The genesis of Universal's 47 Ronin is almost as tragic as the actual history that the movie is culling from. As the story goes, Universal saw the sprigs of talent sprouting from fresh faced director Carl Rinsch, whose previous experience was limited to just a couple of commercials and a nifty short film. The studio decided to ease the new director into feature filmmaking by cutting him what amounts to virtually a blank check, and giving him charge over a multi-national samurai fantasy epic. Almost impossibly, the film isn't a complete disaster. It's just a minor one.
47 Ronin follows the classic story of the titular team of warriors, a group of disgraced samurai who band together to seek revenge against a merciless warlord that betrayed and killed their master. But this isn't your grandfather's version of the story. 47 Ronin is an international affair, and it's covered with a veneer of Japanese mysticism and a thick coating of Hollywood lacquer, but east meets west rather uncomfortably, and it's mostly due to Keanu Reeves. Reeves' character is clearly crowbarred into the story that has no room for him, and it's plainly obvious where the seams of the story were stretched in order to patch him into the narrative. Reeves plays Kai, a half Japanese, half English orphan who is adopted by the samurai clan. His character serves no real purpose beyond being white, slicing things until they die, and playing the male lead of the most superfluous love story of the year. Rinsch simply can't make the inclusion of the character feel organic in any way, and "Kai" ends up feeling like a calculated studio move. It's a shame that the film spends so much time on Reeves when the real star is clearly Hiroyuki Sanada, who plays off the stoic samurai most believably among the rest of the cast.
It's also shame that with all the mysticism pumped into the story, there's no magic in the actual center of the film, the ronin themselves. The only personality trait a samurai is allowed to possess seems to be unerring stoicism, and between all 47 ronin, there are probably only three distinct samurai with any discernible character traits beyond an intense need to brood, and you'll probably only remember those three by the time the credits roll, only to promptly forget about them only a few hours later. Thankfully, Rinko Kikuchi's slinky and treacherous witch adds some much needed camp and personality to the mostly forgettable human characters.
And that's the issue with 47 Ronin. It's largely forgettable. When your film takes on a historical legend like the tale of the 47 ronin, a story that has been told and told again ad nauseum over the years, you really need to justify your own version. There are reels and reels of film dedicated to this story, and 47 Ronin doesn't manage to add anything significant to the canon. It promises to weld myth and history together, but does so clumsily, and while some of the action scenes are exciting, especially a particularly inspired set piece that involves the ronin noiselessly breaking into a heavily guarded fortress, the film is a bore when it's not clanking swords together.
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47 Ronin is a film with many stories. As much as it is a tale about the revenge of four dozen masterless samurai, it's also the tale of an inexperienced filmmaker swallowed up by the enormity of blockbuster filmmaking. Most of all though, It's proof that you shouldn't cram Keanu Reeves into a movie that doesn't really need Keanu Reeves. What you're left with is a dull and bloated samurai epic that has its moments, but feels largely unnecessary.
Hollywood has a difficult relationship with science fiction. Whether they're translating classic sci-fi stories into brainless action movies or too caught up in the otherworldly details there's always something they can't seem to get right about the imaginative genre.
Looper defies the odds by fleshing out a unique future world while honing in on a specific story with real people at the center — a balance that defined works by greats like Bradbury Asimov and Dick. Joe (Joseph Gordon-Levitt) is a Looper an assassin for the mob bosses of the future who use illegal time travel to send back their targets for disposal. It's an easy lucrative life — one that affords him a party lifestyle of fancy cars and drops (drugs taken through the eye) albeit with the added knowledge of a definite grisly end. Eventually the mob "closes the loop" on its employees finding the Looper in the future and sending them back to be offed by… themselves. When it's Joe's turn to end his own life he's outsmarted his future self (Bruce Willis) escaping Joe's grasp. Driven to fulfill his duties as a Looper Joe goes on the hunt to kill himself.
Director Rian Johnson's Kansas City of 2044 feels appropriately lived in and extended from present day. When Joe's not blasting people away shrouded by the stalks of a cornfield he's dining on steak and eggs at a local diner. It's only the casual presence of hovercycles mutant telekinetics and the occasional visitor from the future that would give away the action of Looper isn't happening today. The realism gives Joe and the metropolis around him a necessary grit — there is danger and violence and pain in this world and when Johnson rouses up an action sequence there's something on the line.
