The story of Lust Caution begins in the midst of WWII in Asia as the Japanese have a stranglehold on key areas of China including Shanghai and Hong Kong. The iron-fisted Chinese who are collaborating with the invaders are led by Mr. Yee (Tony Leung) a cruel and ruthless man who delights in the torture and murder of his fellow countrymen who are fighting against the Japanese occupation. When a patriotic band of college students (made up of four men and two women all part of the drama school) decide to strike a blow for Chinese freedom by assassinating Mr. Yee it falls to Wang (the mesmerizingly beautiful Wei Tang) to infiltrate his home and heart to pave the way for the killing. But as her compatriots--including handsome Kuang played by American-born Chinese rock star Lee-Hom Wang who loves her from afar--bid their time waiting for the moment to strike Mr. Yee and Wang enter into a torrid affair that begins to consume them both. Think of the Hitchcock classic Suspicion shift from Europe to Asia add in intensely explicit sex scenes and a completely unexpected ending and you have Lust Caution--a film that is soon to be considered a classic as well. Veteran actors Tony Leung and Joan Chen lead a fine cast of actors who together create this completely believable glimpse into Chinese culture during the dark days of Japanese occupation. Both give intense performances--he as the powerful emotionless Mr. Yee and she as his vapid shopping and Mah Jong-obsessed wife. But the most amazing performance is that of newcomer Wei Tang the Miss Universe finalist who makes her film debut in Lust Caution. Her fantastic face slim body and almost ethereal presence seem to blot out everyone else when she is on the screen; you can’t help but look at only her. Her transformation in the four-year span of the story is masterful. As she goes from a naïve young student to a mature woman whose physical obsession with a man she despises begins to overwhelm her. The ingénue proves that she is much more than just a pretty face. In fact she deserves an Academy Award nomination for her often subtle always fearless performance that is at the heart of the film. Ang Lee has a unique cinematic ability to begin a story very specific to a time a place and a culture and end with a universal tale that resonates across all societies and peoples. He did it beautifully with Sense and Sensibility Crouching Tiger Hidden Dragon as well as Brokeback Mountain and he’s done it again masterfully with Lust Caution. This newest film is an intense look at how war often causes an individual to make the ultimate sacrifice for the common good yet it also explores another underlying theme: the idea that there is a never-ending battle between the sexes for emotional dominance within a sexual relationship. Ang Lee’s deft hand is evident in every frame including the incredibly explicit (and often violent) sex scenes that have given the film its NC-17 rating. But this is not pornography; every scene is necessary to the story showing us that using sex as a means to an end (no matter how noble that end) is a very dangerous game to play especially during wartime. Look for Ang Lee’s name to come up on the Academy’s list again this year as awards season kicks into high gear. He deserves every honor for this emotionally disturbing masterpiece.
