Beginning in 1992 after L.A.'s Rodney King riots a reformed ex-convict named Tommy Johnson needing a job grabbed a boom box some face paint and a clown suit. Bizarre yes. But he started a successful kids' party business dancing in the riot-ravaged areas. Before he knew it Johnson--who named himself Tommy the Clown--started a ghetto-wide trend of "clowning " and later "krumping " both characterized by quick sudden dance moves. Rize is about more than just Tommy the Clown of course. It's about race and oppression in America and the therapeutic effect of dance throughout the centuries. The film attempts to channel the human spirit through physical expression as the real-life faces give Rize extra needed impact to the oppressive story--one unfortunately that is all too familiar.
The real-life street dancers infuse the documentary. They are essentially characters with alter-ego names like Dragon Miss Prissy and El Nino. Decorated in face paint they are average real South L.A. "hood" residents with average jobs. Larry for example still works at Abercrombie & Fitch. But boy they can dance. LaChapelle's visual storytelling elevates them to iconic actor-like character status. More gravely however the dancers' belonging to clown or krump crews often substitute gang affiliation in the bombed-out neighborhoods. Rize works because of its "acting " the vibrancy and timelessness of its characters' spirits.
Paris Hilton and Pamela Anderson's good friend David LaChapelle directs his first feature after he released a similar short film Krumped last year. His celebrity portraits have graced Vanity Fair and Interview magazines since the '80s. We last saw LaChapelle on the police blotter in January getting arrested for disorderly conduct. Utah police allege LaChapelle who was partying with Hilton and Anderson at Sundance where Rize premiered became physically and verbally abusive when separated from the starlets. The case isn't settled yet. But in light of these charges it could be LaChapelle's ability to bull his way through filming glossing over themes quickly that gives Rize its broad-brush impact. LaChapelle offers a different documentary in the post-Michael Moore era--one without a political point of view or wry scrutiny of shady characters. Instead LaChapelle (who apprenticed under Andy Warhol) sees himself more as an artist. With Rize he's molded an artistic topical statement a timely bull's eye of hip-hop and Blue State progressivism. The filmmaker trains the audience's eye quickly to become hypnotized in the dancers' bodies and to seek higher meaning.
Halle Berry stars as Dr. Miranda Grey a well liked and respected psychotherapist happily married to the beloved head of the psychiatric ward at an old damp women's penitentiary (Charles S. Dutton). One stormy night taking a detour on her drive home she's involved in a terrifying encounter with a young girl that causes her car to go off the road and the impact of the crash knocks Miranda out cold. She wakes up on the wrong side of a Plexiglas cell door in the very prison where she and her husband work (apparently this the only prison in the state) to find her husband's been killed and she is the prime suspect in his gruesome murder. With no memory of the past few days she is confined alongside her former patients like the Satan-paranoid Chloe (Penelope Cruz) and scrutinized by her once-flirtatious coworker Dr. Graham (Robert Downey Jr.). Miranda insists she didn't kill her husband but quickly starts to doubt her own sanity when a violent force from the not-so-sweet hereafter turns her into a Spirit World conduit. Meanwhile the good doctor wants desperately to prove her sane and innocent even as unseen forces bizarre sightings and bad lines get in the way.
You can practically see Berry's slight shoulders hunching under the weight of this oppressive wet flapdoodle of a psycho-mystic mystery that has The Ring written all over it. Berry gets the baffled/terrified/uncontrollable prisoner thing right says "Shit!" a lot and gets plenty of screen time to flesh out her character (no not THAT kind of flesh; she's drenched in the shower and submerged in the swimming pool but Berry never once pulls a Swordfish). Still cute after years of hard living Downey Jr. as Miranda's skeptical doctor ably smarms his way in and out of scenes in which he says little but raises much doubt about his true motivations--just one of several intriguing concepts abandoned in the face of a progressively trite storyline and escalating hoo-haw. Where it all just goes wrong--so so wrong--is in Cruz's greasy raving crackbird who shrieks lines like "He opened me like a flower of paaaain!" while trying to convince Miranda the Devil rapes her nightly in her cell.
Auteur Mathieu Kassovitz admirably sets the stage for a spooky thriller in the massive turn-of-the-century St. Vincent-de-Paul Prison an abandoned maximum-security facility near Montreal that serves as his women's prison. The setting is the only part of the film that holds any interest--it almost develops a life of its own which is more than can be said of the characters. Though Kassovitz resorts to Horror 101 (flickering lights suddenly appearing figures things that go bump in the night) these elements inspire dread and trigger a jolt regardless. So if the setting is suitably hair-raising the first few scenes effectively suck you in and the acting is passable what's the problem? Screenwriter Sebastian Gutierrez's script that's what. After an auspicious start the film drowns in nonsense and plot holes the size of which rival Michael Jackson's legal troubles until finally sinking like a stone with a truly pedestrian and ridiculous finale that unravels any interesting question raised in the two hours prior followed by a real howler of a denouement. "I don't believe in ghosts but they believe in me " says Miranda. Sorry we don't believe a bit of Gothika.
