RSS
 

Archive for the ‘Movie Review’ Category

Jackass 3D -- Film Review

15 Oct

Jackass 3D -- Film Review
By Michael Rechtshaffen, October 14, 2010 06:29 ET

"Jackass 3D"

Bottom Line: Despite the added dimension, Knoxville and company end up falling flat on their aspirations.

For fans of the franchise, the potential was undeniably potent -- have Johnny Knoxville, Bam Margera, Steve-O and their fellow Jackasses thrust themselves against a 3D canvas, then stand back and watch what sticks.

But while "Jackass 3D" can never be accused of stinting on its spring-loaded arsenal of projectile bodily fluids, neither does it approach that sublime, laugh-until-it-hurts level of gross-out nirvana that made the first two installments so darned irresistible.

Sure, there are moments of vintage inspiration -- and you've never truly seen a ripe outhouse explode if you haven't experienced it in slo-mo real 3D -- but this time around the bits miss a lot more than they hit.

Although those aging frat boys once again fearlessly lay their various body parts on the line, this time their hearts just don't seem to be in it.

Of course, even a half-assed "Jackass" still delivers sufficient bang for the premium buck, but it remains to be seen if the novelty hasn't worn off in the four years since "Jackass: Number 2," grossed $72.8 million, beating 2002's "Jackass: The Movie" by about $10 million.

The 3D effect should help the Paramount release ensure a solid opening weekend, although the final take will likely come up short of its predecessors.

Considering it's been a full decade since Knoxville and his crew first unleashed their unique brand of self-inflicted humiliation on MTV viewers, it's pretty remarkable that they're still coming up with novel ways of hurting themselves.

Following a brief introduction by their old MTV neighbors, "Beavis and Butt-Head" (who, incidentally, are being prepped for a more permanent return), the reassembled "Jackass" gang swiftly get back to doing what they did best -- including giving "gag reel" a whole new meaning.

Again guided by director Jeff Tremaine, the guys start off promisingly in sequences built around a game of beehive tetherball and attempting to pin a tail on a real donkey, but in between there are too many repetitive stunts that fizzle on take-off; stuff that would have been relegated to the closing credits in those previous installments.

Notably less successful are the hidden camera pranks, save for an amusing dwarf bar brawl led by Jason "Wee-Man" Acuna which is eventually broken up by wee cops.

And with the exception of some of those intensely visceral sequences, the 3D surprisingly doesn't bring all that much more to the table, suggesting that, when they're really on, those Jackasses really are a third dimension unto themselves,

For the rest of the time, it could have something to do with the fact that Johnny and his fellow daredevils are all rapidly approaching 40, but what was once so painfully funny too often comes across as merely painful in "Jackass 3D."

Opens: Friday, Oct. 15 (Paramount)
Production companies: MTV Films, Dickhouse Prods.
Cast: Johnny Knoxville, Bam Margera, Ryan Dunn, Steve-O
Director: Jeff Tremaine
Executive producers: Van Toffler, Derek Freda, Trip Taylor,
Producers: Jeff Tremaine, Spike Jonze, Johnny Knoxville
Director of photography: Dimitry Elyashkevich
Production designer: JxPx Blackmon
Editors: Seth Casriel, Matthew Probst, Matthew Kosinski
Rating: R, 94 minutes.

originally appeared on hollywoodreporter

 
 

I Saw the Devil -- Film Review

14 Oct

I Saw the Devil -- Film Review
By Elizabeth Kerr, October 11, 2010 08:35 ET

"I Saw the Devil."

Bottom Line: Ultra-violent revenge thriller is classic exploitation cinema dolled up to look like auteur cinema.

BUSAN, South Korea -- No one on the planet does revenge thrillers quite like the Koreans.

The industry revitalized itself and garnered global attention in the '90s on the strength of Park Chan-Wook's "Vengeance" trilogy, as well as countless lesser-known entries (outside of Korea) in the canon. The director's cut of "I Saw the Devil," with six reinserted scenes of carnage and mayhem, ups the ante to a whole new level of ferocity. Distributors and festivals that have had success with director Kim Jeewoon's past films ("A Bittersweet Life," the kimchi western "The Good, The Bad, The Weird") will want to take a look at this, and a DVD life looks strong due to the controversy the film stirred up.

Secret Service agent Soohyun (Lee Byunghun, Kim favorite leading man) goes on a vengeful rampage after serial murderer Kyung-chul (Choi Minsik, "Old Boy") kills his wife. They proceed to play a vicious game of catch and release, with Soohyun finding Kyung-chul, torturing him, and then letting him go so that he can do it all over again. This entails escalating degrees of violence that Soohyun creepily and mysteriously has no problem allowing.

