful, such as anytime you see Marv with all his bright white bandages, or Kevin the silent assassin’s glasses. There’s no good reason more of that type of effect couldn’t be used.
It would have been better than the other effects you see throughout the picture. I have no problem with wanting to create a fantasy world from scratch. That’s why the mostly digitally made sets aren’t an issue. But it’s another thing when crucial props are made in post. I’m talking mainly about the cars. The car chases looked absolutely horrible. The motion was cheesy and cartoonish and very far from fluid. The cars aren’t the only awkwardly moving objects, sometimes it happens to the actors, too. The CG in this movie is a hack job.
The acting ain’t too great either. All the male characters adopt this ultra gruff voice that may suit their character, but it makes them all sound like the coach from “Major League.” They seem too involved with sounding tough to give a worthwhile performance. The ladies are equally bad (please stop hiring Brittany Murphy). They’re just there to be sexual objects anyway.
Despite it’s flaws, this movie is incredibly entertaining. There’s plenty of action to keep you going. The stories, while slow to start (and shouldn’t have been lifted verbatim from the comics), are interesting and well constructed. Younger audiences and parents need to be aware of the abundance of violence. Expect more beheadings and nut-crunching than you’re probably used to. The black and white makes the violence more sensational, as well. Overall, this movie is the closest you can get to watching a comic book.
++++++++
Nobody Knows
Review by Jon Waterman
**
Keiko is a single mother who has to take care of four children. She works a lot, but still can’t adequately provide for all of them. To help compensate for the lack of funds, she houses them all in a small apartment and lies to the landlord by saying it’s just her and one son. This means the kids are trapped inside, or else they could be evicted…again. She starts working and leaving more and more and for longer periods of time. The oldest son (still pre-pubescent) is left to be the man of the house. Money comes from the mother every once in a while, but how long can they last in such a situation?
This depressing and frustrating Japanese film is based on true events. It works as an okay study of child behavior. They have to deal with strange and extreme circumstances as well as improvise, as things get direr. They are incredibly strong-willed past the point of believability were the characteristics applied to American children. However, they are still kids, and as such they don’t always make the best decisions. That’s where the interest comes in. From watching Akira, the eldest, slowly descent into a self-serving, uncaring slob you can’t help but feel anger. You’re angry at the mother’s selfishness and idiocy, and for even having the children to begin with. You’re also angry with the children for not doing more to help their situation, despite the potential consequences.
However, mostly, you’ll be bored. The pace of the picture is unbearably slow. It’s drawn out in such a way that you practically feel like you live in the apartment with them. You’re just as trapped. That’s all well and good, analytically speaking, but as an audience member it’s the kiss of death. Why would you want to leave your boring apartment to see a movie about kids in a boring apartment? Hirokazu Kore-eda is a fine director with a nice, simplistic style. He puts a lot of emotion right up there on the frame. This piece of work however isn’t nearly as entertaining as his equally slow “After Life.”
The film is almost guaranteed to get a rise out of you. It just may not be in the way the filmmakers intended. You really feel the 141-minute running time. It takes a long time to get to the substantial events that truly shape the film. Too many situations and locations are revisited too often to keep your interest, despite that being part of the point. Worst of all, I don’t really feel like I knew the kids, even after spending so much time with them. The film had an interesting story to tell, but it just wasn’t accomplished effectively.
Sin City
Review by Jon Waterman
***
“Sin City” is a collection of stories that oddly and briefly intertwine. First there’s Hartigan, a cop looking to prevent a pedophile from claiming another victim. Next there’s Marv, the against-all-odds tough guy who’s determined to find the killers of his beloved hooker Goldie. Lastly, there’s Dwight. He’s out for revenge in the name of his waitress girlfriend. In order to accomplish his goal, he enlists the very capable help of some street walking ladies.
