© 2005 Ray Wong
Stars: Patricia Clarkson, Campbell Scott, Peter Sarsgaard, Ryan Miller, Faith Jefferies, Bill Camp
Director: Craig Lucas
Writers: Craig Lucas
Distributor: Strand Releasing (produced by Holedigger Films and Twopoundbad)
MPAA Rating: R for sexual content and language
Running time: 101 minutes
Script – 8
Performance – 8
Direction – 7
Cinematography – 7
Music/Sound– 7
Editing – 7
Production – 7
Total Score – 7.2 out of 10
The DYING GAUL refers to the statue of a wounded Celtic warrior, as well as the title of the screenplay mentioned in the film. It is also a metaphor for the film: the statue depicts the defeat of the human spirit rather than of flesh.
Jeffrey (Scott) is a hot-shot movie producer looking for fresh material. He’s interested in The Dying Gaul, a screenplay about AIDS written by aspiring writer Robert (Sarsgaard). He offers Robert $1 million for the script, but there’s a catch – Robert must change the protagonists from two gay men to a heterosexual couple. Robert takes the offer with much guilt, as he’s dedicated his screenplay to his late partner, Malcolm (Camp) who died of AIDS. Jeffrey seduces him with money and sex, both irresistible to vulnerable, guilt-ridden and grief-stricken Robert.
As Jeffrey includes Robert to his posh beachside estate and family, his wife, Elaine (Clarkson), becomes fascinated by Robert – not only by his charm and talent, but also by his immense sadness. Knowing that Robert frequents online chat rooms, Elaine plays a dangerous game of deceit by spying on Robert, posing as a gay man. Soon, she gains Robert’s trust and learns of the horrible secret that he and her husband is having an affair. Sex, lies and instant messaging – the story takes on a bizarre twist of actions and consequences.
Clarkson (GOOD NIGHT, GOOD LUCK) is consistent with her body of excellent work. Here, she’s youthful and sexy as Elaine, a bored trophy wife who has a dark side to her. Her performance is complex, vulnerable yet vindictive at the same time. Scott (ROGER DODGER) is very good as the manipulative, bisexual producer. He preys on a young, fetching writer without an ounce of guilt and reservation. At the same time, he shows vulnerability – a protectiveness that is shielded by his conceit. But the show really belongs to Sarsgaard (JARHEAD), who has emerged as the actor to watch. His portrayal of Robert is intricate and nuanced, full of pain, regrets, guilt and a sizable dose of rage and bale.
The script by writer-director Lucas (based on his own play) is about these three characters who might not be what they seem. On the surface, they are very amiable people – nothing strange or disturbing about them. But deep down, they’re damaged and dangerously vulnerable. Robert is a tortured soul, and when push comes to shove, he would do anything to get what he wants. Jeffrey is the opposite of Robert – he is a ruthless businessman who won’t stop at getting what he wants; then again, he seems to truly care for other people, especially Robert. Is he falling in love with Robert, or is it all about sex? We don’t know. We may never know. But you can’t say Jeffrey is faking it. Clarkson has the most interesting role playing the conflicted Elaine. Driven by her awe and curiosity and compassion, Elaine digs a deeper and deeper hole for herself and everyone around her. Her deceit is every bit as dangerous and destructive as her husband’s; the thing is, she doesn’t quite know it. That’s what makes the story so interesting.
Lucas’s direction is crisp and direct, with some interesting camera work. He’s done well in matching the intriguing material with a unique visual style. At times, the film looks haunting and exhausting at the same time. Lucas also has the good sense of instilling humor and eroticism in the otherwise heavy story of deceit and betrayal. Granted, there’s really nothing incredibly epic about this story – no larger-than-life heroes or over-the-top villains. The ending also leaves one contemplating the real meaning. I’m not sure if I completely get it either. We might not really identify with the characters, but that’s not really the point. The film doesn’t ask us to empathize with them. THE DYING GAUL is simply a cautionary tale of human frailty.