What No Reservations needs is a smell-sensitive rat who can cook. Instead we get head chef Kate Armstrong (Catherine Zeta-Jones) a perfectionist who runs the kitchen of a swanky Manhattan eatery with an iron fist. Let’s just say she’s in desperate need of an attitude adjustment so in pops new sous-chef Nick (Aaron Eckhart) a free-spirited fellow who cooks by the seat of his pants. Soon he’s got the whole kitchen staff laughing and loving him way more than Kate. Nick tries to charm Kate too but she won’t have any of it. To top it off Kate unexpectedly becomes the guardian of her 9 year-old niece Zoe (Abigail Breslin) after her sister dies in a car accident. The understandably distraught Zoe is having a tough time and won’t eat any of her aunt’s highfalutin cuisine. The little girl only likes fish sticks—and as it turns out spaghetti a Nick specialty. Yes Nick finally melts Kate’s heart when he gets Zoe to eat a hearty bowl of spaghetti. You can see where this is going right? Love—and tomato sauce—conquers all. When you have two incredibly attractive people onscreen together you want the sparks to fly. Think Angelina Jolie and Brad Pitt in Mr. and Mrs. Smith. True those two were falling in love for real but still it makes for a more fulfilling and cinematically romantic experience. But alas it doesn’t always work out and in No Reservations’ case the love story between Zeta-Jones and Eckhart deflates like a fallen soufflé. On their own they each hold up well: Zeta-Jones is good at being steely but emotionally stunted when it comes to matters of the heart while Eckhart’s easy-going charm and great smile make his Nick an obvious choice for any woman. Get them together however and things sag like a wet noodle. Too bad. Breslin is her usual cute self playing it a little more somber than she did in Little Miss Sunshine but the little actress ought to be careful not to pigeon-hole herself into the “eccentric but affecting” kid role. No Reservations also has another knock against it: It’s a remake of the German film Mostly Martha a far more stellar—and original—effort. Natch. Turning a hit foreign film into a studio picture rarely works out; something always gets missed in the translation which for No Reservations is surprising since Mostly Martha writer/director Sandra Nettelbeck is listed as the co-writer. What Nettelbeck did with Mostly Martha is revolve her story around master chef Martha (played brilliantly by Martina Gedeck) and her quirks and anxieties over suddenly having to raise a child. The love story with the Italian chef is more a pleasant surprise than the driving force. But of course with No Reservations the romance is played up for that certain chick flick appeal with two people who have no chemistry. Maybe Nettelbeck was lured into Americanizing her original. For his part director Scott Hicks (Shine) is definitely capable enough to carve out what he can from this predictable set up even adding some flair to the kitchen scenes but he can’t quite push No Reservations past its banality.
At first glance The Family Stone appears to be yet another silly romp about family dynamics. But the Stones a vivacious loving liberal-minded New England family are more than just cardboard cut-outs; they’re as real as any dysfunctional family can be. The film begins with the Stones getting ready for their annual holiday gathering. Matriarch Sybil (Diane Keaton) is especially anxious to meet her eldest son’s (Dermot Mulroney) girlfriend Meredith (Sarah Jessica Parker). The family has been warned Meredith is a controlling neurotic New Yorker with very little redeemable qualities. And when Meredith arrives she certainly does nothing to dispel the notion meeting her potential eccentric in-laws with a mix of awkwardness confusion and hostility. Yet oddly enough the disruption brings about some needed changes within the family Stone allowing them to come together and realize their extraordinary capacity for love. Everyone in this stellar ensemble rises to the occasion and truly paints a very vivid picture of a family devoted to one another--but who are less than approachable to outsiders. As mom Keaton turns in yet another genuine look at a complicated woman dealing with some insurmountable obstacles while Craig T. Nelson as her loyal husband does a nice job conveying a warmth to their marriage. Playing their grownup children is Mulroney as the straight-laced “suit” Everett who isn’t all that priggish; Luke Wilson as the laid-back Ben who seems to have strayed the most from his family; and Rachel McAdams as the passionate if rather acerbic little sister. But the real revelation is Parker as the uptight highly unlikable Meredith. It’s quite a departure from her fun-lovin’ Sex
and the City days and the Parker--who truly is one of the better comedic actresses we have today--easily handles the unpleasant chores of playing someone suffering with chronic foot-in-mouth syndrome. Like many newbie filmmakers writer/director Thomas Bezucha--whose only other credit is the little seen indie Big Eden--has the advantage of having that certain fresh quality to his work. Stone’s dialogue is snappy poignant and spot-on as the Stones interact with each other in all too familiar ways. The whole Meredith scenario will perhaps have many of us remembering similar situations--from both sides of the fence. It’s just as painful to have to meet the family of someone you love for the first time as it is dealing with a family member’s poor choices in mates. And what makes
The Family Stone stand out even more is how Bezucha truly defines the term “dramedy.” From the trailer the film seemed to be a balls-out slap-sticky comedy which in many ways it is but you may be surprised to see how The Family Stone’s more serious tones will touch you.