It's not easy to heap praise on Mel Gibson. His apparent personal conduct and views are completely unappealing and, worse, totally offensive. On screen Gibson started out with a bang in the Mad Max films and was entertaining in the first Lethal Weapon movie, but otherwise his performances and choices of roles have not been very memorable. As a director, I couldn’t slog through his The Passion of the Christ; Man Without A Face was trite; and Braveheart was an overrated piece of hokum. All that aside, it’s easy to declare that his Mayan action adventure film, Apocalypto, is pretty damn brilliant, maybe even a sorta-whacked out masterpiece.
The film takes place in 16th century Central America near the end of the Mayan period, just before the arrival of the Spanish. It’s shot completely in the Yucatan Maya language with unknowns and non-actors, indigenous North Americans. In some ways the film is actually one long, exciting, and very brutal chase scene. Jaguar Paw (Rudy Youngblood), low on his tribe's totem pole, witnesses his tribe being slaughtered and enslaved. He hides his wife, Seven (Dalia Hernandez), and child and goes on an adventure worthy of Playstation. After killing of some of the raiders he is captured by the psychotic Zero Wolf (Raoul Trujillo) and led to the Mayan city, a much more advanced and destructive place than anything the young villager had experienced before. Jaguar Paw manages to escape after much horrific torture and human sacrifices, and is chased as he tries to get back to save his family. It’s a delirious obstacle death course of horror, as he has to make his way through the jungle using all his survival skills to outwit his captors.Continue Reading
Though it almost shares a title (but little else) with director Enzo G. Castellari’s 1978 spaghetti-war flick The Inglorious Bastards, which was just a dirtier Dirty Dozen knockoff, Quentin Tarantino knows a good title when he sees it. With a minor spelling change he gave us his own comic book WWII movie, Inglourious Basterds. With a definite nod to François Truffaut’s The Last Metro, it’s like a Powell & Pressburger (49th Parallel, One of Our Aircraft Is Missing) piece of propaganda, if those guys were still making those flicks in the 1970s. What at first glance may seem like a nasty and mean Nazi revenge fantasy is actually a tribute to the power of cinema and the power of Tarantino’s beautifully composed dialogue. This may be the most talky war script ever written, but unlike the pointlessly inane ramblings of the film he made two years before this, Death Proof (his half of the double feature movie Grindhouse), this dialogue is used to constantly build suspense, and in the hands of an expert actor like Christoph Waltz, it often sounds like an evil poetry. Aided by the clever score, pirated from other films, and the sharp period detail, Inglourious Basterds proved to not only be one of Tarantino's most ingenious creations, but is a film that has aged well (in the brief years since) and is sure to take its place with the best of the genre (lets call ‘em Naziploitation flicks).
Inglourious Basterds is an equally shared international ensemble piece divided into chapters. First you are introduced to a cat n’ mouse playing German SS man, "Jew Hunter," Col. Hans Landa (Waltz in a mannered piece of scenery chewing that deservedly won him an Oscar). The film opens with him interrogating a French dairy farmer who is hiding a neighboring Jewish family in his floorboards. He toys with the man before his soldiers shoot up the floor, but the teenage daughter Shosanna (Mélanie Laurent) manages to escape into the countryside. Meanwhile an American unit commanded by a very Southern Lt. Aldo Raine (Brad Pitt acting like a cross between Yosemite Sam and Foghorn Leghorn) leads a group of Jewish soldiers known as the "Basterds" on a dirty trick mission to torture and wreak havoc on Nazis, becoming legends and the thing of nightmares to Nazis, including even a flummoxed Hitler (Martin Wuttke). A few years later, Shosanna, now known as "Emmanuelle Mimieux" (and resembling a young Catherine Deneuve), runs a hip cinema in Paris and is any movie geek’s dream girl. Unfortunately she has the unwanted attention of a young German war hero, Fredrick Zoller (Daniel Brühl of Good Bye, Lenin! and The Edukators). He is even starring as himself in a recently completed film about his sniper exploits called Nation’s Pride, directed by head Nazi propagandist Joseph Goebbels (Sylvester Groth). Zoller convinces the higher-ups, including security-chief Hans Landa, to hold the premiere at Shosanna’s cinema, with the German high command in attendance, including the Führer himself. Shosanna and her boyfriend hatch a plan to burn the theater down during the screening.Continue Reading
It's fair to say that The Mission is an underrated film. Unlike Raging Bull or Blue Velvet it does not appear on many lists of the best films of the '80s (though any such list that does not have the Russian war flick Come And See on it is completely invalid anyway). The Mission doesn't even get mentioned in most Robert De Niro retrospectives. But this physically demanding, yet subtle role is one of De Niro's best. This was back when De Niro was still "Robert De Niro - all time great actor." Back in the good old days when he was still trying, before he became "That hammy actor from Meet The Parents and other comedies." The Mission was derided by most critics when it was released as overblown, as was De Niro’s performance (though the film did score a bunch of Oscar nominations thanks to a pricey ad campaign). But The Mission may actually be a lost gem that needs to be rediscovered and reevaluated; perhaps it could use the three-disc Criterion treatment.
Written by Robert Bolt (Lawrence Of Arabia), The Mission, at first glance, seems like a sweeping saga, but on closer inspection, it’s a small story with large mountains behind it. Jeremy Irons plays Gabriel, a Spanish Jesuit priest building a mission in the rain forest of South America in the 18th century. He is able to win over the natives with his groovy oboe playing. The natives become fully invested in the creation and running of the mission - it’s like a small co-op of social peace - as the natives are converted to Christians. Until a menacing slave trader, Mendoza (De Niro), arrives, ensnaring natives and selling them on the open market. Mendoza is a man with no moral center. However, later when he kills his brother (Aidan Quinn, sporting very '80s hair) in a jealous quarrel, Mendoza finds God and serves his penance by joining Gabriel’s order and hauling all his armor and weapons through the mountains. Moved by the native people's acceptance of him, he becomes a fierce protector of the mission and its people.Continue Reading