© 2005 Ray Wong
Stars: Ziyi Zhang, Michelle Yeoh, Li Gong, Ken Watanabe, Tsai Chin, Cary-Hiroyuki Tagawa, Mako, Youki Kudoh, Koji Yakusho
Director: Rob Marshall
Writers: Robin Swicord, Doug Wright (based on novel by Arthur Golden)
Distributor: Sony Pictures
MPAA Rating: PG-13 for mature subject matter, sexual content
Running time: 145 minutes
Script – 6
Performance – 7
Direction – 6
Cinematography – 8
Music/Sound– 7
Editing – 7
Production – 8
Total Score – 6.8 out of 10
I had such high hopes for MEMOIRS OF A GEISHA because, first of all, I’m Asian, and second, I love Arthur Golden’s lyrical novel. I’m also a fan of Rob Marshall since I worked with him ten years ago. What transpires to the big screen, though, is unfortunately short of spectacular.
When their mother falls ill, sisters Chiyo (Suzuka Ohgo) and Tanaka (Togo Igawa) are sold to the a geisha house and a brothel respectively by their downtrodden fisherman father (Mako). Because of Chiyo’s beauty and rare “eyes of water,” she is favored to be sent to geisha school. We’re reminded that geishas are not prostitutes; they’re skilled and graceful artists, adored and respected. The house’s favorite geisha, Hatsumomo (Gong) is jealous of Chiyo, worrying that one day Chiyo will replace her, and she treats Chiyo with disdain. Later, Hatsumomo forces Chiyo to destroy an expensive kimono worn by her rival, Mameha (Yeoh). Unable to pay off her debt, Chiyo is taken off the geisha school and reduced to be a maid.
One day, a broken Chiyo meets the dashing Chairman (Watanabe), who shows her kindness. Chiyo vows to grow up to be a geisha, so she can one day see the Chairman again. With the help of Mameha (who knows all about Hatsumomo and that Chiyo was just a scapegoat), Chiyo quickly learns to become Japan’s most celebrated geisha, now named Sayuri. Of course, Mameha’s intention isn’t totally pure. With her new fame, Sayuri is tangled in a web of deceit, scheming and rivalry with Hatsumomo and her protégé, Pumpkin (Kudoh). As she pines for the Chairman, Sayuri is reminded once and again that geishas are like delicate flowers or prized paintings; they are to be pursued, but never to pursue their own destinies.
There’s really no good way of condensing the story of MEMOIRS OF A GEISHA into 100 words. It’s also a difficult task to condense the immense novel into a 2-hour movie. The large cast of characters and complicated subplots add richness to the novel, but become cumbersome on film. Writers Swicord (PRATICAL MAGIC) and first-timer Wright fail to bring Golden’s richly layered and nuanced story to life. Instead, what we see is something that is culturally superficial and stiff and humorless. The script feels heavy and stifling. Secondary characters are reduced to footnotes. The women are clearly the focus here, so the men (including the pivotal ones such as the Chairman, the Baron, or Mr. Nobu) are not allowed to show any depth.
The performances are generally respectable. Zhang (2046) is convincing as the fragile but strong, romantically desperate Sayuri. She’s giddy as the young girl, and she matures as her character grows older. As Mameha, Yeoh (TOMORROW NEVER DIES) has one of the best roles in the film. She shows grace and gentleness, and a much-needed sense of humor. In comparison, Gong (EROS) is a bitch from hell, and she does a great job portraying the villainous character. Ohgo (YEAR ONE IN THE NORTH) is particularly impressive as young Chiyo.
The men are largely serviceable. Watanbe (BATMAN BEGINS), as Chiyo/Sayuri’s object of affection, is refined and restrained. Famed Japanese actor Yakusho, best-known to American audience as Mr. Sugiyama in SHALL WE DANCE, is affecting and sincere as Nobu. Tagawa (ELEKTRA) plays the Baron with adequate sliminess. Veteran Japanese actor Mako has a brief cameo as Chiyo’s father.
The truth is, the actors are most often lost in the yarn of interweaving storylines. Unfortunately, director Marshall (CHICAGO) spends too much time framing tight, beautiful shots of tapestries and gardens and architecture, and not enough time developing the characters. MEMOIRS OF A GEISHA is a beautiful film, with exquisite details and artistry. But buried in the fine art is a hollow shell of storytelling. Many plot threads are left untied, and we’re constantly reminded of what we’re supposed to feel for these characters, but never truly experience it. Like the audience at a geisha theater, we’re only allowed to watch from a distance, but never to reach deep into the characters’ hearts. So, perhaps it’s fitting that MEMOIRS OF A GEISHA is like the geisha herself – something to desire and imagine, but never to really know and feel.
