Worried about French spies the Soviets are immediately suspicious of the wife whose life is quickly put in danger. Soon every day is a hard-fought battle for freedom.
Sandrine Bonnaire who is captivating as the wife Marie exceptionally matches Oleg Menshikov's cool detachment as Alexei the doctor. As a young swimmer
smitten with Marie Sergei Bodrov somehow manages to muster sensitivity despite being filled with an overwhelming sense of hatred.
Regis Warnier leads this flock of talent like a brilliant orchestra conductor with judgment that is strong poignant and gentle.
The film follows the journey of the title character (Kirsten Dunst) the winsome sweet-natured teenage archduchess of Austria who is dispatched by her family in the late 1700s into a politically advantageous marriage to Louis XVI (Jason Schwartzman) the future king of France. While the trappings of the royal palace at Versailles are as extravagant and glamorous as any traditional historical biopic the heart of the film is Marie Antoinette’s smaller more emotional world as she struggles to fit in with the puzzling customs and often-stern judgment of a foreign court. She must also fulfill her duty to her own nation—namely producing an heir to safeguard their political status a task that proves increasingly frustrating as she romances her maddeningly reticent new husband. Much like any modern young woman in our era of airhead heiresses she initially soothes her angst by indulging in excessive shopping sprees wild parties and flirtations with a hunky war hero. But she also eases into her role on the throne only to find that her starving angry peasant subjects have taken a harsh view of the gossip surrounding her profligate behavior as they mount the French Revolution. As a child actress who worked steadily into her teens and early twenties Dunst has always been a fresh sunny presence on screen in popcorn films like Bring It On but who could also reveal an ability to access darker corners as she did in her debut performance in Interview with the Vampire and in Sofia Coppola’s directorial debut The Virgin Suicides. But after her breakthrough role in 2002’s Spider-Man most of Dunst’s subsequent efforts seem to have be chosen more to build her Hollywood stardom than challenge her acting skills and perhaps unchallenged she delivers performances more competent than compelling. Marie Antoinette is a welcome return to a more complicated and conflicted role and she rises to the challenge admirably with her most appealing and most affecting turn to date. Utterly capturing the queen’s evolution from naïf to sophisticate gaining wisdom and maturity from her youthful frustrations and overindulgences Dunst makes Marie’s plight utterly relatable and imbues virtually every scene of the film with a watchability that outdoes even the luxe production design. In only her third—and most ambitious—film writer-director Sofia Coppola continues on her hot streak. Already one of the most atmospheric and subtle helmers working in Hollywood she not only marries her modern dreamlike style to the opulent visuals of a historical drama she effectively redefines Marie Antoinette in a way that any alienated over-her-head teen of today could appreciate while also showing just why the population at large might have considered her a monster. As Coppola is the quiet introspective daughter of a revered famously over-the-top filmmaker she too was thrust into a sophisticated world at an early age and was with her much-panned acting turn in The Godfather Part III certainly misunderstood by the public if not reviled. One is tempted to think a certain reliability applies to her success with her story. But her assured skills as a filmmaker are what really make Marie soar—even her experimental touches such as the use of anachronistic music on the soundtrack (the Strokes Bow Wow Wow New Order and others appear alongside Vivaldi). It make perfect sense in context the kind of tunes a disaffected adolescent might play in her bedroom while wondering why no one understands them. That’s just the icing; the rest of Marie’s delectable cake is well worth eating.
At the turn of the 20th century we meet a tiger family living peacefully in the jungle ruins of an ancient Southeast Asian temple. The two male cubs--Kumal and Sangha (their given "human" names as we come to find out)--are tight as two brothers can be with Kumal being the more brave and adventurous of the two while Sangha remains the shyer more sensitive one. Their happy existence comes to a screeching halt however when a British hunter Aidan McRory (Guy Pierce) invades their world in search of sacred temple artifacts and inadvertently separates the two tiger cubs. Kumal is eventually sold off to a circus where captivity robs him of his spirit. Sangha on the other hand finds brief happiness as the beloved pet of a governor's lonely young son Raoul (Freddie Highmore) until an accident forces the family to give him away to a spoiled prince whose animal trainers turn Sangha into a fierce fighter for sport. A year later the full-grown brothers are finally reunited in a ring where they are forced to do battle for the enjoyment of bloodthirsty patrons--but the tigers end up recognizing each other instead and renewing their long-lost kinship. Together Kumal and Sangha escape their confines and head out to rediscover their roots in the jungle--that is if the big bad white men will let them.