Looper's greatest flaw is that it steps away from the confrontation between Young and Old Joe sending the two in different directions as they pursue answers to the film's spoilerific MacGuffin. On a farm away from the city Young Joe crosses paths with single mother Sara (Emily Blunt) who may hold the key to what Old Joe needs to survive. After being introduced to an ensemble of delightfully wicked characters — including Looper coordinator Abe (Jeff Daniels) Young Joe's sleazy coworker Seth (Paul Dano) and hotshot marksman Kid Blue (Noah Sagan) — plus Young Joe's stripper with a heart of gold confidant Suzie (Piper Perabo) Looper takes a sharp left turn leaving most of the cast in the dust. The interesting sci-fi mosaic slows down and enters a new chapter and it's rarely as engrossing as the first half.
When Willis and Gordon-Levitt are at odds Looper is simply magic. Nathan Johnson's industrial score pounds away as the two fight to stay alive all while grappling with the implications that come with glimpsing into your own future. One riveting sequence follows the timeline that played out before Old Joe tinkered with the space-time continuum a roller coaster through the years after the events of the film that see Gordon-Levitt evolve into Willis. The montage is a playground for Johnson's visual style. He never misses a beat.
For sci-fi nuts Looper corrects the past with an understanding of what makes the genre more than just an array of tropes and iconography. There are shaded characters duking it out in Looper's chaotic web of time travel logic and while their arcs fizzle out without much pay off they're a joy to watch.
What do you think? Tell Matt Patches directly on Twitter @misterpatches and read more of his reviews on Rotten Tomatoes!
There is something particularly unnerving about demon possession. It's the idea of something you can't see or control creeping into your body and taking up residence eventually obliterating all you once were and turning you into nothing more than a sack of meat to be manipulated. Then there's also the shrouded ritual around exorcisms: the Latin chants the flesh-sizzling crucifixes and the burning Holy Water. As it turns out exorcism isn't just the domain of Catholics.
The myths and legends of the Jews aren't nearly as well known but their creepy dybbuk goes toe-to-toe with anything other world religions come up with. There are various interpretations of what a dybbuk is or where it comes from — is it a ghost a demon a soul of a sinner? — but in any case it's looking for a body to hang out in for a while. Especially according to the solemn Hasidic Jews in The Possession an innocent young person and even better a young girl.
The central idea in The Possession is that a fancy-looking wooden box bought at a garage sale was specifically created to house a dybbuk that was tormenting its previous owner. Unfortunately it caught the eye of young Emily (Natasha Calis) a sensitive artistic girl who persuades her freshly divorced dad Clyde (Jeffrey Dean Morgan of Watchmen and Grey's Anatomy) to buy it for her. Never mind the odd carvings on it — that would be Hebrew — or how it's created without seams so it would be difficult to open or why it's an object of fascination for a young girl; Clyde is trying really hard to please his disaffected daughters and do the typical freshly divorced parent dance of trying to please them no matter the cost.
Soon enough the creepy voices calling to Emily from the box convince her to open it up; inside are even creepier personal objects that are just harbingers of what's to come for her her older sister Hannah (Madison Davenport) her mom Stephanie (Kyra Sedgwick) and even Stephanie's annoying new boyfriend Brett (Grant Show). Clyde and Stephanie squabble over things like pizza for dinner and try to convince each other and themselves that Emily's increasingly odd behavior is that of a troubled adolescent. It's not of course and eventually Clyde enlists the help of the son of a Hasidic rabbi a young man named Tzadok played by the former Hasidic reggae musician Matisyahu to help them perform an exorcism on Emily.
The Possession is not going to join the ranks of The Exorcist in the horror pantheon but it does do a remarkable job of making its characters intelligent and even occasionally droll and it offers up plenty of chills despite a PG-13 rating. Perhaps it's because of that rating that The Possession is so effective; the filmmakers are forced to make the benign scary. Giant moths and flying Torahs take the place of little Reagan violently masturbating with a crucifix in The Exorcist. Gagging and binging on food is also an indicator of Emily's possession — an interesting twist given the anxieties of becoming a woman a girl Emily's age would face. There is something inside her controlling her and she knows it and she is fighting it. The most impressive part of Calis's performance is how she communicates Emily's torment with a few simple tears rolling down her face as the dybbuk's control grows. The camerawork adds to the anxiety; one particularly scary scene uses ordinary glass kitchenware to great effect.