© 2005 Ray Wong
Stars: Diane Keaton, Craig T. Nelson, Sarah Jessica Parker, Rachel McAdams, Dermot Mulroney, Luke Wilson, Claire Danes, Tyrone Giordano, Brian White, Paul Schneider, Elizabeth Reaser
Director: Thomas Bezucha
Writers: Thomas Bezucha
Distributor: 20th Century Fox
MPAA Rating: PG-13 for some sexual content, drug references
Running time: 102 minutes
Script – 6Performance – 8Direction – 6
Cinematography – 7Music/Sound– 7Editing – 7Production – 8
Total Score – 6.9 out of 10
The film’s title has double meanings: It’s a story about the Stone family, but it also centers on the family stone, an heirloom diamond ring that gets passed down from generation to generation. In a nutshell, THE FAMILY STONE is a story about family.
Every Christmas, the Stones gather at the parents’ house for a long weekend. Mama Sybil (Keaton) and Papa Kelly (Nelson) Stone are a loving, laid-back couple. Their children: first-born Everett (Mulroney), a successful businessman (and the one most unlike the rest of the family); Ben (Wilson), a stoner from Berkeley; Susannah (Reaser), a expecting housewife with a young daughter Elizabeth (Savannah Stehlin); Amy (McAdams), an aimless single woman; and Thad (Giordano), their deaf and gay youngest son.
This year, Everett decides to bring his girlfriend Meredith (Parker) along to meet the family. Meredith is an uptight control-freak who thinks everyone is against her. Everett intends to propose to her during the weekend, and he wants to have his mother’s ring (the family stone). Knowing her son more than he knows himself, Sybil refuses to give him the ring. Meredith, on the other hand, digs herself deeper and deeper into a hole as she sticks out like a sore thumb around the Stones. In desperation, she asks her sister Juile (Danes) to come as her support. The weekend unfolds with the usual family dramas, secrets, heartbreaks and unexpected romances.
The cast is generally very good. Parker (STRANGERS WITH CANDY) sheds her Carrie Bradshaw image and arrives as the wound-up doll with a spoon up her butt. She has the most showy role and she delivers. Mulroney (MUST LOVE DOGS) plays her equally uptight beau with good nature. McAdams (RED-EYE) is spunky, and Wilson (WENDELL BAKER STORY) is groovy as her stoner brother. Giordano (A LOT LIKE LOVE) and White (DIRTY) are sweet as the adorable gay couple. Reaser (STAY) has the obscure role as the quiet and supportive sister, but she handles it with tenderness. Danes (SHOPGIRL) is the complete opposite of Meredith, but somehow I feel like she’s just playing herself. Keaton (SOMETHING’S GOTTA GIVE) is, as usual, wonderful, and Nelson (THE INCREDIBLES) is equally affecting and touching.
Director Bezucha (BIG EDEN) has a knack for small, sweet tearjerkers. He knows how to let his actors do their job. With such a huge and talented cast, Bezucha keeps it very straight and simple. It’s not an easy task and I think he has done a good job. The actors are clearly the strength of this familiar tale of holiday tale.
As a writer, though, he’s almost shameless when handing out heart-tugging morsels. From the quiet chat between father and son, to the soul-baring confessions between would-be lovers, Bezucha is relentless with the sentimentality. It’s not to say he’s always heavy-handed. There are certainly some genuinely touching moments: when Susannah cuddles with her mother in bed, or when Ben asks his father an important question. These moments do tend to put a lump in one’s throat.
However, Bezucha also hits you with a two by four with social commentaries with regard to homosexuality, or the “follow your heart” spiel. It gets preachy, especially toward the end. It’s kind of suspicious that the only perfect couple is gay. The plot is all too predictable, and at the end, all the loose ends get tied up neatly with a big red bow. The ending feels like an epilogue – “and they all live happily ever after” – presented as a Hallmark card (I would have preferred the film ending with the close-up of Mulroney). Too nice. Almost too sweet. THE FAMILY STONE is a fantasy. It’s not to say it’s bad. But it’s familiar and sweet and perfect, and no family fare should be this perfect.
