Go ahead and throw logic out the window on this one folks. A mysterious Tibetan monk with no name (Chow Yun-Fat) has spent a lifetime protecting an ancient document known as the Scroll of the Ultimate--a parchment that will yield unlimited power to anyone who reads it. After running around the globe for 60 years the Monk knows it's time to hang up his robes and find a new guardian but spotting a successor isn't easy in the hustle bustle of the 21st century where Tibetan traditions and rituals are almost non-existent. Maybe the next protector should be the crafty rebellious pickpocket Kar (Seann William Scott) who learned martial arts from watching kung-fu movies; after all Kar helps the Monk escape from the scroll's most avid pursuer Strucker (Karel Roden) a sadistic old Nazi who wants to use the its power to rid the planet of inferior races. Or maybe the Monk's successor is the elusive but beautiful bad girl Jade (James King) whose skills are numerous and who seems to pop up to help Kar whenever he gets in a jam. Whomever the Monk eventually chooses they must first unite to battle the ultimate enemy--and keep the scroll safe.
If it weren't for Yun-Fat Bulletproof Monk would be pretty hopeless. The charismatic actor finds a nice balance no matter what he does and in this case he resists the obvious temptation to play the Monk as a fish out of water in the big city. Since he's long been one of Chinese cinema's most well-known action heroes he's definitely in his element in Monk standing on top of a car with guns blazing and the Zen master persona he discovered in Crouching Tiger Hidden Dragon serves him well here too. The script requires him to spout off fortune-cookie mumbo jumbo but he manages to do it without sounding ridiculous. The petite King actually holds her own as the brawny-yet-brainy tough chick but the wisecracking Scott is completely out of his element for the first time in his career. He handles the little comedic tidbits well but in no way is it possible to believe that the "Dude" who couldn't find his car and the jackass who drank someone else's bodily fluids in American Pie can be a martial arts hero who saves the planet. It just isn't going to happen.
Bulletproof Monk relies on the ghosts of movies past including Crouching Tiger and the 1986 Eddie Murphy stinker The Golden Child for its plot which results in a film that's chock full of cliches especially the evil Nazi who has spent 60 years chasing after the scroll using his tow-headed granddaughter whose cover is an organization for human rights to do the dirty work. A few bright moments with Yun-Fat coupled with director Paul Hunter's good use of fast-paced martial arts action make the rest of this unimaginative movie somewhat palatable--even novices Williams and King look good doing the moves--but all in all Bulletproof Monk is shooting blanks.
Told from the perspective of one innocent maid Mary Macearchran (Kelly MacDonald) the story starts as she arrives at the magnificent country estate of Gosford Park. On this particular weekend host Sir William McCordle (Michael Gambon) and his wife Lady Sylvia (Kristin Scott Thomas) have invited an eclectic group to the house for a shooting party. The guests include Sylvia's two sisters (Geraldine Somerville Natasha Wightman) their respective loser husbands (Charles Dance Tom Hollander) her cantankerous aunt Constance (Maggie Smith) for whom Mary works British matinee idol Ivor Novello (Jeremy Northam) and his American friend Morris Weisman (Bob Balaban) a film producer who makes Charlie Chan movies. As the upper-crust guests bicker about money and power the ranks of house servants personal maids and valets below make sure their charges are well taken care of under the guidance of the head butler Jennings (Alan Bates) head housekeeper Mrs. Wilson (Helen Mirren) and head cook Mrs. Croft (Eileen Atkins). Through Mary's eyes we see that the glamour of the upstairs patrons and the seeming precision downstairs are not all they seem. The two worlds are destined to collide and when they do it leads to only one thing--murder.
One of the joys of an Altman movie is his uncanny ability to take a huge ensemble cast of really good actors and carve out a film from their personal stories. This style can also work to the film's detriment however and in Gosford Park the mostly British cast melds together almost too well. Often you can't even tell who's who. Still with all the talent involved there are at least a few bright moments: Smith as the wisecracking Constance an old lady who's very used to being waited on hand and foot gets all the best lines and delivers them flawlessly and veteran actress Mirren is also brilliant as the staunch Mrs. Wilson. She turns in one of the film's only heartbreaking scenes as her character grieves for the son she gave away long ago in the name of servitude. Also good are MacDonald as the young Mary Clive Owen as the valet Robert Parks who carries more than just a chip on his shoulder and Emily Watson as the headstrong chief housemaid Elsie. Northam too shows off his musical abilities as the suave piano-playing singing Novello. The rest all blend together except unfortunately the two American actors--Balaban comes off as annoying and Ryan Phillippe playing an actor pretending to be Morris' valet is in way over his head.
Interestingly the film is taken from a story idea dreamt up by Altman and Balaban. One wonders if perhaps the two were inspired to create Park after watching an episode of the classic '70s British television drama Upstairs Downstairs which was about a wealthy British household whose servant class had just as many dramas as the people they served (hmm sounds familiar). Sure it's conceivable that two Americans sitting around talking about making a distinctly British movie (and a period piece to boot) could pull it off and with a tremendous talent like Altman attached you'd think it would work. But Park misses the mark. The Altman-esque qualities are all there--the way he interweaves his characters' stories and shows real people with real emotions--but maybe just maybe Altman is simply out of his element. You enjoy the ride but it's not a ride through appealing territory and you're definitely watching from the window as the characters live a life you never really become a part of.