Bill Mechanic

Bill Mechanic

Bill Mechanic Quick Links

News Film RSS

The New World Review


OK
Is there a more frustrating living director than Terrence Malick? It's hard to imagine another filmmaker more fantastically talented or more jaw-dropping awful, capable of conjuring scenes of breathtaking cinematic poetry and cringing adolescent pathos within mere seconds of each other. There is nobody in the modern world of cinema even remotely like the ineffable artist who is Malick - but whether that's a good or bad thing is for wiser heads to puzzle out.

Malick ended the silence which followed his fantastic 1970s one-two punch of Badlands and Days of Heaven - airy, wind-swept paeans to wide-open skies and the loneliness that lies like a bruise on the land beneath them - with 1998's star-stuffed adaptation of James Jones' battle epic The Thin Red Line. It would have been the World War II movie to end the century with, but for a little something called Saving Private Ryan, out that same year. Up against Ryan's self-consciously stomach-churning gore and herky-jerky camerawork, not to mention its resolutely action, action, ACTION! pacing, Malick's moony meditation on the thin line (if any) between civilization and savagery couldn't help but come off as impossibly arch. Never mind that Malick's battle scenes were even more vicious and realistic than Spielberg's, given their eschewing of comforting action film tropes in favor of pure hot chaos. A strike (well, several strikes) against Malick was his habit of telling the story via overlapping voiceovers, as each of the characters thinks Big Important Thoughts about life and war and love. By jettisoning Jones' pungent prose, all the characters ended up sounding exactly the same, like Malick just thinking aloud in the sort of white-noise pseudo-philosophical jumble that Godard litters his films with.

Continue reading: The New World Review

Dark Water (2005) Review


Good
As perhaps a concession to the modern age, the haunted-house story Dark Water is set not in some gloomy old mansion but in the claustrophobic confines of a dank apartment building, and it's all the better for it. But in many other ways the film is a fairly classic scary story, albeit one that heightens a mood of mournfulness over incessant spine-straightening scares. Fresh off the wide acclaim for his young Che Guevara travelogue The Motorcycle Diaries, director Walter Salles seems an odd choice for this, his first Hollywood project. But it's a similar transition to that taken by another South American, Alejandro AmenĂ¡bar, who he came to Hollywood and made The Others, another solidly classical spooker gussied up with sharp talent and moody atmospherics.

And Dark Water (a remake of Hideo Nakata's 2002 film Honogurai mizu no soko kara) is nothing if not moody. It begins in the gloom of a divorce, with just-separated Dahlia (Jennifer Connelly) and Kyle (Dougray Scott) fighting over who is going to live where - shared custody of their young girl Ceci (Ariel Gade) making commuting a big issue. Righteously furious Dahlia needs a cheap place near a good school and so ends up looking at a place on Roosevelt Island, the apartment-block-choked strip of land in the East River that makes most Manhattanites shudder and think, "There but for the grace of my broker, go I..." She and Ceci tour a grim apartment there with a chatty manager (a spot-on John C. Reilly) who tries to talk up the depressing view of rain-shrouded towers and smokestacks and the building's neo-Fascist architecture; only Reilly could say "Brutalist" with such perfectly smarmy cheer.

Continue reading: Dark Water (2005) Review

Bill Mechanic

Bill Mechanic Quick Links

News Film RSS