© 2005 Ray Wong
Stars: Georgie Henley, Skandar Keynes, William Moseley, Anna Popplewell, Tilda Swinton, James McAvoy, Jim Broadbent, Liam Neeson (voice)
Director: Andrew Adamson
Writers: Ann Peacock, Andrew Adamson, Christopher Markus, Stephen McFeely (based on novel by C.S. Lewis)
Distributor: Walt Disney Pictures
MPAA Rating: PG for battle sequences and frightening moments
Running Time: 140 minutes
Script – 7Performance – 7Direction – 8Cinematography – 8Music/Sound– 7Editing – 7Production – 8Total – 7.5 out of 10
It’s only a matter of time before C.S. Lewis’s beloved The Chronicles of Narnia arrives on the big screen (despite earlier TV adaptations). After the phenomenal success of THE LORD OF THE RINGS, Narnia seems like a perfect destination next to Middle Earth.
At the height of WWII, the Pevensie children -- Peter (Moseley), Susan (Popplewell), Edmund (Keynes) and Lucy (Henley) -- are sent to a country mansion owned by eccentric Professor Kirke (Broadbent). Missing their mother, the bored children play a game of hide-and-seek and little Lucy discovers a wardrobe that leads her to a winter wonderland called Narnia. There, she meets a faun, Mr. Tumnus (McAvoy), who warns her of the White Witch (Swinton) who has bestowed winter on Narnia for the past 100 years. Edmund follows Lucy to Narnia, and is promptly seduced by the White Witch’s magic and sweet treats. She asks Edmund to bring his siblings to her.
Soon, the four children found Narnia again, and are promptly hunted by the White Witch and her wolves. Helped by a group of talking animals, they escape and are on their way to find Aslan the King (Neeson), who returns to Narnia to fulfill a prophecy. Little do the children know that they’re part of the prophecy. Soon, the White Witch declares war on Narnia and Aslan, and the children must rise to the occasion and help defeat her and bring freedom to Narnia.
Writer-director Adamson (SHREK 2) had the difficult job of making the fantastic elements and characters of NARNIA come alive in this adaptation. Not to mention the inevitable comparison to Peter Jackson’s hugely successful THE LORD OF THE RINGS series. In a way, it’s not fair to compare the two. NARNIA is an allegorical children’s fantasy, with cute talking animals and straightforward “good vs. evil” messages. NARNIA feels smaller and simpler, yet equally magical. Adamson succeeded in transporting us to a fantastic world and expanding our imagination. Besides the grand, epic cinematic moments, there are quiet, sweet moments that are just as affecting -- for example, Lucy and Mr. Tumnus have a wonderful scene together by the fireplace.
Not to say there are no shortcomings. At 140 minutes, the film feels a bit too long. It drags at places, and the character development is somewhat lacking. For example, Edmund’s betrayal seems forced; we’re led to believe why Edmund betrays his sibling, but I’m not convinced. Next to HARRY POTTER, the story seems a bit too old fashioned and slow. Also, throughout the film and especially at the end, the children never seem to miss their family. That makes the children seem callous.
Despite the presence of some veteran actors such as Broadbent (ROBOTS) in minor roles, the film rests heavily on the four young, mostly-unknown actors. They all do a good job, especially Henley who plays Lucy. She has an expressive sweetness that is both convincing and touching. Popplewell (GIRL WITH THE PEARL EARRING) is the most experienced actor of the four, and she’s done a good job as Susan, the sensible one. The boys are good, too, but the girls definitely steal the show. Neeson (BATMAN BEGINS) is majestic as the voice of Aslan, and Swinton (BROKEN FLOWER) is coldly evil as the White Witch (although the character, in my opinion, could hardly qualify as the most terrifying villain of all times).
There’s no denying that C.S. Lewis’s story is a Christian allegory. All the clues are there, and it doesn’t take a genius to figure them out. Nevertheless, you don’t have to be a Christian to enjoy the timeless tale of good vs. evil and salvation. The special effects are very well done. The talking animals, especially the beavers and Aslan the Lion King, are impressive. The centaurs and satyrs and griffins are fantastic. I am, however, surprised by the PG rating. The film is way too frightening and brutal for children, especially when kids are depicted as armor-donning, sword-wielding warriors who slay their enemies in bloody battles. While the cuddly animals and magical elements might enchant the littler ones, the film is way too violent for most children. With that in mind, THE CHRONICLES OF NARNIA is a decent fantasy film for the entire family to enjoy.