Two Brothers focuses all its attention on the tigers leaving the human actors to serve only in perfunctory roles but Pierce stands out the most as the kindly McRory. The actor infuses the skilled hunter with a realistic outlook; he kills what he considers a dangerous man-eater. Yet by bonding with Kumal McRory eventually becomes the tiger's friend rather than its foe--and it's very gratifying to see him gain respect and admiration for the animals thus laying down his arms. Young Highmore (who will play Charlie Bucket in the upcoming Tim Burton remake Charlie and the Chocolate Factory) also adds a nice touch as Raoul whose innocence and pure love for Sangha teaches the adults around him a thing or two about caring for wildlife. But of course in a film of this nature mankind will ultimately be the bad guy; there's no way around it. And Two Brothers is chock-full of them--ignorant greedy and mean-spirited as they are.
"This movie is a combination of three of my greatest passions: the animal world a love of monasteries and temples and my fascination with the European colonial period. It was a world that irritated and fascinated but its buffoonery and quirky characters also amused me " explains Two Brothers filmmaker Jean-Jacques Annaud. As the critically acclaimed director of the 1989 The Bear Annaud knows what he is talking about having done the almost impossible again with Two Brothers--a compelling heartwarming film in which beautiful wild potentially dangerous and very real tigers are the main stars. How does he do it you may ask? Apparently he surrounds himself with the best animal trainers in the world including head trainer Thierry Le Portier. Annaud and Le Portier use about 30 different tigers in all each with their own unique personalities and specialties (i.e. some are better for the maternal scenes; others for the stunts). As well Annaud employs High Definition digital rather than just 35mm cameras (an upgrade since The Bear) which allows longer uninterrupted takes with the tigers. The end effect is mesmerizing as it puts you right there with the gorgeous animals. Some animatronic tigers are used but only in cases where the animals may have been in danger especially in one scene where the brother tigers escape a jungle fire. Of course there really isn't a story per se only vignettes in which you sort of gear yourself up for something bad to happen; that somehow the evils of mankind will prevail--and while Two Brothers still chokes you up it's more out of relief and happiness when everything turns out right.
Extreme Ops should be a James Bond movie. Then at least we'd expect the ridiculous plot--plus we'd see some sex. Alas the film takes itself too seriously and those wacky opportunities are simply missed. As it stands a crew of commercial filmmakers--director Ian (Rufus Sewell) producer Jeffrey (Rupert Graves) coordinator Mark (Heino Ferch) and cameraman Will (Devon Sawa)--known for going that extra mile to get extreme action shots are hired to shoot a commercial for a Japanese digital video camera. Their idea is to take three skiers to the Austrian Karawanken Range bordering Yugoslavia and have them outrun an avalanche. No sweat. Up for the task are Chloe (Bridgette Wilson-Sampras) a downhill gold medal winner; wild-child snowboarder Kittie (Jana Pallaske); and all-around adrenaline junkie Silo (Joe Absolom). They make it to Austria and shack up in an unfinished resort nestled in the mountains (you were expecting a warm chalet?) where a band of Serbian terrorists led by war criminal Pavle (Klaus Lowitsch) has also happened to make its base camp. Seems this group of not-so-happy campers has a master plan involving world destruction which the hapless filmmakers uncover. Darn the luck. It's going to take some fancy-schmancy stunts to foil these bad guys--but our motley crew of extremists is up to the task.
This is one of those times you wonder what initially convinced good actors such as Rufus Sewell (A Knight's Tale) and Rupert Graves (The Madness of King George) to make this film. Maybe they thought they could improve it along the way. Or maybe the extreme stunts tempted them to have a little fun in the Austrian Alps. Regardless only Sewell rises above the mire every once in a while; the rest of the cast wallows in it. Newcomers Pallaske and Absolom have very limited range and do better when they simply stand around getting snow in their hair while Sawa (Slackers) seems sorely out of place. Wilson-Sampras has some potential as an actress (her performance breaking up with Matthew McConaughey on their wedding day in The Wedding Planner comes to mind) but an awful script and a bunch of second-rate actors bring her down. The only exceptions are her scenes with Sewell. As for the villains it seems Hollywood has a new bad guy of choice. It used to be the Russians but these Serbs are mighty vicious and suitably over the top. It's their job to make the heroes look good and they do it adequately.
Putting aside a weak plot and bad acting the point to this movie would be the opportunity to see some amazing stunts right? Crazy snowboarders outrunning avalanches attack dogs and evil terrorists all while leaping off snow-capped cliffs and outmaneuvering other perilous terrain. This can make a movie worthwhile if done correctly but sadly that is not the case with Extreme Ops. Director Christian Duguay (The Art of War) manages to mess up even this simple task. The first few shots of the skiers shooting down the hill with the snow tumbling after them are pretty spectacular yet after about the eighth time you see this same shot it starts to get a little boring. On top of that there are some extraordinarily bad blue-screen moments when it's clear the actors are standing in front of a fake background. In this CGI age audiences have high expectations and are very unforgiving of shoddy filmmaking. The worst of the movie's offenses however happens in the editing room. With all the good guys bad guys skiing helicopters and running through snow you're never quite sure who's who or what's what.
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.