Friday, April 24, 1998
Screenscene
"The Big Hit"
Directed by Che-Kirk Wong
Starring Mark Wahlberg, Lou Diamond Phillips and China Chow
If "Starship Troopers" and "Wild Things" introduced the witty,
tongue-in-cheek thriller as a genre, "The Big Hit" seals its place
in Hollywood. The film lays out a typical action-flick scenario:
hit man with a heart of gold, crime ring facing subversion from
within, kidnapping gone awry. Then it gives you all the lines you
were expecting – only they’re a little more over the top, a little
more twisted and a lot more entertaining.
Mark Wahlberg ("Boogie Nights") is Melvin Smiley, the goon in
question. Though the gun collection in his garage makes the heart
of gold something of a stretch, he definitely has a stomach in need
of Mylanta. He can’t stand for anyone to dislike him, especially
his fiancee (an appropriately whiny, trashy Christina Applegate),
his girlfriend (a sassy but not particularly deep Lela Rochon) and
his kidnappee-slash-newest love interest. As the latter, newcomer
China Chow shows promise with occasional flashes of bite and
sweetness in an otherwise bland performance.
Wahlberg’s Mel is endearing and humorous, sprinkled with the
same naive bad-boy quality that made Dirk Diggler watchable from
the waist up. Though Melvin doesn’t think twice about shooting a
hotel room full of holes, he’s a stickler for returning his video
rentals. In fact, the lengths he goes through to do just that, even
in the midst of the car-chase-that-wouldn’t-die, are one of several
successful running gags.
Throw in fellow hit man Crunch’s (Bokeem Woodbine) newly found
obsession with masturbation (he even buys one of those thighmasters
for your hand), shots of the clone-ish tract-house suburbia where
Melvin lives and an innuendo-laden turkey stuffing incident, and
you have a film that’s riveting without taking itself too
seriously.
But spoof quality alone is no longer enough to create a truly
original movie. "The Big Hit" flirts with innovation but frequently
drives jokes home too many times and relies on easy humor. Anyone
who’s watched an episode of "Seinfeld" could write the dialogue for
Applegate’s quintessential Jewish parents. Similarly, ransom target
and electronics mogul-turned-filmmaker Mr. Nishi (Sab Shimono) is
the thickly accented, cutthroat businessman, a stereotype we hoped
died even on sitcoms long ago. And the nerdy video clerk’s cameo
smacks of an over-acted freshman drama class. The dumbest in a dumb
gang of criminals, Robin Dunne’s Gump is also more annoying than
funny.
It’s debatable how much of the above is supposed to be
contrived. Though the tone of the film suggests self-awareness,
these particular bids target direct laughs rather than meta-laughs.
And they don’t always get either.
So while the film is not as insightful or subtle as its
predecessors, delightfully unbelievable action sequences, a random
burst of kung fu and a right-on leading man ensure that "The Big
Hit" will probably be just that.
Cheryl Klein
Grade B-
"Sliding Doors"
Directed by Peter Howitt
Starring Gwyneth Paltrow, John Hannah and Jeanne Tripplehorn
Most romantic comedies suffer from the same inevitability:
Everyone knows the leading couple will hook up at the end. But
first-time director Howitt’s romantic comedy is charming and
innovative enough to keep the audience genuinely curious and
worried about whom our heroine Helen (Gwyneth Paltrow of "Emma" and
"Great Expectations") will end up with.
It partly is because the movie takes on two different stories
from the beginning: When Helen is unexpectedly fired from work, she
decides to head home but sees that the train she needs to catch is
just about to leave. As she runs to slip through the train’s
sliding doors, the movie splits in two.
One version watches her catch the train and the other sees her
missing it. Confronting life’s most mysterious question of "What
if?" the movie ingeniously details how changed Helen’s life would
have been if she had caught that train, which would have included a
change in boyfriends, a new job and essentially a completely
different life from her old one. The audience will be fascinatedly
glued to the dual plotline as the two Helens continue with their
radically different lives that both ominously and shockingly lead
to a similar end, leaving the audience hanging with their mouths
open for the last 10 minutes.