© 2005 Ray Wong
Stars: Charlize Theron, Marton Csokas, Jonny Lee Miller, Sophie Okonedo, Frances McDormand, Pete Postlethwaite, Amelia Warner
Director: Karyn Kusama
Writers: Phil Hay, Matt Manfredi (based on characters by Peter Chung)
Distributor: Paramount
MPAA Rating: PG-13 for violence and sexual content
Running time: 90 minutes
Script – 3
Performance – 5
Direction – 4
Cinematography – 7
Music/Sound– 6
Editing – 6
Production – 8
Total Score – 5.7 out of 10
AEON FLUX first arrived on the cultural scene as an animation short on MTV’s LIQUID TELEVISION. The high energy, ultra-strange characters and story were fascinating to the MTV babies. The question is, would the whole thing translate to the big screen as a full-length, live action feature?
In 2021, a deadly virus wipes out 99% of the world’s population, and the survivors settle in Bregna, the last city on Earth protected by a thick wall. The scientists who save them, led by Trevor Goodchild (Csokas), form a ruling government and their duties are to keep the citizens safe. 400 years later, the citizens become restless as people start to disappear, and they feel scared living in such a highly-controlled “Utopia.” A secret faction called the Monicans, led by the Handler (McDormand), is determined to rebel and overturn the government and set the people free.
Aeon Flux (Theron) is the best of the Monicans, almost a super-human. Her job is to infiltrate the government and sabotage their systems. Then her sister, Una (Warner), is mistaken as a Monican and killed by law enforcement. Aeon’s mission becomes personal. Her next order is to assassinate Goodchild. When she finally finds him, something strange stirs inside her and she can’t carry out her task. Believing there’s something deeper than what’s at stake, Aeon abandons her order and searches her instincts, eventually leading her back to Goodchild and finding the truth behind everything.
Theron (NORTH COUNTRY) impressed us in MONSTER (and won an Oscar for that). Here, as an action heroine, most of the time she simply looks like a model posing for a photo shoot. In extremely skimpy clothing, I may add. Don’t blame Theron for turning in a cookie-cutter performance, though; nor Csokas’s (KINGDOM OF HEAVEN) as Trevor Goodchild. Their archetypical roles don’t require much depth. Csokas and Theron are very attractive, and they do look great together. Miller (MELINDA & MELINDA) has the thankless job of playing an uninspired villain. And McDormand’s (NORTH COUNTRY) talent is totally wasted as the Handler. The only person who leaves a definitive impression is Okonedo (HOTEL RWANDA) as fellow Monican, Sithandra. Her resolves and loyalty leave her with an interesting conflict.
But we don’t see AEON FLUX for the acting, do we? First, the good things. The production design is pleasing with some cool visuals. I’ve never seen such clear and beautiful eyes in these actors. Some of the action sequences are also cool, most notably the “garden” scene in which Aeon and Sithandra must get through a manicured garden stocked with deadly weapons. Even so, for a high-concept sci-fi movie, the production doesn’t necessary “wow” us. Its concepts of the “future” have that “seen that before” feeling. Everything is slick and sterile (doesn’t anyone believe in vintage anymore in the 25th Century?) Still, by far, the production is the best part of the film – it just doesn’t mean it’s great.
Now on to the bad. The screenplay by Hay and Manfredi (THE TUXEDO) is paper-thin and nonsensical. Sure, it happens in the future in a strange, controlled society, but at least explain how Aeon Flux could leap 100 feet or fall 50 feet unhurt or dodge bullets like she’s a mutant in X-Men. The screenwriters ask for a huge – and I mean huge – dose of suspension of disbelief. And the plot is so unoriginal and predictable – hard to believe with such a high-concept production. There’s almost no suspense since one can easily guess what is happening (hint: It’s been 400 years, but Trevor and Oren Goodchild are still alive). The characters are so obvious that we can call out the good guys vs. the bad, even blindfolded. The coolness of the original characters are replaced by a detached, quasi-futuristic blandness.
Director Kusama (GIRLFIGHT) can’t lift the film out of its material either. Her direction is often clunky and lacking in imagination. There are many confusing moments and the editing could use some work to streamline the plot, especially since it’s such as simple plot. Kusama does have a keen visual style, but all that is buried by a clunky plot and unimaginative action sequences. With all that stacked against it, AEON FLUX is a flux to avoid.
