Canada, 2003
Director: Jean-Francois Pouliot
Score: ***

Who says Canada does not make feel-good commercial films the way Britain does with THE FULL MONTY and BILLY ELLIOT? From Quebec, in the same vein as LES BOYS and LES BOYS 2 AND 3 comes a story of the underdog trying to make it good. It is the little harbor village of St. Marie that is depleted out of fishing (so true to the Atlantic provinces) that is trying to attract a company to build a factory on the island. Trouble is that there is one condition – there must be a resident doctor.  Hence, the villagers try their best to seduce (or lie) to Dr. Lewis that everything is a bed of roses there.  Similarities abound in the depiction of St Marie when compared to the coastal village of WAKING NED DEVINE – the equivalent Irish box-office success. 

Pouliot’s film is entertaining, topical but a bit too manipulative, as is the fault of many feel good commercial films. Quebecois will probably enjoy this film more owing to its local nuances and brand of humor but still, it is a fun comedy for the not so demanding viewer.

Review by Gilbert Seah.

When Cameron Crowe’s Say Anything… came out, I was a senior in high school with straight As and thus, absolutely no chance of having a girlfriend. In other words, hopeless. But seeing that film infused me with a sense of hope and joy that continues to this very day. I got the same vibe from watching The Girl Next Door, even if the old teen comedy it most resembles is Risky Business.

Emile Hirsch (The Dangerous Lives of Altar Boys) stars as Matthew, a straight-and-narrow high school senior with dreams of getting a scholarship to Georgetown. Even though he resents the popular crowd and their seemingly carefree lifestyle, he longs to be accepted by someone outside of his small nerd clique.

Enter Danielle (24’s Elisha Cuthbert), housesitting next door for a couple of weeks. Though his initial impression of her is solely lustful (having watched her undress through the window from his room), he quickly discovers – and wins – her heart, and life is perfect.

And then he finds out she’s a porn star. And after the fallout that occurs, he doesn’t simply get back on track academically – he decides their relationship is worth saving. The only thing that stands in his way is her smarmy, drug-addled agent (Timothy “Kids love trains” Olyphant, seemingly channeling Bill Paxton for this film’s Guido the Killer Pimp role), who makes life increasingly difficult for Matthew, including matters of assault, breaking-and-entering and monetary theft. In order to save his own hide and the girl he loves, Matthew enlists his friends to embark on a secretive project that utilizes the prurient talents of Danielle’s peers, although not in the manner you may be led to
believe.

That the film appears to take a third-act “moral fiber” turnaround is just one of its many strengths. It is funny in a way that deftly recalls John Hughes’ body of work and not the recent rash of “oops, my penis got stuck” gross-out gags that pass for humor these days. It is smart, dark and, above all,
heartfelt. It’s odd to think that such a porno-centric movie could be emotionally touching, but that’s exactly what director Luke Greenfield (in a wholly different league than his The Animal debut) has pulled off. (And bonus points to Greenfield for scoring his film with the likes of Echo and the Bunnymen and David Gray instead of the usual rap-rock and alternabrats with numbers in their
snot-nosed names.)

Hirsch and Cuthbert are completely winning in their roles. It’s not a stretch of the imagination to think that Hirsch would fall for her and vice versa, even if the movie completely avoids the nagging issue of her whoredom. But because he simply and unconditionally accepts who she is, we have to as well, instead of looking down on her – much like Tom Cruise did with Rebecca DeMornay. This isn’t just this generation’s Risky Business – it pretty much is Risky Business, in tone, in style and in smarts.

To paraphrase Olyphant’s character, the juice is well worth the squeeze.

Review by Rod Lott.

2003, Japan
Director: Takeshi Kitano
Starring: Takeshi Kitano, Tadanobu Asano, Michiyo Ogusu

Plot: It’s a Kitano film and a remake of Zatoichi. Do you really need to know more? Really.

Takeshi Kitano returned to the root of Japanese entertainment (chanbara film!) and the result is visually mesmerizing with superb narrative style. It is truly far from being just a simple sword fight film. Sure, this is the classic framework of vengeance. But Kitano built an exciting film by the intertwined characters with accounts to settle with the Organization that reigns terror on the village.  It is Twin Peaks in a way. Things are not what they seem. I am not going to give anything away. There are so many dimensions to the story and they add some levels of complexity that make repeated viewings even more enjoyable.

Here is my only complaint, digital blood. Despite the spectacular choreography (done by the man himself, Kitano), it down-plays the sequences. It’s very obvious the blood is digital. And it’s everywhere. It does create forcefully symbiotic with human. It just cannot coexist or find a place in the frantic, chaotic fight moment.

Kitano also did what he does in almost every film. He finds time to make us laugh. Kitano’s humor in the film is turned on high. He is the guy who knows exactly how to mix violence and comedy. They coexist harmoniously in this film.

In the end, with a great cast of actors, moody soundtrack, cinematography, and furious fight choreography, Zatoichi is one of the best samurai films since Lone Wolf and Cub. Takashi Kitano has once again cemented himself as a great international director. Every movie geek need to own it.