Auteur movie man Robert Rodriguez teams up with auteur comic book man Frank Miller to direct a motion picture version of the popular graphic novels. This isn’t one of those typical comic-to-screen adaptations. What we have here is a shot-by-shot remake of the books, using the pen and ink drawings as storyboards. The result is a comic book movie unlike any other. Whereas “The Hulk” unsuccessfully tried to capture the essence of its source material by dividing the frame into several panels, “Sin City” accomplishes the goal by staying true to the cinematically unorthodox views and angles. Sometimes some of the motion seems unmotivated, but the nearly expressionist cinematography makes up for it.
What the movie doesn’t quite achieve the way it wants is the stark contrast. There are clear moments where the world you see is pure black and white, just like in the illustrations. However, most of the time, you’ll see a lot of gray tones in there. I understand that getting pure black and white frames while still calling it a live action picture would be impossible. You’ll always have some level of gray scale detail imposing. I still wanted to see more of a contrast. There are certain moments where the distinction is clear and purposeful, such as anytime you see Marv with all his bright white bandages, or Kevin the silent assassin’s glasses. There’s no good reason more of that type of effect couldn’t be used.
It would have been better than the other effects you see throughout the picture. I have no problem with wanting to create a fantasy world from scratch. That’s why the mostly digitally made sets aren’t an issue. But it’s another thing when crucial props are made in post. I’m talking mainly about the cars. The car chases looked absolutely horrible. The motion was cheesy and cartoonish and very far from fluid. The cars aren’t the only awkwardly moving objects, sometimes it happens to the actors, too. The CG in this movie is a hack job.
The acting ain’t too great either. All the male characters adopt this ultra gruff voice that may suit their character, but it makes them all sound like the coach from “Major League.” They seem too involved with sounding tough to give a worthwhile performance. The ladies are equally bad (please stop hiring Brittany Murphy). They’re just there to be sexual objects anyway.
Despite it’s flaws, this movie is incredibly entertaining. There’s plenty of action to keep you going. The stories, while slow to start (and shouldn’t have been lifted verbatim from the comics), are interesting and well constructed. Younger audiences and parents need to be aware of the abundance of violence. Expect more beheadings and nut-crunching than you’re probably used to. The black and white makes the violence more sensational, as well. Overall, this movie is the closest you can get to watching a comic book.
++++++++
Nobody Knows
Review by Jon Waterman
**
Keiko is a single mother who has to take care of four children. She works a lot, but still can’t adequately provide for all of them. To help compensate for the lack of funds, she houses them all in a small apartment and lies to the landlord by saying it’s just her and one son. This means the kids are trapped inside, or else they could be evicted…again. She starts working and leaving more and more and for longer periods of time. The oldest son (still pre-pubescent) is left to be the man of the house. Money comes from the mother every once in a while, but how long can they last in such a situation?
This depressing and frustrating Japanese film is based on true events. It works as an okay study of child behavior. They have to deal with strange and extreme circumstances as well as improvise, as things get direr. They are incredibly strong-willed past the point of believability were the characteristics applied to American children. However, they are still kids, and as such they don’t always make the best decisions. That’s where the interest comes in. From watching Akira, the eldest, slowly descent into a self-serving, uncaring slob you can’t help but feel anger. You’re angry at the mother’s selfishness and idiocy, and for even having the children to begin with. You’re also angry with the children for not doing more to help their situation, despite the potential consequences.
However, mostly, you’ll be bored. The pace of the picture is unbearably slow. It’s drawn out in such a way that you practically feel like you live in the apartment with them. You’re just as trapped. That’s all well and good, analytically speaking, but as an audience member it’s the kiss of death. Why would you want to leave your boring apartment to see a movie about kids in a boring apartment? Hirokazu Kore-eda is a fine director with a nice, simplistic style. He puts a lot of emotion right up there on the frame. This piece of work however isn’t nearly as entertaining as his equally slow “After Life.”
The film is almost guaranteed to get a rise out of you. It just may not be in the way the filmmakers intended. You really feel the 141-minute running time. It takes a long time to get to the substantial events that truly shape the film. Too many situations and locations are revisited too often to keep your interest, despite that being part of the point. Worst of all, I don’t really feel like I knew the kids, even after spending so much time with them. The film had an interesting story to tell, but it just wasn’t accomplished effectively.
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