Paltrow is luminous and sympathetic as the two Helens, making
both of the characters very distinct and original, and convincingly
showing how such a minor event as catching a train can change
someone’s personality and life drastically. Hannah ("Four Weddings
and a Funeral") is delightfully adorable as the Scottish gentleman
Paltrow would have met and fell in love with if she had caught the
train.
And in the grand tradition of most good romantic comedies, the
script is filled with incredibly witty and clever dialogue and
interesting, sassy characters to keep the story hopping.
"Sliding Doors" is not only a good example of what a romantic
comedy should be achieving, but also confronts and answers the
mysterious question of how chance encounters and accidental
decisions can affect our lives significantly, something that
everyone has wondered about at some point in their lives.
Aimee Phan
Grade: A
"In God’s Hands"
Directed by Zalman King
Starring Shane Dorian, Matt George, Matty Liu and Maylin
Pultar
"Whoa! Surf’s up, dude!"
Thankfully, lines like that never make an appearance in this
surf flick, "In God’s Hands." The film strives, and sometimes
succeeds, for a more authentic approach to surfing culture.
At times, "In God’s Hands" can’t quite decide between following
in the sandy footsteps of the recent surf movies – the Hollywood
take of "Point Break" – or the more documentary-style "Endless
Summer II." Consequently, although the film features amazing
pro-surfing footage and the international "follow-the-wave trek"
premise of "Endless Summer II," it also borrows the
flimsy-plotline-as-an-excuse-for-a-surfing-scene method from "Point
Break" as well as Keanu Reeves’ style of non-acting. The result is
kind of like a surf video interspersed with some compulsory
off-water dramatics.
The film follows the travels of three thrill-seeking water
adventurers as they surf their way through exotic locations in
Bali, the South Seas and Hawaii. All leads are played by real-life,
professional surfers-turned-actors, and it shows. But the casting
actually helps with the authentic touch the film is going for.
The second-ranked pro-surfer in the world, Shane Dorian, plays
the brooding protagonist (also named Shane in the movie). Dorian is
captivating when riding the waves, but like a true sea creature, he
flails when out of the water. But never mind his flat delivery when
his equally flat abs more than speak for themselves. (His basically
always bare stomach proves to be a nice distraction for the female
audience).
Another distraction, which is not quite as nice, is the constant
and almost gratuitous pseudo-philosophical discussions about the
awesomeness of nature and it’s connection with the human
spirit.
But whatever downfalls concerning the mechanics of the film are
irrelevant. "In God’s Hands" is a surfer’s surfer movie first and
foremost. The highlight is definitely the abundant surfing
sequences, which is refreshingly absent of both annoying,
MTV-style, quick editing and a KROQ song accompaniment. The close
camera work captures the action so masterfully that the audience
can almost expect to be sprayed by surf.
Co-written by former pro-surfer Matt George (who also stars in
the film), "In God’s Hands" appears more authentic; the movie
doesn’t skip over the harsh training and extreme safety measures
the surfers go through in preparation for the big wave. The
impressive dedication displayed belies the slacker stereotype
perpetuated in most films focusing on surfing culture.
Yeah, minuscule plotline and character development, breathtaking
sunset shots and the token exotic girlfriend are all evident here,
but the impressive surfing more than makes up for it. Powerful,
dazzling and with a huge screen presence, the surf is definitely
the star of this movie. Remember that and just sit back to enjoy
the rush.
Sumyi Khong
Grade B
"The Truce"
Directed By Francesco Rosi
Starring John Turturro and Massimo Ghini
A chapter of the Holocaust we rarely see – that is, the
survivors’ literal journey back home from the concentration camps –
is the focus of "The Truce." The landscape that surrounds the
survivors is a war torn Europe where everyone is desperate for
food.