Review by Shogo.

After half a dozen movies together, it’s official: Ben Stiller and Owen Wilson are the new Abbott & Costello. And, like those guys and other screen comedy teams, not everything they do is fall-down funny. Like, say, Starsky & Hutch.

Ostensibly a parody of the ‘70s cop TV series starring Paul Michael Glaser and David Soul, S&H serves as a prequel, showing how the uptight, by-the-book permed detective Starsky (Stiller) became partners with the laid-back, loosey-goosey chick magnet Hutch (Wilson). Their first assignment is finding out who killed a floater in the Bay City river, and their questionable investigative skills soon lead them on the trail to smarmy drug dealer Vince Vaughn, who is set to market a new type of cocaine undetectable by drug-sniffing dogs.

Assisting them are police chief Fred Williamson and pimped-out club owner Huggy Bear (Snoop Dogg) and, in other matters entirely, cheerleaders Carmen Electra and Amy Smart. Cameos abound by Chris Penn, Molly Sims, Playboy Playmate Brande Roderick and, in easily the film’s best scene, Will Ferrell, as a dragon-obsessed convict.

The plot is really secondary, minimal enough to get the characters from one comic situation to the next. There are some great bits – including the aforementioned Ferrell appearance and the boys’ encounter with a knife-throwing Asian boy – but most of the humor is merely okay. The disco dance-off isn’t too far removed from a similar bit in Zoolander, and Starsky’s Finkel disguise is a
character Stiller used to do on the late, great Ben Stiller Show; they’re not as amusing the second time around. Since I’ve only seen one episode of the original show in my lifetime, perhaps there are great gags that escaped me, but somehow I doubt it.

It’s just not as fresh as Stiller and Wilson can be when they’re just ad-libbing, nor as alive as Todd Phillips’ previous film, the just-gets-better-with-age OLD SCHOOL. Part of the problem is that in going for a ‘70s look, it’s too authentic, lending the film a flat, ugly cheapness that mitigates its
spirit.

All in all, it’s not a bad movie – just merely a good one when the principals involved would have you think it’d be great.

Review by Rod Lott.

Denmark/UK 2003
Director: Lars Von Trier
Score: ***** (Year’s 10 Best)

Bad Dane Lars Von Trier’s latest is the first of a trilogy on the subject of the land of opportunity.  Ironically, he sets his first and really bleak parable during the depression era with a sad tale of the township of Dogville.  Von Trier has dismissed the Dogma 95 treatment as is apparent from the over-use of voice-over (narrated by John Hurt), artificial lighting and titles throughout the film – though the hand held camera technique is predominantly employed.

DOGVILLE is sparse looking - filmed in one sound stage with the characters moving in and out imaginary houses and walking down imaginary streets.  Because there are no walls, all the actors had to be present throughout the entire 6 weeks of the film shoot.  It is as if Von Trier is taking revenge on the critics for condemning him for making DANCER IN THE DARK about the USA without (him) having set foot in America.  But it is a neat, though hardly novel idea that works well as Von Trier clearly controls his material with expertise.  The rape scene is particularly effective as the township can be observed in full view while the deed is being done, as if everyone is fully aware.  Von Trier claims to have got his inspiration from the RSC’s (London’s Royal Shakespearen Company) production of NICHOLAS NICKELBY.  The story, told with a prologue and nine chapters concerns the mysterious arrival of a fugitive, Grace (Nicole Kidman).  With encouragement from influential resident Tom Edison (Paul Bettany of GANGSTER NO.1 and “A BEAUTIFUL MIND) who eventually falls in love with her, she agrees to work for the town in return for shelter.  But matters escalate out of control till the truth rears its ugly head.

The cast selection is exceptional.  Veterans Ben Gazarra and Lauren Bacall add an ominous presence to the roles as the blind Jack McKay and Ma Ginger as does James Caan in his ‘Godly’ task.  Kidman, always good, balances vulnerability with a strength that keeps her survival.  The other international cast of Udo Kier, Patricia Clarkson, Philip Baker Hall and Stellan Skarsgard perform just as well with all their nasty relish. 

The film’s minor flaws lie in the narrative.  The motive of Grace not revealing the real reason for her demise is unconvincing.  While the unexplained poster of Grace being ‘wanted’ is also left hanging, the ploy is necessary for the latter events to unfold.

The pleasures, however are plentiful from the sarcastic and humorously dry voiceover, ensemble acting to the dimly lit sets and deliberately clichéd depiction of small town America complete with old Ford trucks and barking dog.  Von Trier also teases the viewer to figure the deeper meaning of the seven figurines and the final appearance of the barking dog.  His filming of DOGVILLE in sequence shows as the acting, plotting and drama intensifies as the chapters progress towards their conclusion.

The last chapter (the debate on arrogance) is particularly disturbing though it provides the necessary satisfying ending where all is revealed.  As such, on the matter of arrogance (or pride) and forgiveness, DOGVILLE stands as an unlikely companion piece to THE PASSION OF THE CHRIST.

Review by Gilbert Seah.