The Possession is a short 92 minutes and it does dawdle in places. It seems as though some of the scenes were juggled around to make the PG-13 cut; the moth infestation scene would have made more sense later in the movie. Some of the problems are solved too quickly or simply and yet it also takes a while for Clyde's character to get with it. Stephanie is a fairly bland character; she makes jewelry and yells at Clyde for not being present in their marriage a lot and then there's a thing with a restraining order that's pretty silly. Emily is occasionally dressed up like your typical horror movie spooky girl with shadowed eyes an over-powdered face and dark clothes; it's much more disturbing when she just looks like an ordinary though ill young girl. The scenes in the heavily Hasidic neighborhood in Brooklyn look oddly fake and while it's hard to think of who else could have played Tzadok an observant Hasidic Jew who is also an outsider willing to take risks the others will not Matisyahu is not a very good actor. Still the filmmakers should be commended for authenticity insofar as Matisyahu has studied and lived as a Hasidic Jew.
It would be cool if Lionsgate and Ghost House Pictures were to release the R-rated version of the movie on DVD. What the filmmakers have done within the confines of a PG-13 rating is creepy enough to make me curious to see the more adult version. The Possession is no horror superstar and its name is all too forgettable in a summer full of long-gestating horror movies quickly pushed out the door. It's entertaining enough and could even find a broader audience on DVD. Jeffrey Dean Morgan can read the Old Testament to me any time.
A billionaire TV producer (Robert Mammone) has a great idea for a reality show that he wants to put on the Internet and his goal is to beat the 40 million Super Bowl audience. He has compiled a crack team of young hip and immoral tech geeks directed by Goldman (Rick Hoffman) and puts cameras throughout a remote island where former prisoners are going to kill each other while audiences watch after shelling out the pay-per-view fee. The location is done on a remote secret island and the death row prisoners are bought from prisons around the world with the promise that the survivor gets to walk free. Among the contestants are a rogue Aussie named McStarley (Vinnie Jones) a martial arts expert (Masa Yamaguchi) a husband-and-wife team (Manu Bennett and Dasi Ruz) a monstrous killer who doesn't do much more than grunt (Nathan Jones) and others known only as The Italian The German and other monikers quickly forgotten. Enter the sole American Jack Conrad (Steve Austin) who's in a South American prison for some obscure reason and is recognized on TV by his wife (Madeleine West) who tries to save him. However it looks like Conrad is pretty good at helping himself. Don't expect the acting to be much more evolved than what could be seen among the World Wrestling Entertainment superstars especially since many of them were plucked from the ring to star in this morality tale. But Austin (who had in a strong cameo in Adam Sandler's Longest Yard) proves he has a sense of humor as well as strength. Vinnie Jones is ridiculously over-the-top as the Aussie who's the hand-picked winner of this game shown setting up alliances Survivor style only to turn on them later. The supporting cast are refreshingly entertaining but one-note caricatures both in the contest and running the contest. It's obvious that they aren't going to be around long but the actors do milk their tiny roles for every bit of attention they can get. Rick Hoffman as the brilliant camera mastermind of the project is both whiny sniveling and mean-spirited so when he joins some of the rest of the crew and suddenly develops a backbone and a conscience he ends up stealing the movie with his acerbic humor. But it's the understated American hero Conrad who holds a mirror up to the people who like to watch this stuff. Director Scott Wiper who co-wrote this story has also acted in similar movies like this (A Better Way to Die). It’s obvious he knows what he’s doing with The Condemned and develops a sense of voyeuristic angst like those of us who can't keep our eyes off a train wreck. Like the darkly subversive Belgian film Man Bites Dog the camera crew remains safely distant and remote until the reality directly involves them. Then the crew wonders "What the hell are we doing?" while the audience might be thinking "What the hell are we watching?" Much like Series 7: The Contenders Rollerball and other movies which show a dark and bloody near future this kind of reality doesn't seem too far away and maybe proves that movies which provide this type of gladiator spectacle target a certain segment of the human population who need to blow off steam.