In this Britney-and-Beyonce-obsessed age 'tis a wonder anyone other than an art history buff knows who Rembrandt is let alone that other Dutch painter guy--what'shisname Vermeer. In fact very little is known about the 17th-century painter who died in debt at 43 and left most of his works including his most famous of a young girl wearing a pearl earring shrouded in mystery. Girl With a Pearl Earring is director Peter Webber's adaptation of the 1999 Tracy Chevalier novel that spun a gauzy fiction about the painter's unrequited obsession with a young maid who became his muse and the subject of said painting. The maid in question is Griet (Scarlett Johansson) whose tilemaker father's accident forces their family into poverty and her into servitude--and it's no picnic. Morose henpecked Vermeer (Colin Firth) hides in his studio away from the household which includes the puffy and pampered wife (Essie Davis) he keeps eternally pregnant; her tyrannical domineering mother (Judy Parfitt) who brazenly solicits work for Vermeer from patrons like rich lecher Van Ruijven (Tom Wilkinson); and a multitude of Vermeer brats. Full-lipped and nubile the servant Griet becomes the artist's secret obsession--he spies on her cleaning his studio teaches her about painting (or at least how to make his paints) and seduces her while painting her portrait behind his wife's back.
With little dialogue to speak Johansson's Griet is a study in silence. Her wide-eyed earnest stares and Mona Lisa smile do the talking for her proving a picture certainly can say a thousand words. She may get more attention for Lost in Translation but this is her vehicle. Johansson's quiet understated performance makes the others look that much more overstated--Wilkinson's vulgar mustache twirling art patron for example and Davis's jealous and ranting Catharina Vermeer for another although they too are very solid turns. Firth's Vermeer fades into the background surrounded by these big personalities understandably and fittingly so; he's the brooding artist who'd be far happier left alone to gaze upon his subject. Although the master and the servant never do much more than exchange looks the sensual energy between them is palpable.
This movie is beautiful absolutely stunning--it's as if cinematographer Eduardo Serra saw Vermeer's life through the artist's eyes and that vision comes through in exquisitely framed and lit shots. Some scenes--of young lovers walking along a tree-lined canal in fall light beaming across the girl's face as she cleans the studio's beveled windows--are literally breathtaking. Just as an artist's work is tactile so does this film feel--in the sounds of a heavy knife chopping vegetables and a spatula grinding pigment into paste…volumes are spoken in the clean white crispness of Griet's bonnet. First-time helmer Webber occasionally allows the camera to hang too long (a lip-licking scene in extreme close-up for example) but he creates a fully enveloping period and confidently leads his cast through this fairly thin story. You can pretty much guess what you're in for with a movie about a 17th-century Dutch master; knowing that if there's any criticism to be made it's that the pic feels every bit of its 95 minutes long. A lovely score by Alexandre Desplat also deserves a mention although it sometimes overwhelms scenes with unwarranted portentousness.
October 11, 2002 6:40am EST
Frank Martin (Jason Statham) is a former Special Forces operator who fed up with military bureaucracy retires from the army to lead a quiet life in the south of France or so one would think. Frank actually makes a living hiring himself out as a transporter carrying packages in his spiffy BMW. He manages to keep his nose clean by adhering to three simple rules: never change the terms of the deal never exchange names and never look at what's inside the package. But when Frank notices that one of his packages is moving curiosity and concern get the better of him and he takes a peek. A beautiful woman named Lai (Shu Qi) emerges from the duffel bag in his trunk and it's love at first sight. (We know this because of the overpowering instrumental love theme that goes along with the scene.) Breaking rule No. 3 gets Frank into a whole lot of trouble especially when he discovers the kind of mess Lai is involved in: she is trying to stop a ring of human smugglers led by her father.
Statham (John Carpenter's Ghosts of Mars) carries this film with complete ease. There is an intelligence in his work that comes through here in the same manner it did with his character Turkish in Snatch. In Frank Statham creates such an identifiable character--stylish brawny and brainy--that audiences will want to revisit him in a few years just to see what he's been up to. The gorgeous Qi (Millennium Mambo) plays his love interest but her character has a piece of duct tape over her mouth for most of the film. It's not to say she is not a good actress but her lack of lines makes her character--whose loyalties are a bit confusing from the start--seem a little dimwitted. Worth mentioning is French actor Francois Berleand (Alive) who plays the role of Detective Tarconi a cop who knows Statham is up to something but lets him do his thing as long as he keeps it under the radar. The two actors have good chemistry on screen although their relationship could have been explored more. The same can be said of Matt Schulze (Blade II) who plays the main villain--nicknamed "Wall Street." Compelling bad guys are hard to find these days and it would have been interesting to see more done with this character.