On any number of levels, "Devil" is troublesome at best, offensive at worst. Yet again women have no role to play other than being brutalized and the film loses sight of its point in order to wallow in its lurid violence. The idea that exacting revenge does nothing to bring closure and only results in more misery falling by the wayside early on. The world as drawn by Kim and co. comprises sociopaths and psychopaths -- including the "hero" and nothing in between.

"Devil" doesn't come close to capturing the moral complexity of "A Bittersweet Life," and perhaps doesn't even want to.

But that's not to say "Devil" doesn't have any redeeming qualities. It's impeccably produced, and Kim has a firm handle on every shot. The torture is creative to say the least (gentlemen should brace themselves for Soohyun's punishment of a perceived internet porn fan), and a fight in a greenhouse stands out among a series of tense, pitch-perfect sequences and set pieces.

We know who the killer is inside of five minutes, but that does nothing to lessen the tension Kim builds throughout. By the time Soohyun collapses at the realization of what he's done and how little he's achieved for his exercise in sadism, Kim has launched himself into the exploitation pantheon.

A Peppermint & Company Co. production

Sales Agent: Finecut
Cast: Lee Byunghun, Choi Minsik.
Director: Kim Jeewoon.
Writer: Park Hoonjung.
Producer: Kim Hyunwoo.
Executive producers: Greg Moon, You Jun Yeong.
Director of photography: Lee Mogae.
Production designer: Cho Hwasung.
Music: Mowg.
Editor: Nan Nayoung.
No MPAA rating, running time 142 minutes

originally appeared on hollywoodreporter

 
 

Late Autumn -- Film Review

14 Oct

Late Autumn -- Film Review
By Maggie Lee, October 11, 2010 08:53 ET

"Late Autumn."

Bottom Line: A gentle but wan love story.

BUSAN, South Korea -- There's something not right with a film when the interludes are more interesting than the central setpieces. Kim Tae-yong's sympathetic characterization is evident in his adaptation of Korean master Lee Man-hee's lost film "Late Autumn" (remade twice before), about the brief encounter between a female convict on temporary leave and a fugitive.

But Kim treads too softly with his protagonists' injured psyches, as if afraid to hurt them, so he couldn't capture the urgency, desperation or illicitness that stokes their passion.

More like a cute date movie than a shattering love tragedy, the film will stay a while in domestic commercial cinemas. In the rest of Asia, the billing of Tang Wei ("Lust, Caution") in the lead could be a draw card, but the Seattle location and awkwardness of hearing English dialogue by two leads who are obviously not native speakers could be a deterrent to wide distribution.

The screenplay follows the original film (which has a surviving script) in skeletal form. Chinese-American Anna (Tang Wei) who is in prison for killing her husband is allowed parole for 72 hours to attend her mother's funeral in Seattle. On the bus, she lends the bus fare to a Korean escort named Hoon (Hyun Bin). Hoon's entanglements with a married woman forms a parallel to what Anna went through in her past.

The setup is a variation on Richard Linklater's "Before Sunrise" as the couple spends a day and a half exploring the city. At three major turning points they engage in a child-like play-acting game. In one of these scenes, Hoon pretends to be Anna's fiance at the funeral, and provokes a punch out with her jealous ex-lover, which is culturally inaccurate as it is unthinkably disrespectful for Chinese to cause any disturbance at funeral gatherings.

The verbal fireworks needed to develop physical rapport are absent. In fact, in contrast to the original which made waves with a controversial suggested sex scene in a train compartment, Kim's version is surprisingly chaste. And without prison guards accompanying the heroine like in Lee's film, the frisson of snatched privacy and stolen pleasure is gone.

It is actually during the narrative's silences and pauses that deeper feelings have a chance to emerge, like a scene at the bus stopover, when the camera whirls around Anna as she mills about in the mist looking for Hoon, her distress and sense of loss echoes the opening shot of her staggering down the road the day she killed her husband.

Tang re-plays her sullen, repressed persona in "Crossing Hennessy" but it is Hyun who impresses more for not underplaying the dandy, narcissistic side of his personality.

Technical credits are polished with quiet, mellow music adding a shade of wistfulness. Seattle appears foggy and drab, with hardly any color or smell of autumn.

Pusan International Film Festival, Gala Presentation

Production: Boram Entertainment.
Cast: Tang Wei, Hyun Bin
Director-screenwriter: Kim Tae-yong.
Producers: Lee Jooick, Nansun Shi, Cho Sung-woo.
Cinematographer: Kim Woo-hyung.
Art director: Ryu Sung-hie.
Editor: Steve M. Choe, Lee Jin.
Sound: Hong Ye-young, Sung Ji-young.
Music: Cho Sung-woo.
No MPAA rating, 115 minutes

originally appeared on hollywoodreporter

 
 
 
Get Adobe Flash playerPlugin by wpburn.com wordpress themes