The film is based on Primo Levi’s same-titled book, a real
account of his travels from the gates of Aushwitz to his home in
Turin, Italy.
The film gives a good sense of the zeitgeist of post-war Europe
and the harrowing task for Holocaust survivors making their way
through this ravaged continent. Although "The Truce" was filmed in
the harsh, freezing landscape of the Ukraine among other locations,
the cinematogrophy does not do justice in showing the harsh beauty
of this landscape or the people dealing with it.
There is much confusion and uncertainty by the authorities in
how to get the survivors back home. Their frustration and
displacement come across as we travel alongside their string of
dead ends.
First, the train that is supposed to take the Italians home from
Poland is going the wrong direction. Then Levi, played by John
Turturro, is bogged down by having to stay in a resettlement camp.
More problems come which serve as the delay that allow us to
witness Levi’s emotional struggle to come home to who he really
is.
Tuturro gives a humble, reserved performance. He avoids the
extroverted drama that is usually played out in emotional
historical dramas. Although he fares well in making Levi strong and
vulnerable, sometimes the character is just too mute and dulled
out. Maybe if Levi’s thoughts from his book were overlayed more of
the time, Tuturro’s performance would have more emotional impact.
Instead of feeling that Levi is a hard-shelled but complex
character, we are left to assume that he is given his
circumstances.
There are various riveting scenes that shed light on the
desperation and power exchange that many people faced at the end of
the war. For example, there is a scene where Levi and his friends
run into some former Nazis who have since become prison workers
with the fall of the regime. The Nazis turn to them and desperately
beg them for some bread. One of Levi’s friends holds out his last
piece of bread and watches while the former Nazi crawls to him.
Levi’s circle of Italian friends join him in the long march to
Italy. They speak with an Italian-American accent. Somehow, though,
the performances seem too polished and not authentic.
Michelle Nguyen
Grade: B+
"Driven"
Directed by Michael Paradies Shoob
Starring Tony Todd, Whip Hubley and Daniel Roebuck
Who understands the plight of the L.A. taxi driver? In a city
that loves its cars, they’re often ignored. But in Michael Paradies
Shoob’s new film, "Driven," their voices clearly become heard in a
strained – if not painful – fashion. In an awkward attempt to
dramatize their so-called struggles, stock characters and a dull
plot cause an unfortunate wreckage.
The storyline centers around the static situations of four men
whose lives as taxi drivers remain far from intriguing.
Meet Darius Pelton (Tony Todd), our taxi veteran and deadbeat,
an alcoholic father who desperately seeks those funds to support
his son. Although Todd’s performance works well with what’s been
given, the writing’s dull enough to distance the audience from any
amount of sympathy.
Then there’s Dale Schneider (Daniel Roebuck), the loudmouth
bookie who runs deals from the comfort of the driver’s seat. That
is until he one day learns the errors of his shady dealings after
witnessing his boss led off in handcuffs. What hope is there for
him? Try a job as "sports adviser" in Las Vegas. How
convenient.
Let’s not forget Jason Skyler (Whip Hubley), our humbly passive
driver who yearns for respect and the audience’s heart. He can
never say what he is feeling, but you’re somehow supposed to know
that he’s a deep guy. His entire angle focuses on always getting
screwed over every time he tries to help someone.
The most annoying sequence involves his incessant need to
protect the eagerly optimistic youth LeGrand (played by Chad Lowe).
Pelton and Schneider remain obviously jealous of LeGrand and decide
to set him up in a cruel practical joke. Skyler finds out about the
joke and rushes into action to save LeGrand. In the process he’s
mugged and almost killed. It doesn’t make for a brilliant
script.
The entire movie remains far from emotionally appealing, and
it’s "all’s well that ends well" finale leaves the audience with
anti-climactic disappointment. Throughout the entire movie you get
the distinct impression that the plot has real notions of a
success. Unfortunately, it doesn’t ever work out that way.
Michelle Zubiate
Grade: C