Slick action scenes and artfully choreographed fight sequences are director Cory Yuen's specialty: he was martial arts choreographer for Kiss of the Dragon and The One and martial arts supervisor for Romeo Must Die. His extensive background in the genre shows in this film but while the The Transporter is visually exciting and technically well done it loses points for adding some really tacky elements to an otherwise action-packed flick. For someone as professional and calculating as Frank for example to break one of his long-standing rules at the sight of a pretty woman seems out of character. Writers Robert Kamen and Luc Besson have a great hook with the Frank Martin character but they introduce too many cheesy elements. I mean Asian families being shipped in containers and sold into slavery? Call me a cynic but human-interest stories simply don't belong in action movies.
November 15, 2001 1:15pm EST
Levelheaded Sean (Dr. Dre) and free-spirited Dee Loc (Snoop Dogg) are roommates. After getting fired from Footlocker and waking up to find his car booted Sean decides to take Dee Loc's suggestion and apply for a job at his workplace a full-service hand car wash. When the owner Mr. Washington (George Wallace) hires Sean to manage The Wash tensions flare between the two roommates. Dee Loc thinks Sean is on a power trip while Sean must deal with Dee Loc's side hustles in the car wash parking lot. But petty bickering turns out to be the least of their worries when local gang-banger Slim (DJ Pooh) kidnaps Mr. Washington for a $50 000 ransom. The plot thickens when disgruntled ex-employee Chris (Eminem) comes back to The Wash looking for revenge.
Dr. Dre portrays his character Sean fittingly well. In fact Sean's character is probably the only empathetic one; he's not as power hungry as he is depicted and comes across as someone who is trying to deal with a crappy situation as best he can. Snoop Dogg is also perfectly cast as Dee Loc a pot-dealing car washer who's always looking for something for nothing. Though both men have been typecast based on their personalities it works to the movie's advantage here: the two have great chemistry on screen. Wallace is hilarious as Mr. Washington as is DJ Pooh the not-too-bright kidnapper. There are a couple of great cameo appearances including Tommy Chong (of Cheech and Chong fame) as a weed supplier and Pauly Shore as some guy tied up in the trunk of a car. Also look for appearance by hip-hoppers Ludacris Kurupt and Snoop Dogg's Eastsidaz partners Tray Dee and Goldie Loc. But don't expect too much screen time from Eminem; he appears for maybe all of four minutes.
Writer/director DJ Pooh (Friday) came up with the concept for this homage to the 1976 comedy Car Wash during last year's Up In Smoke rap and hip-hop tour featuring both Dr. Dre and Snoop Dogg. (Perhaps The Wash is what happens when you write a script through a haze of bong smoke!) The film has some really funny moments like when Slim calls to give the ransom demands but forgets to block his name from appearing on the caller ID. But the overall pacing is off and the focus is a little um fuzzy. Only after Mr. Washington gets kidnapped (about half way through the film) does some sort of story start to develop. Up to that point the movie lacks momentum and a sense of focus. And with a background radio conspicuously announcing new songs by Dr. Dre and Snoop Dogg it feels a bit like a marketing vehicle for their music. Though The Wash doesn't compare to Friday it still generates some good laughs and showcases considerable talent.
High school seductress Alice (Natacha Régnier) talks sensitive boy-pal Luc (Jeremie Rénier) into killing fellow student Saïd (Salim Kechiouche) - retribution Alice claims for Saïd organizing a gang-rape of her. After a memorably messy knifing the not-so-natural-born killers flee to the forest to dispose of the victim's body. But a kinky woodsman (Miki Manojlovic) with eccentric ideas about justice has no intention of letting the pair slip away until he's had some fun of his own.
Belgian-born rising star Régnier ("The Dreamlife of Angels") is a bewitching presence as a Rimbaud-spouting sociopath but the film doesn't know what to do with her after her nutso credentials are established. Rénier ("La Promesse") actually gets more mileage out of the less-showy Luc whose awkward sexual coming of age in the woodsman's cabin is the film's most original element. Yugoslavian star Manojlovic ("Black Cat White Cat") brings unexpected nobility to his meat-loving hermit character - a lusty Ted Kaczinski with European table manners.
French writer-director François Ozon ("Sitcom") initially puts a fresh spin on the familiar lovers-on-the-lam genre with the film's unpredictable first section but his unsympathetic portrayal of Alice increasingly distances the audience from the criminal duo's plight. The offbeat sexualities he explores are interesting as psychological cases but don't have much emotional resonance. On a more positive note the film's simple but arresting visual style effectively plays the tranquil forest settings against the twisted deeds that occur there.