2003, DVD
Cast: Paris Hilton, Nicole Ritchie, the Leding family

Paris Hilton and Nicole Ritchie are two obnoxious brats who seem to have no awareness of the outside world whatsoever. They are thrown into the middle of a small town in Arkansas, U.S. There, they are forced to get a job, and must coexist gracefully with their host family of eight, the Ladings.

I didn’t understand this whole Reality TV thing. I still don’t. Watching people humiliate themselves shamelessly didn’t appeal much to me. But when I saw a TV spot for The Simple Life, these two girl’s immaturity, ignorance, cluelessness and stupidity gave me immediate affection for it. And they didn’t disappoint me at all. The greatest thing about them is that they seem to believe the world revolves around them. Of course they knew before hand that the show was going to be televised. So most of their actions aren’t really there to shock or provoke. But when you see them attempting to get down with any cute country boy they see, getting fired from jobs because of their stupidity or ignorance or going ballistic in public practically for no reason, it is hard not to laugh at them. It doesn’t illuminate anything about two cultural differences. It isn’t social commentary (if you want that, watch Dogville).

But seriously, what could be more fun than watching Paris’ pants slide down slowly to show her butt crack almost every episode? You would think they would learn some sort of lesson along the way. The truth is that they don’t. In the end, they still think of nothing but themselves.

It is simply a fun show that is absolutely enjoyable because Paris and Nicole are so completely clueless it is impossible to imagine that anyone could possibly be that stupid (I was told Jessica Simpson could top them).

Shogo is an award-award winning filmmaker currently hard at work on a new project. Asian Fever is his weekly column devoted to Asian cinema and related topics.

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Comedy, USA, 2004
Director: Robert Luketic
Cast: Kate Bosworth, Topher Grace, Josh Duhamel
Score: *

Every few weeks or so, the major Hollywood studios dump a low-budget teen flick on the market with the high hopes that it will make a quick buck.  Dreamworks was quick enough to distribute Win a Date with Tad Hamilton!—already listed as a 2004 film in the end credits. 

Rosalee Futch (Kate Bosworth), a teen-aged grocery clerk living in rural West Virginia wins a date with screen idol, hunk Tad Hamilton (Josh Duhamel from the soap All my Children).  Surprise!  Surprise!  Her jealous best friend, Pete (Topher Grace), also her store manager, is in love with her but doesn’t dare divulge his feelings.  Must the rest of the plot be revealed? 

Obviously there is no need to say more as any pubescent reaching the age of a teen can guess the predictable ending, less all the events occurring prior. Scriptwriter Victor Levin adds a bit of a twist to the story by having Tad fall for her but that’s it as far as originality goes.  The lines are unfunny, the set-ups uninventive and the characters wooden.  Duhamel might have the body to turn heads, but once he opens his mouth or starts acting, the attraction vanishes.  Grace is irritating with his one-liners and lip-synching.  Nathan Lane has a small role as Tad’s agent, but the funniest moment is reduced to him falling into some shrubbery!  The only pleasure comes from unknown actress Kathryn Hahn, playing the role of an amiable bartender who makes even her terribly written lines sound originally funny.  But that is not enough to save this pathetic excuse of a movie.

GILBERT SEAH was born in Singapore and moved to Toronto in 1982. He is an engineer by profession, with a passion for the cinema. Since the age of 10, he has been to the movies almost daily. Having been brought up in the Asian, British and Canadian cultures, he is able to bring a distinct perspective to film.    

Drama, Rated R.
Director: Patty Jenkins. 
Writer: Patty Jenkins. 
Cast: Charlize Theron, Christina Ricci, Bruce Dern.

Monster is based on the real-life criminal exploits of Aileen Wuornos, a Florida prostitute who became a serial killer, and brutally murdered seven men during the ‘80s.  Aileen blamed most of her problems on her childhood upbringing, claiming that not only was she poor, but she was constantly beaten and raped as a young girl.  With delusions of becoming a Hollywood superstar, Aileen left home only to eventually end up homeless, with no money, no education, and nowhere to go except into the arms of strangers.  Aileen continued to work as a hooker for years, taking her lumps from angry men that treated her like street trash, until one night when she fell in love.  But to Aileen’s utter surprise the one who won her heart wasn’t a man.  It was a woman.

No one was more shocked by this romantic turn of events than street-tough Aileen, Charlize Theron (“The Italian Job”), because she always considered herself to be straight.  But after a chance meeting in a bar, Aileen was suddenly infatuated and engulfed by the gentleness of a young woman named Selby, Christina Ricci (“The Laramie Project”).  The two impulsively shack up in a seedy hotel, but the honeymoon is shortly over when Selby discovers that Aileen killed a man one night while hooking because he was beating her to death.  Praying it was a onetime occurrence Aileen reluctantly goes back to work, but the trauma resurfaces during her next encounter, creating paranoia and delusions so great, that she kills that man, too.  Afterwards, Aileen realizes she would rather be a serial killer, than a prostitute, and that’s exactly what she becomes.

Writer and first-time Director Patty Jenkins deliveries an ambitious project that succeeds on certain levels and fails on others.  Monster is an intimate story in that there are very few supporting characters.  And, yet, somehow Jenkins doesn’t provide a lot of information about the two main characters making the movie’s overall depth very shallow.  And Jenkins chose to make Monster more of a love story, than a drama, and left a lot of questions unanswered.  On the other hand, Monster seems like it’s supposed to be nothing more than a glorified showcase for Charlize Theron (who also served as one of the producers).  The normally gorgeous Theron literally buries herself into the flesh and spirit of Wuornos and the transformation is almost flawless.  Theron gets down and ugly like she’s never done before in a performance that’s sure to change her acting path.

As a whole, Monster is far from perfect and it will not entice everyone.  But most people will watch this film out of curiosity to witness Theron’s character study of the white-trash serial killer.  And those people will not be disappointed. 

Bottom line. Should you see “Monster”?  Yes.

Review by Chad Goldich

Horror, 2003, Canada
Director: Brett Sullivan
Cast: Katherine Isabelle, Tatania Maslany
Score: **

The first Ginger Snaps released in 2002 was a snappy, bitingly funny (pardon the puns) and inventive horror flick that was arguably the best Canadian film that year.  The plot concerned Ginger (Katherine Isabelle), bitten and transforming into a werewolf at the same time of her puberty.  Naturally, much to her chagrin and to the audience’s amusement, her strange behavior was dismissed by everyone as growing up pangs.  John Fawcett amazed the audience with his inspired direction that included a grand climax set during Halloween. The original script, written by Karen Walton also introduced quirky characters like the nonchalant mother and the local cool school pot supplier as the founder of the antidote to the werewolf transformation.  Brilliant!  Now two years later, fans and critics alike eagerly await the sequel.

The original Ginger Snaps last saw Brigitte Fitzgerald (Emily Perkins), lying on top of the creature that had once been her sister Ginger, as it took its final breath.  In Brigitte’s hand was the hypodermic needle containing the liquid antidote that would prevent her from being a werewolf.  That is as far as the similarity of the two films goes.  The new Ginger Snaps: Unleashed (and the prequel is already in the making) moves the action from the suburbs to a drug rehabilitation clinic where Brigitte is ‘imprisoned’.  She meets an assortment of weirdoes that include a 14-year old by the name of ‘Ghost’ (Tatania Maslany) who eventually help her escape to save herself and whoever else gets in the way.

The script for Unleashed retains some of the wicked humor of the first Ginger Snaps- the initial segment has the librarian (a lively cameo by Canadian teen Brendan Fletcher) telling Brigitte he is on to her referring to him noticing her movements rather than her dilemma and a clinic worker attributing Brigitte’s blood sucking desires to her being a lesbian.  Characters are less fascinating though. The male role of the pot supplier is replaced by that of a rather bland but handsome morally corrupt Tyler (Eric Johnson) who supplies Brigitte her dosage in exchange for sexual favors.  The decision to push ‘Ghost’ as a major influence to the plot does not work too well either.  As a result, novice director Sullivan (John Fawcett now serves as executive producer) has to rely on the piling up of incident upon incident to keep the pace of the film going.  Though the potential of the drug rehabilitation setting is effectively developed with some keen observations and often laugh-out loud situations, the film soon runs out of steam by the second half.  Brigitte utters at one point: “If you keep me locked up, people are gonna die!” Apparently, the filmmakers take these words to heart with the film ultimately deteriorating into a typical werewolf flick with the monster laboriously stalking the victim and perfunctorily doing away with the minor characters.  The creature looks remarkably real and scary though – credit to the make-up and special effects crew.

The script still does not explain the ‘raison d’etre’ of the werewolf.  When Brigitte is questioned on where the monster comes from - the humorous reply “from the suburbs” just does not suffice.

In the original Ginger Snaps, Brigitte says to Ginger: “I’d rather be dead than what you are!” The film drags on so much that one only wishes for Brigitte to be out of her misery.  There is a prequel already in the making.  One can only hope it can sustain more interest than this disappointing entry!

GILBERT SEAH was born in Singapore and moved to Toronto in 1982. He is an engineer by profession, with a passion for the cinema. Since the age of 10, he has been to the movies almost daily. Having been brought up in the Asian, British and Canadian cultures, he is able to bring a distinct perspective to film.    

Drama, 2003, UK/Luxembourg
Director: Peter Webber
Score: **

Peter Webber’s feature debut Girl with a Pearl Earring places more importance on the subject (Scarlett Johansson) of the painting than its 17th century Dutch painter, Johannes Vermeer (Colin Firth).  And with reason too for the girl - young Griet, who is forced by poverty to work in the Vermeer household, has more life encounters in her period of employment than most others in their entire lifetime.  Proving that beauty can be more of a liability than an asset, she runs afoul of the jealous and strict-fisted wife, Maria (Judy Parfitt) and the ugly daughter.  Worse of all, she has to reject the advances of both Vermeer and his patron, Van Ruijven (Tom Wilkinson).  The only ray of hope in her distressed life is her passion for the butcher’s son, Cillian Murphy (28 Days Later).

The film is rich in period atmosphere with lush shadowed photography by Eduardo Serra and great attention to detail in costumes, lighting and sets.  However, the problem is Olivia Hereed’s script adapted from the Tracy Chevalier novel, which treats Griet as so faultless that Johansson basically struts around like a soulless figure. Her character is like a princess stuck in a really grim fairy tale waiting for a prince charming that never arrives.  The only interesting character is the matriarch of the family, Catharina (Essie Davis), who has to wheel and deal to keep the family finances in order.  Whatever anticipation created at the film’s start (e.g. a warning given: “Close your eyes to catholic prayers") is never fully realized.

A point put forth in Webber’s film is that a person having to answer to no one is one who has freedom and a more satisfying lifestyle.  On the contrary, perhaps if more control be been put on Webber’s flawed but great-looking work, a more satisfying film would have been offered.

GILBERT SEAH was born in Singapore and moved to Toronto in 1982. He is an engineer by profession, with a passion for the cinema. Since the age of 10, he has been to the movies almost daily. Having been brought up in the Asian, British and Canadian cultures, he is able to bring a distinct perspective to film.